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From: Kaub S. <di...@ca...> - 2010-03-26 17:53:21
|
Tilities and conveniences, instead of the disorganized chaos in which to-day we live." A system of distribution will be adopted, doing away with the immense cost of trade as at present conducted. The laborer will be protected against misfortune by a system of insurance and a pension in old age. Employment and opportunity will be provided for all, and education provided for all children. It is upon this education that the _ultimate_ success of the society must depend, for it is |
From: Ruiloba L. <uti...@um...> - 2009-12-24 05:14:06
|
she said to Bunny. "All right, I will," he agreed. "But there isn't any door to knock on, nor any bell to ring when I call. You ought to have a bell to your house, Sue." "That's so--I ought," she agreed. "I know how I can make one," went on Bunny, after a while. "How?" asked Sue. "Well, there's an old bell that the milkman used to have--the milkman who kept his horse and wagon in our barn," explained the little boy. "The bell is in the barn now." "Oh, yes, I 'member," Sue said |
From: Illa <mon...@eb...> - 2009-12-05 18:51:50
|
Ble to the right people. He'll tell you who they are. And take care of him." "I wish I'd taken more interest in politics when I was young," said Mrs. Phillips. "Of course, when I was a girl, women weren't supposed to." "Do you know, I shouldn't worry about them, if I were you," Joan advised her. "Let him forget them when he's with you. A man can have too much of a good thing," she laughed. "I wonder if you're right," mused Mrs. Phillips. "He does often say that he'd just as soon I didn't talk about them." Joan shot a glance from over her cup. The poor puzzled face was staring into the fire. Joan could almost hear him saying it. "I'm sure I am," she said. "Make home-coming a c |
From: Abdulmateen D. <fi...@va...> - 2009-09-03 08:20:14
|
Print the end of each story separately, distributed among the advertisements to break the type. But just at present we have plenty of these on hand. You see," I continued, for there was something in the man's manner that almost touched me, "all that is needed is that the last words printed must have a look of finality. That's all. Now, let me see," and I turned to the place where the story was cut, "what are the last words: here: 'Dorothea sank into a chair. There we must leave her!' Excellent! What better end could you want? She sank into a chair and you leave her. Nothing more natural." The contributor seemed about to protest. But I stopped him. "There is one other small thing," I said. "Our coming number is to be a Plumbers' and Motor Number. I must ask you to introduce a certain amount of plumbing into your story." I rapidly turned over the pages. "I see," I said, "that your story as written is laid largely in Spain |
From: Archdale <mul...@ql...> - 2009-08-31 01:01:35
|
both clearly incised and gilded. #The Ambulatory#, which encompasses the choir, and is open to it on the inner side throughout its course, is an interesting part of the original fabric, and displays to full advantage the characteristic features of early Norman work--here made more conspicuous by the low pitch of the roof, which gives the columns and arches an appearance of even greater solidity than really belongs to them. The semicircular arches which support the roof spring from the capitals of the main arcade, and are merely wide bands of stone, without moulding or adornment of any kind. The intermediate spaces are equally plain, each compartment simply taking the quadripartite form (without vaulting-ribs) to accommodate it to the arcading on which it rests. The ceiling has been repaired with stone, and overlaid with plaster in the panels, but the design has been left undisturbed, as a specimen of early vaulting, rare enough to be worth preserving.[5] [Illustration: THE AMBULATORY AND ENTRANCE TO THE LADY CHAPEL _E. Scamell. Photo._] Perpendicular work occurs here and there throughout the ambulatory, conspicuously in the three recesses in the exterior wall on the north, each of which contains a three-light window in that style. The first and second of these recesses, or small chapels, are open to the ground level; but the third (nearest the east) has been walled up beneath the window sill. Beyond it is the door of the clergy vestry, which occupies the site of another chapel: and in the curve of the wall towards the Lady Chapel there is a tablet which usual |
From: Rossean <poc...@im...> - 2009-08-28 14:20:09
|
kick it about all day, like a football, and it will be round and full at evening. Does not Mr. Bryant say, that Truth gets well if she is run over by a locomotive, while Error dies of lockjaw |
From: Maragni <eco...@al...> - 2009-08-27 22:16:44
|
Ll rub against the revolving stock; the tool will be burned and will thus lose its temper. The bevel should be hollow ground slightly as then comparatively little metal need be removed when whetting. Scraping Tools The round nose, square nose, spear point, right skew and left skew are scraping tools, used chiefly in pattern work and sometimes in face-plate work. They are sharpened on one side only, and the bevel is about twice the thickness of the chisel at the point where sharpened. These tools should be slightly hollow ground to facilitate the whetting. Scraping tools become dull quite easily as their edges are in contact with the wood almost at right angles. After sharpening, the edges of these tools may be turned with a burnisher or the broad side of a skew chisel in the same manner that the edge of a cabinet scraper is turned though not nearly to so great a degree. This will help to keep the tool sharp for, as the edge wears off, the tool sharpens itself to a certain extent. The chisel is of harder material than a cabinet scraper so that it will not stand a great amount of turning over on the edge. Small pieces will be broken out, unless a flat surface is rubbed against the edge at a more acute angle than was used in the whetting |
From: Ponce <ant...@cr...> - 2009-08-21 11:50:19
|
every other place where woman is likely to go. Unfortunately for Miss Wilson, though born pretty, she was not born rich. The good things of this world were not given to her very abundantly. Work, she wouldn't. For some reason or other, certainly not a valid one, work appears degrading to some people. So it appeared to Miss Wilson. What was she to do then? To steal would be to go to the penitentiary or the State prison. She didn't like to live in either, and yet she had taken the first erring step to go there. She is, in short, a fast woman, yet driven to a gay life in order to eke out a precarious existence, to gratify her love of dress. Fearing that she might get into the hands of the police if she staid in the city, Maria engages a passage on one of the Boston boats every alternate day, for the purpose of affording "noctural accommodation" to gentlemen not having their wives along. A day or two ago Maria, in company with another "lady" of like loose character, went on board one of the boats alluded to, each bent upon securing a state-room, if possible, but one at least was doomed to disappointment. Miss Wilson's good looks made her a favorite with the officer of the boat, and she succeeded in obtaining a stateroom. Her partner, however, did not, and though unfortunate in this respect, she was well off in another way. She did succeed in "picking up a man," with whom she seemed to become suddenly in love. After perambulating the boat decks and cabins for some time in flirtation and social chat, Maria's friend asked her if she would be kind enough to allow her the use of her state-room for a short time. Maria being lonely, and not feeling any dispos |
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From: Lowell <mil...@ch...> - 2009-04-20 14:08:38
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From: Creselious <no...@au...> - 2009-04-14 17:39:26
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From: Hennessey H. <pha...@sp...> - 2009-04-06 12:57:57
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From: Cichonski P. <tr...@ma...> - 2009-03-23 15:21:00
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From: Humbles B. <sno...@qm...> - 2009-01-18 03:34:45
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