Reconstruction of the garden of the House of the Vettii in Pompeii Roman gardens () were greatly inspired by Greek gardens and were usually in the peristyles. Roman Gardens were indoor. Ornamental horticulture became highly developed during the development of Roman civilisation. The administrators of the Roman Empire (c.
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The plan of the site is based on two peristyles bordered by rooms. Between each peristyle sits the Temple of Apollo Palatinus. Most of the remains are around Peristyle A (P2), as much of Peristyle B (P1) was destroyed by the later Palace of Domitian. This entire site occupies ca.
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These included two new peristyles on the interior of the north and south wings, by Jean Bullant, installed to rebalance the facades after the enlargement of the stairway to the royal apartment in the north wing. These new peristyles were early examples of French Renaissance architecture, influenced by the Italian work of Bramante, and decorated with classical orders of columns and niches for statuary. The entrance to the stairway to the King's apartments was originally flanked by two statues by Michelangelo, The Slaves, which were gifts to Montmorency from Henry II. The originals are now in the Louvre Museum. The entrance to the apartments of the King and Queen is decorated with the crescent emblem of Henry II and the rainbow emblem of Catherine de Medicis.
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The peristyle, based on Greek design, featured in several of Pompeii’s private buildings and villas. A peristyle was a colonnade or covered walkway around a courtyard which enclosed a garden. The House of The Faun depicts this architectural feature containing two peristyles: one built in the early 2nd century BC and the other in the late 2nd century BC.
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107-108 It is unclear what purpose the place of its discovery was used; the mosaic was part of the principal pavement of one of the principal halls/rooms in the residential building. More recent campaigns identified peristyles of various levels of destruction, and a triclinium, as well as other unidentified structures. There are various walls of differing heights and orientations, making interpretation difficult.
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Some peristyles maintain a basin full of water into which the possessed will plunge, to swim and cool off. Offerings to him include milk, white foods and flowers, rice, coconut, orgeat syrup, and a perfume called lotion pompeia. However his offering par excellence is a white, uncooked egg on a mound of white flour. Damballa, like many other lwa, is subdivided into different spirits who play different roles.
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From the Coliseum's peristyles, 85 grand pianos appeared. Followed by the orchestra and over 200 dancers. Followed immediately by The World Stage, a 1940s big band orchestra medley featuring songs mostly from Broadway, the movies and pop charts. Among the songs heard in this segment were "Sing, Sing, Sing", "Steppin' Out with My Baby" from Easter Parade, "One" from A Chorus Line, the theme from Fame, and the Michael Jackson hit "Beat It".
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Initially identified as the Temple of Jupiter Victor, the Temple of Apollo Palatinus is located between both peristyles, on a higher terrace. It was finished in 28 BC, confirmed by the findings of Republican houses underneath it. The podium was 24 m by 45 m, and the Temple featured barrel vaults and Corinthian capitals. Built of Luna marble and concrete, it housed the cult statues of Apollo, Diana and Latona, in addition to the Sibylline books.
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Mosaics on the floors of the peristyles evoke the flora and fauna of the Nile. The wall frescoes above these pavements is the largest surviving example of the false marble panelling characteristic of the First Pompeian Style. Like many ancient Roman houses, the House of the Faun had tabernae, or storefront shops, and a highly sophisticated building plan, which details the many rooms. The entrance is decorated by the Latin message “HAVE”, a greeting both for meeting and parting.
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The same cauldron was used as in the 1932 Summer Games. The orchestra played The Olympian composed and conducted by Philip Glass. The torch entered the stadium carried by Gina Hemphill, granddaughter of US Olympian great Jesse Owens, who circled the track then handed the torch to 1960 Olympic Decathlon gold medalist Rafer Johnson, he completed the torch relay as mechanical steps rise from the center of the peristyles. He climbed the stairs and stood and faced the crowd as The Olympian was still being played.
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The memorial is located on the grounds of a former chateau and Saint-Gengoult de Varennes church, both destroyed between 1640-1642. The memorial is done is a neoclassical style, it is made of stone and white marble. Two peristyles on square columns surround an esplanade, in the centre of which is a pedestal with a bronze basin resting on a tripod decorated with Greek soldiers. On the basin is a quote from United States President Woodrow Wilson: "The right is more precious than peace".
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Similarly, the early Renaissance architect Brunelleschi used Roman techniques and influenced Michelozzo. The open colonnaded court that is at the center of the palazzo plan has roots in the cloisters that developed from Roman peristyles. The once open corner loggia and shop fronts facing the street were walled in during the 16th century. They were replaced by Michelangelo's unusual ground-floor "kneeling windows" (finestre inginocchiate), with exaggerated scrolling consoles appearing to support the sill and framed in a pedimented aedicule, a motif repeated in his new main doorway.
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The Alexander Mosaic was preserved due to the volcanic ash that collected over the mosaic during the eruption of Mount Vesuvius in the city of Pompeii in 79 AD. This Roman artwork was found inlaid into the ground of the House of the Faun in between two open peristyles. The mosaic was used to decorate the exedra. An exedra is an open room or area that contains seating that is used for conversing. The House of the Faun was a large estate comprising one whole block in Pompeii; this is an area of about 3,000 square meters.
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The Augustaion lay in the eastern part of Constantinople, which in the early and middle Byzantine periods constituted the administrative, religious and ceremonial center of the city. The square was a rectangular open space, enclosed within a colonnaded porticoes ( in Latin, in English peristyles),Procopius, De Aedificiis, I.10.5 probably first added in the 459 rebuilding and restored by Justinian. Its exact dimensions are impossible to determine nowadays; Rodolphe Guilland suggested that it had a rectangular shape 85 m long and 60–65 m wide. Reconstruction of the Column of Justinian, which dominated the square after the 6th century.
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These were hung near thresholds at a shop or house, under the peristyles (around the inner courtyard or garden) by the bedroom, or the venereum, where the wind would cause them to tinkle. Or else they were made to ring like doorbells, a series of them being tied to cord attached to a bell pull. The sounds of bells were believed to keep away evil spirits; compare the apotropaic role of the bell in the "bell, book, and candle" ritual of the earlier Catholic Church. It has also been surmised that oscilla hung on hooks along colonnaded porticoes may have comparable evil-warding intents.
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The civil and residential buildings included numerous examples of remodeled and reused structures dating from the first century BC. Most of these homes were insulae (houses with more than one floor), with open patios or courtyards, and domus (such as the Casa dos Repuxos and Casa de Cantaber) with peristyles. Most of the private and public buildings featured abundant decorative materials, including mosaics, sculptures and painted murals. There are three distinct baths within the walls: the Great Southern Baths, the Baths of the Wall, and the Baths of the Aqueduct. The network of stone heating ducts under the (now-missing) floors is the most distinct feature of the Roman baths.
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It fronted north, and was aligned with its walls facing the points of the compass. In the centre of the colder northern side was the natatio (swimming pool) flanked by two lateral peristyles, which may have been used as palaestrae. At the centre was the frigidarium with four adjoining chambers in the corners, flanked on either side by two apodyteria (changing rooms). South of these a tepidarium flanked by two rooms that may have been sudatoria or laconica (steam rooms) led finally to the southern, hottest end of the complex, where the caldarium stood projecting from the walls on either side, receiving the most sunlight and surrounded by praefurnia or propignea - chambers leading to the furnaces heating the whole thermae.
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East Pediment Prior damage to the marbles was sustained during successive wars, and it was during such conflicts that the Parthenon and its artwork sustained, by far, the most extensive damage. In particular, an explosion ignited by Venetian gun and cannon-fire bombardment in 1687, whilst the Parthenon was used as a munitions store during the Ottoman rule, destroyed or damaged many pieces of Parthenon art, including some of that later taken by Lord Elgin. It was this explosion that sent the marble roof, most of the cella walls, 14 columns from the north and south peristyles, and carved metopes and frieze blocks flying and crashing to the ground, destroying much of the artwork. Further damage to the Parthenon's artwork occurred when the Venetian general Francesco Morosini looted the site of its larger sculptures.
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Ancient main entrance to the Villa Poppaea. The first of the villas, known as Villa A, was discovered in 1593-1600 during the great construction project by Fontana of the Sarno aqueduct to feed the mills at Torre Annunziata, the same aqueduct that was tunnelled through Pompeii where he also found the first remains, but similarly no attempt was made to explore the ruins in Oplontis. This aqueduct stll runs through the centre of Villa A. In 1785 the Spanish architect Francesco La Vega explored this area, known as Le Mascatelle, with tunnels and found beautiful objects but soon gave up due to toxic gases. In 1839–40 excavations in tunnels were restarted by Michele Rusca using La Vega's publications and he discovered for the first time the extent and quality of the building including two peristyles, mosaics and other decorations.
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2nd peristyle garden looking south "3rd Peristyle" garden looking south "Courtyard" garden of the Domus Augustana looking west Buildings along NE side of "courtyard" garden The central section of the palace (labelled "Domus Augustana" in the diagram) consists of at least four main parts: the "2nd Peristyle" to the northeast, the central "3rd Peristyle", the courtyard complex and the exedra on the southwest. The Domus Augustana is built on two levels, the upper northern one consisting of the two peristyles to the north on the same level and closely linked to the Domus FlaviaArchaeological Guide to Rome, Adriano La Regina, 2005, Electa, p 64 and therefore probably having public functions. The southern section was built a little later and some details suggest that it was not Rabirius who directed the work.Filippo Coarelli, Rome and surroundings, an archaeological guide, University of California Press, London, 2007, p 151 The 2nd Peristyle garden is partly exposed but little is known of its architecture.
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