Post-war British comedy in which a soldier returns to his home village and the family tavern now at threat from an unscrupulous rival. When pub owner George Harper (George Formby) arrives back in Britain his first thought is to return to the village of Tumbleford and his pub, The Unicorn. Unfortunately for George, the manager of the village's other pub, The Lion, has taken advantage of his absence to steal his customers and even seems suspiciously close to George's childhood sweetheart, Mary (Rosalyn Boulter). Can George find a way to win back Mary and his customers?

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger PublishingAcentsa -a centss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for e

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CONSTITUENTS OF ORNAMENT 15 seal engraver, ecclesiastical or borough, was invariably manifested in presentments of the human figure. And through this weakness an otherwise fine creation was not infrequently marred. But upon borough seals figure studies are much rarer than upon religious, and consequently the art of the best instances of the former is seldom qualified in this way. The most prolific period of borough seal production was the thirteenth century. In quantity, the output of the fourteenth and fifteenth centuries approximated, but the importance of both was subordinate to that of the preceding. Borough seal illustration has already been characteristically defined as a reflection of the secular conditions and common features of civil life in the Middle Ages, in contradistinction to ecclesiastical seal design, which, with equal peculiarity, has been determined as a reflection of religious life contemporaneous. Of wider range, and embracing at the same time the restricted view of the other, the first is naturally much more informative and valuable, as well as much more interesting. Since the seal was the sign-manual of a certain body of men, or rather of a particular locality inhabited and governed by an association of individuals, it was not only natural, but to a large extent necessary, that a relation more or less intimate should subsist between its design and the district in which it was exercised. Hence, and for various other reasons which suggest themselves, illustration was constrained to keep within a certain limited sphere, so that the elements which it comprised are subject to general classifications. But in the disposition of these elements an infinite variety of combination was secured. The constituents of ornament prevailing in the twelfth century, ...