That's on some shallow story of deep love, How young Leander cross'd the Hellespont. In the Vorwort of the succeeding editions (Stuttgart) gobokep dup is wholly omitted., .
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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The range of styles available to the Victorian architect helped underline the separateness and individuality of the larger Victorian house. From the 1830s, Gothic emerged as the greatest challenge to the dominance of Classical styles. Through the influence of Pugin whose ‘True Principles of Gothic Architecture’ was published in 1841, a more serious and analytical approach to the use of medieval Gothic architecture emerged. Then in 1851-3, the art critic, John Ruskin, published ‘The Stones of Venice’. This became a key text for the High Victorian Gothic of the middle decades of the century and through Ruskin’s influence elements of the Italian Gothic including pointed arched window surrounds, elaborate polychrome brickwork and carved stone decoration, was brought into the leafy suburbs of Victorian Britain. Italian architecture of the sixteenth century was another style which was widely used for large suburban houses in the middle of the century. It had its roots in Regency architecture when Nash had experimented with a semi rustic Italianate villa style and was further developed and popularised in the 1830s by Sir Charles Barry who drew heavily on the buildings of the Italian Renaissance. Osborne House, on the Isle of Wight, designed by Cubitt, for Queen Victoria and Prince Albert and completed in 1851 was the grandest example and provided the inspiration for many large villas built in the 1850s and 1860s. Typical features included a square, ‘belvedere’ tower, deep projecting eaves, roof balustrades and round arched windows. Other styles found included the Northern European – typified by the use of the curved or Dutch gable – the French Baroque – which contributed the mansard roof - and Elizabethan and Jacobean which contributed features borrowed from the typical ‘Jacobethan’ large house, including towering chimneys, mullioned windows and four pointed arched front door ways. |