Usted buscó: he likes me very much (Árabe - Inglés)

he likes you.
he likes you.

do that again. he likes it.
do that again.

thanks very much.
thanks very much.

he... ... likes giris... ... with names...
he likes girls with names like ashley and tamerlane

thank you very much.
i don't need a bag.

thanks very much, you.
thanks very much, you.

turn with me very slowly.
turn with me very slowly.

i like my village very much
short paragraph about my village

thank you very much. شكرا جزيلا
thank you very much.

i. i like this word very very much.
"and i love saying those three words"

i regret telling you that... very much.
i regret telling you that... very much.

by the way, i admire your pictures very much.
by the way, i admire your pictures very much.

هناك شئ واحد كدت ان انساة thank you very much. لحظة
oh, uh, one thing i almost forgot yes?

i want you to tell the girls that i love them both very much...
i want you to tell the girls that i love them both very much...

- thank you very much. . أشكركِ جداً - . شكراً لكِ .
thank you; bye, now.

she'd like that very much, kim. كانت لتحب هذا كثيراً،كــيــم
she'd like that very much, kim.

in whose favour this conflict is resolved depends very much on who can participate effectively in the process.
in whose favour this conflict is resolved depends very much on who can participate effectively in the process.

she explained that although the statutory law of succession allows daughters to inherit property, its enforcement is still very much dictated by customary law and practices.
she explained that although the statutory law of succession allows daughters to inherit property, its enforcement is still very much dictated by customary law and practices.

the bed with headboard and footboard, and tester supported on four posts, with canopies resembling the roof of a house, and with curtains hanging from the cornice or arranged in the form of a tent. the coldness of the houses rendered curtains a necessity. as time wore on, the canopy, curtains and other furnishings became more luxurious. the canopy was often attached to the wall and the bed was placed under it. the richlyembroidered curtains could be looped back or closelydrawn, as the sleeper pleased. by this time, the bed had become a valuable possession, not solely because of its handsome frame and canopy, but owing to its " furniture " " its down pillows and coverlets, its soft mattresses of down and feathers or " flock," its lavender-scented sheets bleached in the dew or moonshine, its counterpanes of wadded scarlet silk,embroidered satin, cloth of gold, or vair, or miniver, and its heavy curtains. in the fourteenth century the bed-chamber was of great importance, for kings received their courtiers and granted audiences in their sleeping-apartments,leaving the great hall for festivities and ceremonials of occasion and state. going to bed in mediaeval times was something of a ceremony for both knight and king. it took the latter quite a long time to prepare himself for the night. first, a page took a torch and went to the wardrobe where the bedding was kept. the articles were brought out by the keeper to four yeomen, who made the bed, while the page held the torch at the foot. one of the yeomen searched the straw with his dagger, and when he found there was no evil thing hidden there he laid a bed of down on the straw and threw himself upon it. then the bed of down was well beaten and a bolster laid in the proper place. the sheets were spread, and over them a fustian. over this a " pane-sheet," which we now call a counterpane. then the sheets were turned down and pillows laid on the bolster, after which 154 transition between the balusters and caryatidesis very notice- able. the balusters at the foot are very much carved and those on each side of the headboard are antique figures," a mixture of du cerceau and burgundian carving. the beds are in various styles," some are rectangular, have a back, a dais supported by four balusters, and feet carved in the form of griffins,or chimaerse. other examples are narrower at the feet than at the head, and are shaped like flat-bottomed boats. three balusters, carved in the form of human figures, two at the head and one at the foot, usually uphold the dais. the bed was superb in the sixteenth century. it consisted of four posts and a frame, four feet, a canopy, a headboard and curtains. it depended for its elegance very largely upon its magnificent hangings, though the woodwork was carved, and frequently gilded,painted, or inlaid. in the time of renaissance, we find the bedstead of supreme importance. it is carved in the richest fashion, and is often enriched with gilding and painting; it is also adorned with marquetry. the mattresses, bolsters and pillows are of down or feathers, the sheets and blankets of finest linen and wool, for which flanders is famous; and the hangings are of silk, velvet, tapestry, serge, or gilded leather. the renaissance bed is never allowed to stand in an alcove : it is far too handsome a piece of furniture for that. its canopy, often richly carved, is rectangular and ex- actly the size of the bed, which is large; and it is no longer suspended by cords from the ceiling,but rests on carved or grooved columns. it is usually finished with a projecting cornice, variouslyornamented, and to this cornice the curtains are attached. the old box bed was not extinct as is proved by our example on plate lxxii. this beautiful renaissance bed is owned by the metropolitan museum of new york. in almost all cases, the frame of the bed was a perfect 156 square resting on four carved ball feet, the frame hand- somely carved. at each corner rose a pillarto support the canopy; the headboard was carved, and behind it hung a piece of tapestry or damask similar to that which lined the cxelyor canopy. later in the century, the columns were fre- quntly enveloped in the same material as the hangings, which became so important that the sculptor and joiner gave place to the upholsterer and embroiderer. the beds were so high, or built so high with mattresses, that it was impossible to get into them without the aid of bed-steps. in the second half of the sixteenth century the slender columns that supported the canopy were supplanted by posts of massive carving. sometimes these posts are gaine shaped figures. caryatides often appear as columns; and sometimes slender pillarscut in the form of balusters,lances or distaffs. some of these are grooved and some of these are more or less decorated with carving. the bed of the princess palatine susanna, preserved in the museum at munich, and dated 1530, is of the slender type (see plate x.). the camp-bed, or folding-bed, that appears so often in the early inventories, was often a four-poster and a very handsome piece of furniture. we hear of a bed in 1550 " in the form of a camp-bed, painted in gold and blue " the canopy, headboard, curtains, coverings,base and four pillars of scarlet red, the liningof the canopy, crimson velvet, and the fringes of red silk and gold thread " ; also a camp-bed, " the canopy and hangings of green velvet, bearing the arms of the owner and trimmed with fringe of green silk and gold " ; also a " bed in the form of a camp-bed, with great gilded pillars supporting a canopy which was covered like the headboard with cloth-of-goldand crimson velvet." the coverings were the same, lined with red taffeta and three curtains of crimson damask 157 the magnificent beds in the palace in nancy in 1544 in- cluded one of cloth of gold and silver; another of white damask, with patterns of gold thread, silver thread and blue silk; another of violet velvet with silver fringe ; another of black velvet; another of black velvet and crimson satin; another of black velvet, yellow velvet and crimson satin; another of yeltowsatin with lilies in cloth of silver; another of crimson satin and cloth of gold ; another of cloth of gold, blue satin and cloth of silver; another of gold damask, crimson satin and cloth of silver. margaret of austria, regent of the netherlands and wife of philibert of savoy, owned in 1523 a camp, or folding bed, with hangings of cloth of gold embroidered with gold thread and silk ; also a canopy for a camp-bed covered with cloth of gold and trimmed with a fringe of black silk and gold threads; and a canopy counterpane and three curtains of green taffeta lined with black and a " pavilion as a pro- tection against flies,which was made of threads of grey and yellow silk." handsome beds in france, as well as in england, had special names. among the possessions of the crown was one called the " england bed " (lit d'angleterre) because the arms of england were embroidered upon it. the hang- ings were violet velvet and cloth of gold. another bed was called " lit des satyrs,"because diana and her nymphs and satyrs were embroidered upon it, and another was called '" lit de melusine/' because melusine was represented on the headboard as bathing in a fountain. the massive elizabethan bedstead lasted long. it is a good example of the style. oliver cromwell's bed and the great bed of ware was so large that it could hold twelve persons. the tudor bed was superb : it was richly carved on headboard, canopy, tester, columns and panels, and the columns or posts were also a mass of carving. often they 158 a narrow silk fringe, or a fringe of gold or silver,and often were trimmed with gold or silver lace or braid, and some- tis cord and tassels. for less expensive beds, the cur- tains were made of serge, cloth or linen, or cotton materials, or east india goods, and lined with silk, or less rich mate- rial. the four corners of the canopy were adorned with a carved or turned wooden ornament, or knob called a *' pomme" which was often gilded or painted, a bunch of feathers, or a " bouquet " made of ravelled silk threads. a characteristic bed of this kind is shown on plate lxxiil, dating from the early seventeenth century. it is from the corsini palace, florence, and is of the style of beds shown in abraham bosse's prints and familiar through- out europe. (see also plate lxxiv.) another typicalbed of this period was the lit de baldaquin. this had no columns or posts, and the baldachin was slightlysmaller than the bed over which it was hung. if a dome surmounted the baldachin, the bed was called the lit a i'imperiale. the " pavilion" bed was probably very similar. when new england, new york and virginia were settled, during the first quarter of the seventeenth century, the prevailing style of household furniture was early jacobean. the most typical room in the home of average means was the hall, which, in general, was used as a sitting-room, drawing-room, and bedroom. even in the wealthiest homes of the early settlers of this country, the bed was scarcely ever absent in any room. a bed of the earliest louis xiv. style was owned by moliere (1622- 1673), for among the objects offered for sale after his death, we find : " a couch with feet represent- ing eaglet's claws, painted a bronze green with a painted and gilded headboard; a canopy with an azure blue back- ground, carved and gilded, with four eagles in relief, on 160
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