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ENGLISH COUNTRY DECORATING PICTURES. ENGLISH COUNTRY


English country decorating pictures. Decorative home furnishing. Office birthday decorations



English Country Decorating Pictures





english country decorating pictures






    english country
  • Uses mellow colors and faded pieces to create a feeling of comfort.

  • An interpretation of Traditional English into this more relaxed, comfortable style.  Wood, iron and stone offer a textured interior highlighted by embroidered rugs and muted floral fabrics.  Wood furniture ranges from light to dark stained.





    decorating
  • (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"

  • Make (something) look more attractive by adding ornament to it

  • (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"

  • (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"

  • Provide (a room or building) with a color scheme, paint, wallpaper, etc

  • Confer an award or medal on (a member of the armed forces)





    pictures
  • (picture) visualize: imagine; conceive of; see in one's mind; "I can't see him on horseback!"; "I can see what will happen"; "I can see a risk in this strategy"

  • Describe (someone or something) in a certain way

  • Represent (someone or something) in a photograph or picture

  • (pictural) pictorial: pertaining to or consisting of pictures; "pictorial perspective"; "pictorial records"

  • Form a mental image of

  • (picture) a visual representation (of an object or scene or person or abstraction) produced on a surface; "they showed us the pictures of their wedding"; "a movie is a series of images projected so rapidly that the eye integrates them"











english country decorating pictures - The English




The English Country House: From the Archives of Country Life (Country Life Magazine)


The English Country House: From the Archives of Country Life (Country Life Magazine)



The English Country House takes a look at the architecture and interiors of sixty-two stunning houses in a range of architectural styles spanning seven centuries—from the medieval Stokesay Castle to the newly built, Lutyens-inspired Corfe Farm—brought to life through the world-renowned photography library of Country Life. More than four hundred color and black and white illustrations provide an insight into the architecture, decoration, gardens, and landscape settings of these houses, which are set into their architectural and historical context by the accompanying text and extended captions.

The book provides an entree into the houses to which Country Life has had privileged access over the years, many of which are still private homes, often occupied by descendants of the families that built them. Punctuating the book at intervals in the form of booklets on rich, uncoated paper are six essays by leading British architectural historians that set the English country house into its social context and chart the changing tastes in decorating and collecting, the development of ancillary buildings, gardens and landscapes, and finally, its influence in the United States.











87% (16)





Congleton Mountbatten Way roundabout bears




Congleton Mountbatten Way roundabout bears





Topiary bears

Lets investigate one aspect of Congleton in Cheshire; a medium size town of about 35,000 people. Here, you will see something special: for not only did it become, in part, a cotton town, but also maintained itself as a major centre of silk-weaving; whose activity became almost submerged in what became the dominant activity of "King Cotton" gathering around it - particularly to the north. Yet, the mentioned major activity is one worthy of our travel. This for two reasons: the first being it adds another dimension to our view of all the industry we're considering. Secondly - and as suggested - because places like Congleton is where the first mills grew.

But now we're approaching the town of our proposed visit; so we'll leave the continuation of the A34 and, as we near the main part of Congleton, turn left into a road named Rood Hill. We then follow its downward incline to cross the bridge over the River Dane and enter Mill Street on the other side of the bridge.

At the round-about, immediately head (with the topiary bears on it), we'll turn right and then right again, to enter a convenient car park. Here, we'll leave our transport and take a look around the town.

Our first stroll takes us back the way we came and to the bridge we crossed. This offers a view over its railed parapet of the river flowing swiftly towards us from a north-easterly direction. If we followed its course, upstream, we'd come to a place called "Three Shires Head" - near the high uplands of Shining Tor - where the counties of Cheshire, Derbyshire and Staffordshire meet. This is where the River Dane tumbles swiftly from the high moorlands around the west of Buxton. In its tumbling waters, we'd see the fact known since the first people dipped their hand into the first stream and felt the potential power of the water's swift flow. And places offering this source of constant energy became the sites of ancient water-mills.

However, mills must be worked by people having a convenient place to live and a surrounding area in which their products can be directly sold or transported to other markets. And this brings us back to the bridge on which we're now standing; because - around this - we'd see the combinations of river, roads, nearby canals (in this case, the Macclesfield Canal) and convenient places to erect dwellings and mills which allowed the type of town we're visiting to grow as we can see it did. So, let's have a look at one of its mills, built around the mid 1800s:

We'll do this by leaving the bridge over the river Dane and walking in the direction of Rood Hill and then crossing the bottom of its slope to enter a place just beyond the bridge, called Royle Street. Looking back from our position near the end of this street gives us a view of the bridge and a view of our first mill - which, for obvious reasons, is named "Dane Bridge Mill" - and whose length occupies the opposite bank of the River Dane.

From its size and time of origin, we can assume it never needed to directly depend on water-power to drive its machinery - and, no doubt, in its beginning, used steam power. However, around the time of the early 1800s, we'd see at least four mills in the immediate vicinity - all using river power - and one of these stood on the site occupied by the later and much larger edifice of our immediate interest.

Anyway, we've seen what we need to see to give us the "feel" of a mill. But what we need now to do is go further back in time to concentrate on the original distinctive feature of the town (silk production) which attracted our visit in the first place. And as we return to the car, I'll fill in some details you may not know (but if you do know, you may be interested enough to hear a repeat).

One fact you will know is silk has always been a highly prized material; testified by the long, ancient and arduous road, known as the "Silk Road", used over many centuries by innumerable travellers and merchants in their journeys to and from China. All their effort to obtain this material arose because of its enormous attraction in appearance; and also the fact of it being comfortable to the skin and its capacity to retain the wearer's body warmth (a very useful attribute in the days of draughty castles).

In this country, the evidence of silk being treasured from early times has been found in all sorts of testimonies. For instance: In the seventh century, the Northumbrian monk - the Venerable Bede - in his "Ecclesiastical History of the English Nation" - mentioned the fact that an Abbot, named Benedict, brought back two silk cloaks on his return from his visit to Rome. And these, it seems, excited the later King Alfred to the extent of paying the price of a large estate by the River Ware, in order to obtain their finery from the subsequent ecclesiastical owners.

Also, King John had a great propensity towards silk, to the extent that a list of possessions compiled j











Bottom of clay pot, Kabala, Sierra Leone (West Africa)




Bottom of clay pot, Kabala, Sierra Leone (West Africa)





Photo taken in 1967 or 1968. This was probably originally used as a cooking pot, but was being used as a water-storage pot in the 1960s.

Very rough notes on pottery making collected by Edward Conteh and me in Kamabai, Sierra Leone from a Limba potter (the techniques might have been different for the pictured pot):

Pots made from white ant's hill clay (fa`a). Millet stalks mixed with clay; clay pounded together with the stalks. She then makes a coil out of the clay by turning it between her hands. Makes the mouth of the pot first in a coil and then builds the coils up and around, piling them on top of one another. Uses a calabash to shape the bottom and then sets the pot out in the sun to dry. The coils come up about four-fifths of the way to the bottom. Initial drying takes about 4 or 5 days during the dry season and 6 or seven days or more, depending on the weather, during the rainy season. Kukuthea [I haven't found what this is called in English yet] is pounded and put in a calabash and mixed with water. The pot is fired upside-down with a pile of dry material under and around it. Upside-down so that the pot's inside will get very hot. She uses a stick to pull the pot from the fire by putting it underneath and lifting it out. The pot is then put into the calabash full of water and kukuthea which will then boil if the pot is good. Kukuthea's action is somewhat like a cementing. The pot is left in the kukuthea mixture for just a few minutes and then taken out to become very dry and strong. If she knocks on it and it sounds like a calabash, then it is a good pot. If not, it sounds like dry mud. It's left on the fire until it gets very red (?1 1/2 hours?). They decorated the pots in the past; one person would use only one decoration, and they would be decorated for buyer appeal. One with fine decorations one would say was a fine pot. Not all people used to decorate the country pots. Decorations put on before putting them in the sun. This woman used her finger only to decorate, but says others used to decorate their pots with sticks. Very small pots were used to cook medicines [this appears to have been the case in other parts of Norther Sierra Leone also]. Other small pots were used for putting pepper in while eating (sort of a serving plate) and others were used for cooking sauces, etc. The very big ones were used for storing water. The biggest country pot she has ever seen was about 2 1/2 feet across and 2 feet high. Very small pots still used for medicine in the 1960s.









english country decorating pictures








english country decorating pictures




The English House: English Country Houses & Interiors






The English House is a vivid photographic tour of the private homes and lifestyles of the storied English countryside that offers England's rich span of architectural and interior styles as wonderfully inspiring and intiguing examples of current influential decorating trends. Whether a charming and humble cottage or a grand Georgian and Palladian manor house, all the homes featured in this stunning book illustrate the epitome of styles that define the English house.
The delightful text details each house's quirks while highlighting the decorating approaches and design ideas-startling juxtapositions, new takes on tradition, witty visual puns, and bold new combinations. This is an ideal book for any anglophile and is equally appealing to anyone with an interest in interior decoration, with many design ideas that easily translate into interiors on either side of the Atlantic.
Sally Griffiths started writing after her own home was featured in British House & Garden 20 years ago. She runs a photo library called Red Cover and is the author of The English Country Cottage.










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