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|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.
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|Bins||Stellar mass or redshift intervals used to divide galaxies into sub-populations for stacking analysis.||S2.1|
|Layer||A subset of a real/mock sky image (or map) attributed to only the sources in the corresponding stellar mass or redshift bin.||S2.1, S2.2|
|Scatter||In this paper, we exclusively define "scatter" as the standard deviation of flux density or luminosity in the source population, which is characterized and represented by σS in Equation (4).||S2, Appendix A, Equation (4)|
|(Un)perturbed||Fluxes being assigned to the sources in a specific layer are drawn from a distribution with the mean equal to the best-fit value given by SIMSTACK and some (zero) nonzero width defined by the scatter.||S2.2, Appendix A, Equation (4)|
|Real/Mock||"Real" refers to the actual sky image, whereas "mock" refers to the image reconstructed using source locations and perturbed mean fluxes from SIMSTACK. More specifically, in our analysis we construct the mock sky image by merging (1) a layer of interest perturbed according to a distribution with a tunable scatter and (2) background layers perturbed by a distribution with a fiducial scatter of 0.3 dex.||S2.2, Equations (5), (6)|
|Base||The "base" map, different from the mock image, is obtained by merging (1) an unperturbed layer of interest and (2) background layers perturbed by a distribution with a fiducial scatter of 0.3 dex.||S2.2, Equations (5), (6)|
|Residual||The difference between the real or noise-added mock sky image and a "base" one.||S2.2, Equations (5), (6)|
|,||A small cutout image a few pixels by side, where each pixel measures the standard deviation of a data cube obtained by thumbnail-stacking the residual map at the positions of the sources in each i, j layer.||S2.2, Equations (5), (6)|
The fact seemed an additional appeal to his pity: such xxx sunny leone free tff was as moving as the trustful clasp of a child., .