do you have any old books that talk about how they used to make bricks back in the day and what different types of brick sizes they had? 
### Query ###
do you have any old books that talk about how they used to make bricks back in the day and what different types of brick sizes they had? 

### Source ###
**TextileEd_2023_001 **
Double-make cloths backed with weft Double-make
plain cloths, backed with warp and weft. Reversible
doublé plain cloths. Doublé plain cloths backed with
warp. Designing originai patterns on point-paper, and
colouring them to indicate the woven fabric in figured
doublé plain cloths. Figured Twill cloths. Triple-make
figured cloths. Analysis of woven fabrìcs, which com-
prises the following branches : Pian of weave. Size of
yam, both warp and weft Counts of sley or sett Width
in loonL Picks per inch in loom. Weight of yam,
both warp and weft. Theory of colouring. Primary
colours. Formation of Secondary and Tertiary colours.
The la WS of harmonious colouring.
The class met for lectures on Mondays from 9.30 a.m.
to 12 noon, and for instruction in designing and experi-
ments on the looms on Mondays, Wednesdays, and
Fridays, from 3 p.m. to 5 p.m. during the college session
érom October to June. Each student paid a fee of ten
guineas. To meet locai requirements, a class was formed
on Wednesdays and Fridays from 9.30 a.m. to 12 noon, at
which a modified course of instruction was carried out,
the students paying a fee of five guineas each. For
evening students who met on Wednesdays and Fridays
during the session, a special course was instituted, but in
this course experiments in the looms were not included,
and a reduced fee of four guineas was paid by each
student. The course of instruction for day students
now extends over two years, the second year's course
being intended for the use of students who desire to
study any particular branch of textile manufacture in
which they may be engaged.


**NegativityAndResilience_001 **
If we intend to hold out longer than our opponent we must be content
with the smallest possible objects, for obviously a major object requires more
effort than a minor one. The minimum object is pure self-defense; in other
words, figliting without a positive purpose. With such a policy our relative
strength will be at its height, and thus tire prospects for a favorable outcome
will be greatest. But how far can this negativity be pushed? Obviously not
to the point of absolute passivity, for sheer endurance would not be fighting
at all. But resistance is a form of action, aimed at, destroying enough of
the enemy’s power to force him to renounce his intentions. Every single
act of our resistance is directed to that act alone, and that is what makes
our policy negative.
Undoubtedly a single action, assuming it succeeds,, would do less for a
negative aim than it would for a positive one. But that is just the difference:
the former is more likely to succeed and so to give you more security. Wliat
it lacks in immediate effectiveness it must make up for in its use of time,





BOOK ONE


that is by prolonging the war. Th«s the negative aim, which lies at the heart
of pare resistance, is also the natural formula for outlasting the enemy, for
wearing him down.
Here lies the origin of the distinction that dominates the whole of war:
the difference between attack and defense. We shall not pursue the matter
now, but let us just say this; that from the negative purpose derive all the
advantages, all the more effective forms, of fighting, and that in it is
expressed the dynamic relationship between the magnitude and the likeli¬
hood of success. All this will be gone into later.


**ArtistDesignerPrinciples1851 **
Our Review makes the first distinct attempt to plead the cause of artist and designer alike,
to encourage much neglected and little understood art science, to ally originai designing power
with mechanical skill, and to foster those principles which influence for good the art creations of
the nation. We are confident that in our endeavour to procure the success of such a work as
this, we are supplying a real want ; and we are confident also that ' practical pcople/ who, as
a mie, look coldly on artists, will begin at length to perceive the inestimable value of the subject,
they will more readily take advantage of every means to contribute to the development of true art
principles, by giving this praiseworthy object their influence and support

The want of such an Industriai Art periodical has been felt ever since the Great Exhibition
of 185 1. While other countries have endeavoured to supply this want, so far as they themselves
are concemed, we have stood stili. While the Continental govemments advanced by avoiding the
faults and copying the successes of the Exhibition of 185 1, England gained no lessons of experience
from it It is no doubt true that the large number of lUustrated Catalog^es issued from that time
contain examples of Art Industry whicli have, in some measure, served as text-books for designers
up to the present But it is no less true that the slavish imitation of the patterns contained in
these Officiai Records serve only to perpetuate the Bad Art of 185 1. It must be remembered that
this was the one result of the filtration of these patterns, poor as they are now known to be,
through the then newly founded Schools of Design, and by means of the scientific Hand-Books and Art
Joumals of the day. The mistakes and foUies, the faults and foibles of art in 185 1, were, and are,
perpetuated by these means. This may be proved by any impartial observer's examination of the
permanent decorations at South Kensington Museum, where the vilest types of a debased renaissance
were selected by the ignorant art pretenders who were then in authority, who had no knowledge of
true renaissance in art. 
### Analysis ###
The user is inquiring about historical texts that discuss the manufacturing of bricks and the different sizes of bricks used in the past. The references provided, however, do not directly address brickmaking or brick sizes. Instead, they cover a variety of topics such as textile manufacturing, negativity and resilience, and industrial art principles from the mid-19th century. Given this mismatch, it is challenging to provide a direct answer to the user's query using these specific references. To offer an accurate response, further research into more relevant historical texts or documents on brickmaking would be necessary.

### Answer ###
Unfortunately, the provided references do not contain information about historical brickmaking processes or types of brick sizes. The first reference (TextileEd_2023_001) focuses on textile manufacturing and does not mention bricks at all<ref name="TextileEd_2023_001">"Double-make cloths backed with weft Double-make plain cloths, backed with warp and weft. Reversible doublé plain cloths. Doublé plain cloths backed with warp. Designing originai patterns on point-paper, and colouring them to indicate the woven fabric in figured doublé plain cloths. Figured Twill cloths. Triple-make figured cloths. Analysis of woven fabrìcs, which comprises the following branches: Pian of weave. Size of yam, both warp and weft Counts of sley or sett Width in loonL Picks per inch in loom. Weight of yam, both warp and weft. Theory of colouring. Primary colours. Formation of Secondary and Tertiary colours. The la WS of harmonious colouring."</ref>. The second reference (NegativityAndResilience_001) discusses concepts related to fighting and resistance, which are unrelated to brickmaking<ref name="NegativityAndResilience_001">"If we intend to hold out longer than our opponent we must be content with the smallest possible objects, for obviously a major object requires more effort than a minor one. The minimum object is pure self-defense; in other words, figliting without a positive purpose. With such a policy our relative strength will be at its height, and thus tire prospects for a favorable outcome will be greatest. But how far can this negativity be pushed? Obviously not to the point of absolute passivity, for sheer endurance would not be fighting at all. But resistance is a form of action, aimed at, destroying enough of the enemy’s power to force him to renounce his intentions. Every single act of our resistance is directed to that act alone, and that is what makes our policy negative."</ref>. The third reference (ArtistDesignerPrinciples1851) centers around industrial art and design principles from the mid-19th century, again not touching upon brickmaking<ref name="ArtistDesignerPrinciples1851">"Our Review makes the first distinct attempt to plead the cause of artist and designer alike, to encourage much neglected and little understood art science, to ally originai designing power with mechanical skill, and to foster those principles which influence for good the art creations of the nation. We are confident that in our endeavour to procure the success of such a work as this, we are supplying a real want; and we are confident also that ' practical pcople/ who, as a mie, look coldly on artists, will begin at length to perceive the inestimable value of the subject, they will more readily take advantage of every means to contribute to the development of true art principles, by giving this praiseworthy object their influence and support."</ref>.

For detailed information on historical brickmaking methods and brick sizes, it would be necessary to consult specialized literature on the history of construction materials or historical engineering texts. These sources could provide insights into the techniques used for brick manufacturing and the different sizes of bricks employed over time. 