Of the Green Family from Harpole, Northamptonshire their Ancestors and Relatives

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Monday, 11 December 2017 02:19 AM GMT

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I am trying to document everything I can find on my Family History. I am now having a close look at my Liddiard tree and adding more details to the family story. The Liddiards are also associated with Kings of Harwell and I'm trying to ascertain how all these Kings are related.

If you should want to join me in the quest to find the story of my ancestors please contact me with details, of how you fit into my Family Tree, and I will give you access to do this. Anyone else can freely view most material on people who are no longer living and contribute to the more general stories. You can comment on anything on this web site without logging in.

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Everything Old is New Again

'Art Deco Style' as a popular term, really came into regular usage during the 1960's, during the revival of interest in the style it represented and remains in use today. 

 

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A Century of Flight

The first powered flight took place 100 years ago. The advances in materials, engines and design in that time have been phenomenal.

Aircraft from before the First World War don't bear much resemblance to the aircraft we travel in today and they are well worth seeing if you have any interest in how design has changed. Aircraft design has affected design of many everyday items such as the streamlined look of 50's and 60's household appliances and cars.

Aircraft design advanced exceptionally fast in the first 15 years due to the First World War. Our pictures show a Bristol Box Kite from before that war and a triplane from that War.

To find out more about celebrations of 100 years of flight visit the 100 years of flight home page.

To see more of our early aircraft a visit to the Shuttleworth Trust at Old Warden in Bedfordshire is a very good day out and this year there are more flying days than ever before.

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Principles of Design - Hardware (continued). by Christopher Dresser

In ironwork the manifestation of a true constructive principle is beyond all things desirable. Iron, being a strong material, should not be formed into heavy masses unless immense weight has to be sustained or very great strength is required. If we form lamps, candelabra, and such works of iron, it is obvious that the portions of metal employed in their construction may be thin, as the material is of great strength. Were we to form such works of wood, then a greatly increased thickness of material would be necessary, in order that the same strength be secured, as wood is not nearly so strong as iron.

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Principles of Design - Hardware by Christopher Dresser

Having considered metal work in its more costly branches, we come to the consideration of hardware; and I am glad that we have reached that part of our subject which deals with inexpensive materials, for they are those which must be generally employed, while works formed of the precious metals can be used only by comparatively few persons. The object of art is the giving of pleasure. If as an artist I give pleasure, I do to an extent fulfil my mission; but I do so perfectly only when I give the greatest amount of the most refined pleasure by my art that it is possible for me to give. If by producing works which can be procured by many I give pleasure, it is well that I do so; but if the many fail to derive pleasure from my works, then I must address myself to the few, and be content with my lesser mission. Education appears to be necessary to the appreciation of all art; the artist then, is a man who appeals to the educated.

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Silversmiths Work Part 3 by Christopher Dresser

Having chosen a form for a vessel, the next question with which we have to deal is, will it require a handle and spout? It is curious that while the position of a spout and handle in relation to a vessel is governed by a simple natural law, we yet rarely find them placed as they should be. Consideration must also be given to any form of decoration on the surface of the object.
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Principles of Design in Glass (continued) by Christopher Dresser

Principles of Design. - XXV.By Christopher Dresser, PH.D., F.L.S., ETC. - Glass - from Cassell's Technical Educator. There is one thing pertaining to table-glass that we do not now sufficiently consider, which is its capacity for colour. Our one idea in the formation of glass vessels is the imitation of crystal, unless we happen to produce a vessel of the strongest tint. With the exception of hock glasses, which are generally either ruby colour, dark green or intense yellow-green, we rarely employ tinted glass on our tables.
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Silversmiths' Work Part 2 by Christopher Dresser

There are various modes of working metal. It may be cast, hammered, cut, engraved, and manipulated in various ways.
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Silversmiths Work - Part 1 by Christopher dresser

The need for silver and gold items to be designed using a minimum of material due to the high value of the material. Principles of Design - XXVI by Christopher Dresser PHD FLS etc from Cassell's Technical Educator.
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Principles of Design in Glass by Christopher Dresser

Principles of Design. - XXIV.By Christopher Dresser, PH.D., F.L.S., ETC. - Glass - from Cassell's Technical Educator.When speaking of earthenware, I insisted upon the desirability of using every material in the easiest and most natural manner, and I illustrated my meaning by saying that glass had a molten condition as well as a solid state, and that while in the molten condition it can be "blown" into forms of exquisite beauty. Glass-blowing is an operation of skill, and an operation in which natural laws come to our aid, and I cannot too strongly repeat my statement that every material should be "worked" in the most simple and befitting manner; and I think that our consideration of the formation of glass vessels will render the reasonableness of my demand apparent.
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