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kajal agarwal xvideo dlim was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs., .

Gradually, a reaction set in to the mixed classical and Gothic styles of mid-Victorian architecture and to the artificiality – and perceived ugliness - of machine made building parts and fittings. The result was the emergence of the Arts and Crafts Movement which created a new aesthetic approach in all fields of design based on a search for greater ‘truthfulness’ and simplicity in design. In domestic architecture it led to the rise of a new style frequently referred to as the ‘Old English Revival’. This can be traced to the building of the Red House at Bexley Heath, Kent, designed by Philip Webb (1831-1915) for William Morris in 1859. Rejecting machine made decoration, Morris and his circle of friends made some of the fittings - including the stained glass and tiles - themselves. The house was built of red brick with a high pitched, red tiled roof and incorporated such romantic features as a turret, oriel windows and gables. It marked a return to the vernacular tradition of building and became, in the words of John Cloag, ‘the progenitor of a new school of domestic architecture’. Much imitated, it became a dominant influence on the so-called ‘stock broker belt’ housing – large detached houses built mainly in southern commuter villages like Gerrards Cross, Buckinghamshire up to 1939.

In the 1890s, a new interpretation of the Old English Revival emerged through the work of C.F.A. Voysey (1857-1941) and Sir Edwin Lutyens (1869-1944). In some of his country houses, Lutyens combined classical style with the use of local materials as at Heathcote, Yorkshire. The houses of Voysey and his followers built in the early 1900s for wealthy clients struck a modern look with their low ceilinged rooms, horizontal windows, roofs sweeping almost down to ground level and white rough cast or pebble dash walls, although Voysey always saw himself as an architect working firmly within the traditions of English vernacular architecture; his use of pebble dash, for example, came from the traditional harling of Scotland and Cumbria. The photo on the right shows The White House by Dare Bryan after C. F. A. Voysey, Leigh Woods, N. Somerset, 1901.

A #8211;	(North.) Porta Aurea ("golden gate").
B #8211;	Street leading to Diocletian's apartments.
C #8211;	(West.) Porta Ferrea ("iron gate")
D #8211;	(East.) Porta AElig;nea ("brazen gate").
E #8211;	Street from east to west gate.
F #8211;	Piazza and Peristyle.
G #8211;	Diocletian's Mausoleum. Now the Cathedral.
H #8211;	Temple of AElig;sculapius. Now the Baptistery.
I #8211;	Open court before the Temple of AElig;sculapius.
J #8211;	Vestibule of the palace.
K #8211;	Triclinia Tetrastyle (dining-room with four columns).
L #8211;	Exedra (conversation-room).
M #8211;	OElig;cus Triclinium (large dining-room).
N #8211;	Basilica (for theatricals and music).
O #8211;	Atrium, (or great hall).
P #8211;	Calida Piscina (lukewarm bath).
Q #8211;	Exercise Room.
R #8211;	Supping Room.
S #8211;	Cubiculum Domitorium Diocletiani (Diocletian's bed-chamber), t. Room with moderate heat; u. Room with unguents for bath; v. steam room; w. cold bath not given in plan; x, furnace, etc.
T #8211;	Gynecium (apartments for women and girls).
U #8211;	Aulicorum AElig;des (apartments of pretorian guards).
V #8211;	Covered arcade on either side of the principal street.
W #8211;	Old sea line (now the Marina).
X #8211;	Vaulted cells around the exterior walls (slaves' quarters).
Y #8211;	Crvpto-porticus (gallery for walking exercise, etc.).
Z #8211;	The square and octagonal towers of the city wall.

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