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Are all from a 20" barrel. And the preproduction loads at least are holding up to those promises.

The American mile rifle is a 24", and is intended to be 26-28" final barrel length.

The 156gr bergers are cooking at 2900fps from a barrel half a foot shorter than the American mile's final barrel.

sadly, extremely heavy 6.5 bullets like the 156gr EOL requires a faster twist rate to get the most beans.

But also, because the HPHV tech has yet to come to .308,

Are all from a 20" barrel. And the preproduction loads at least are holding up to those promises.

The American mile rifle is a 24", and is intended to be 26-28" final barrel length.

The 156gr bergers are cooking at 2900fps from a barrel half a foot shorter than the American mile's final barrel.

sadly, extremely heavy 6.5 bullets like the 156gr EOL requires a faster twist rate to get the most beans.

But also, because the HPHV tech has yet to come to .308,

Are all from a 20" barrel. And the preproduction loads at least are holding up to those promises.

The American mile rifle is a 24", and is intended to be 26-28" final barrel length.

The 156gr bergers are cooking at 2900fps from a barrel half a foot shorter than the American mile's final barrel.

sadly, extremely heavy 6.5 bullets like the 156gr EOL requires a faster twist rate to get the most beans.

But also, because the HPHV tech has yet to come to .308,

Are all from a 20" barrel. And the preproduction loads at least are holding up to those promises.

The American mile rifle is a 24", and is intended to be 26-28" final barrel length.

The 156gr bergers are cooking at 2900fps from a barrel half a foot shorter than the American mile's final barrel.

sadly, extremely heavy 6.5 bullets like the 156gr EOL requires a faster twist rate to get the most beans.

But also, because the HPHV tech has yet to come to .308,

Are all from a 20" barrel. And the preproduction loads at least are holding up to those promises.

The American mile rifle is a 24", and is intended to be 26-28" final barrel length.

The 156gr bergers are cooking at 2900fps from a barrel half a foot shorter than the American mile's final barrel.

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.