Staple Dietary Ingredients Secured | My Web Site Page 037 Chapter 02 Page 01

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Nos. 18 and 19. These boilers were designed primarily for fire protection purposes, the requirements demanding a small, compact boiler with ability to raise steam quickly. These both served the purpose admirably but, as in No. 9, the only provision made for the securing of dry steam was the use of the steam dome, shown in the illustration. This dome was found inadequate and has since been abandoned in nearly all forms of boiler construction. No other remedy being suggested at the time, these boilers were not considered as desirable for general use as Nos. 21 and 22. In Europe, however, where small size units were more in demand, No. 18 was modified somewhat and used largely with excellent results. These experiments, as they may now be called, although many boilers of some of the designs were built, clearly demonstrated that the best construction and efficiency required adherence to the following elements of design:

It is well known that the very earliest population of the Old Dominion was not of the highest, but predominantly idle and thriftless. Vagabonds and homeless children picked up in the streets of London, as well as some convicts, were sent to the colony from England to be indented as servants, permanently, or for a term of years. Persons of the better class, to be sure, came as well, and the quality of the population, on the whole, improved year by year. Settlement here followed a centrifugal tendency, except as this was repressed by fear of the Indians. In 1616 the departments of Virginia were Henrico, up the James above the Appomattox mouth, West and Shirley Hundreds, Jamestown, Kiquoton, and King's Gift on the coast near Cape Charles--a wide reach of territory to be covered by a total population of only three hundred and fifty.

The earliest decorative art appeared in Ireland. It was probably first planted there by missionaries from Italy, and it reached its height in the seventh century. In the ninth and tenth centuries missal illumination of a Byzantine cast, with local modifications, began to show. This lasted, in a feeble way, until the fifteenth century, when work of a Flemish and French nature took its place. In the Middle Ages there were wall paintings and church decorations in England, as elsewhere in Europe, but these have now perished, except some fragments in Kempley Church, Gloucestershire, and Chaldon Church, Surrey. These are supposed to date back to the twelfth century, and there are some remains of painting in Westminster Abbey that are said to be of thirteenth and fourteenth-century origin. From the fifteenth to the eighteenth century the English people depended largely upon foreign painters who came and lived in England. Mabuse, Moro, Holbein, Rubens, Van Dyck, Lely, Kneller--all were there at different times, in the service of royalty, and influencing such local English painters as then lived. The outcome of missal illumination and Holbein's example produced in the sixteenth and seventeenth centuries a local school of miniature-painters of much interest, but painting proper did not begin to rise in England until the beginning of the eighteenth century--that century so dead in art over all the rest of Europe.

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