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style

style

style Sentence Examples

  • Her hair was short and dark and worn in an easy style that seemed to require little care.

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  • Her murder wasn't close to his style nor was she the right age.

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  • He's got a great sense of style, Linda said with a laugh.

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  • What if an equal ado were made about the ornaments of style in literature, and the architects of our bibles spent as much time about their cornices as the architects of our churches do?

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  • Gerald mounted in his usual awkward style and followed her.

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  • Gabe emerged into the garden next to a southern style mansion.

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  • In the early years of her education she had only good things to read; some were, indeed, trivial and not excellent in style, but not one was positively bad in manner or substance.

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  • The princess style made her waist look small, and the material fell softly from her hips.

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  • A bench style dinette set was the only furniture in the house.

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  • A few weeks later her style is more nearly correct and freer in movement.

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  • Her auburn curls lay in no particular style – so much like her father.

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  • Her figure was not as well developed as Alondra or Dulce, but she looked nice in the style and color.

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  • Her hair was done in a pug, a style not seen by Dean since his childhood.

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  • We could not choose a more perfect specimen of her style than the allegory under which she pictures the "might have been."

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  • Gyula-Fehervar is the seat of a Roman Catholic bishop, and has a fine Roman Catholic cathedral, built in the 1 nth century in Romanesque style, and rebuilt in 5443 by John Hunyady in Gothic style.

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  • "My dear fellow, with our five hundred thousand troops it should be easy to have a good style," returned Count Rostopchin.

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  • With the naive conviction of young men in a merry mood that other men's wives were created for them, Rostov did not leave the lady's side and treated her husband in a friendly and conspiratorial style, as if, without speaking of it, they knew how capitally Nicholas and the lady would get on together.

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  • Every man is the builder of a temple, called his body, to the god he worships, after a style purely his own, nor can he get off by hammering marble instead.

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  • What a style! was uttered in approval both of reader and of author.

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  • Airy hallways led through the hacienda style structure on either side of her.

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  • He was dressed in fine style and carried a small cane.

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  • The old prince always dressed in old-fashioned style, wearing an antique coat and powdered hair; and when Prince Andrew entered his father's dressing room (not with the contemptuous look and manner he wore in drawing rooms, but with the animated face with which he talked to Pierre), the old man was sitting on a large leather-covered chair, wrapped in a powdering mantle, entrusting his head to Tikhon.

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  • But just as the agreeable jester rose into the earnest satirist, one of the most striking peculiarities of his style became a more manifest defect.

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  • All use of language is imitative, and one's style is made up of all other styles that one has met.

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  • In her style, as in what she writes about, we must concede to the artist what we deny to the autobiographer.

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  • The off-the-shoulder style with its white lace made the most of her newly acquired tan, and the shiny black belt and full skirt made her waist look small.

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  • When Dean described Jeffrey Byrne's quiet life style, Hunter nodded in agreement.

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  • Res Judicatae in 1892 and various other volumes followed, for he was in request among publishers and editors, and his easy charm of style and acute grasp of interesting detail gave him a front place among contemporary men of letters.

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  • 2 Elster (Beitrage) says that the poem is the work of two poets: the first part by a Thuringian wandering minstrel, the second - which differs in style and dialect - by a Bavarian official.

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  • At the same time the inborn gift of style can be starved or stimulated.

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  • They were somewhere else completely: a sprawling compound with low buildings, a huge barn and a massive, two-story hacienda style house.

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  • All are built in the Doric style, of the local porous stone, which is of a warm red brown colour, full of fossil shells and easily corroded when exposed to the air.

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  • Many of them, however, are of considerable architectural importance and the revival of the Renaissance style is perhaps illustrated nowhere better than in Stuttgart.

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  • But in the end they became less fanatical than the Murabtis, and Ya`kub el Mansur was a highly accomplished man, who wrote a good Arabic style and who protected the philosopher Averroes.

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  • The town is neatly built in the Dutch style, lying on three small hills in a fertile district near the frontier of Holland, about 2 m.

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  • Carmen and Destiny dressed mother/daughter style in red/green/yellow plaid blouses and hunter green jeans.

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  • Jonathan was poised to enter his teens in style and a deformed left arm wasn't going to hold him back.

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  • Perhaps it requires musical ability or style or sassiness.

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  • Of George Sand's style a foreigner can be but an imperfect judge, but French critics, from Sainte-Beuve, Nisard and Caro down to Jules Lemaitre and Faguet, have agreed to praise her spontaneity, her correctness of diction, her easy opulence - the lactea ubertas that Quintilian attributes to Livy.

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  • His style is clear and vivid; his method of describing what he sees extraordinarily plastic; above all, he has the art of presenting objects to us from their most interesting and attractive side.

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  • I learned for the first time to know an author, to recognize his style as I recognize the clasp of a friend's hand.

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  • I did not study nor analyze them--I did not know whether they were well written or not; I never thought about style or authorship.

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  • In the years when she was growing out of childhood, her style lost its early simplicity and became stiff and, as she says, "periwigged."

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  • The style of the Bible is everywhere in Miss Keller's work, just as it is in the style of most great English writers.

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  • But a man has no more to do with the style of architecture of his house than a tortoise with that of its shell: nor need the soldier be so idle as to try to paint the precise color of his virtue on his standard.

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  • She unzipped the portfolio and pulled out a large canvas that had hundreds of shoes painted in oil; every style and color imaginable.

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  • He picked her up over his shoulder, and carried her fireman style to the bedroom.

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  • A gray brick house dominated the landscape, its ranch style sprawling in a U shape with a garage on one end.

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  • Howie, now able to usually remain with a vehicle, stayed with the car to a suburban ranch style house only six miles from the kidnapping.

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  • It was intended to be an off-the-shoulder style, but she pushed the frilly sleeves up as straps for extra support.

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  • No, that wasn't his style.

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  • Among the public buildings are the town hall, classic in style; the market house, and literary and scientific institution, with a museum containing a fossil collection from the limestone of the locality.

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  • Artists have been known to use the left hand in the hope of checking the fatal facility which practice had conferred on the right; and if Hood had been able to place under some restraint the curious and complex machinery of words and syllables which his fancy was incessantly producing, his style would have been a great gainer, and much real earnestness of object, which now lies confused by the brilliant kaleidoscope of language, would have remained definite and clear.

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  • His optical investigations are perhaps the subject in which he most contributed to the progress of science; and the lucidity of exposition which marks his Dioptrics stands conspicuous even amid the generally luminous style of his works.

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  • From the letters after the year 1892 I have culled in the spirit of one making an anthology, choosing the passages best in style and most important from the point of view of biography.

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  • At six o'clock we pulled off the highway and found a family style restaurant in a small Maryland town.

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  • Vico's writings suffer through their author's not having followed a regular course of studies, and his style is very involved.

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  • Jacques was the first outcome of the journey to Italy, and in precision and splendour of style it marks a distinct progress.

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  • Several interesting monuments of this period remain at Trebizond in the form of churches in the Byzantine style of architecture.

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  • It is an antique style, older than Greek or Egyptian.

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  • The style, the house and grounds and "entertainment" pass for nothing with me.

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  • The massive and elaborately ornamented cathedral was built in the Renaissance style between 1746 and 1774; a Dominican church in Subtiaba is little less striking.

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  • It was an off-the-shoulder style with spaghetti straps to hold up the bodice and a full skirt that made her waist look small.

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  • You always look neat and clean - even if you are a little out of style.

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  • He looked to be about her age and his blond hair was neatly combed into a fashionable style.

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  • It's just not my style.

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  • What is your style?

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  • For me everything is functional, but you have style.

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  • She knew what she liked, and it rarely had anything to do with what was in style.

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  • But then, he didn't say her taste was stylish - he said it had style.

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  • I didn't appreciate that lording-over-me style.

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  • Handsome and lean, he wore slacks and a collared shirt left open at the neck with the long sleeve meticulously rolled in a faux casual style.

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  • She smiled, comforted by the familiarity of his unique communication style.

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  • I'm gettin' some, human style.

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  • He travels all over the world and makes enough money to do it in style.

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  • Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-priority:99;mso-style-parent:"";mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;}The employee was peeved when his boss wouldn't let him leave work early.

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  • The sequel to this literary alliance is best recounted in George Sand's own words: " I resisted him for three months but then yielded; I lived in my own apartment in an unconventional style."

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  • Lui et elle, the rejoinder of the poet's brother Paul de Musset, was even more a travesty of the facts with no redeeming graces of style.

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  • All his work shows a judicial tone of mind, and is remarkable for the charm of its style.

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  • The ruined church at Longpont (13th century) is the relic of an important Cistercian abbey; Urcel and Mont-Notre-Dame have fine churches, the first entirely in the Romanesque style, the second dating from the 12th and 13th centuries, to which period the church at Braisne also belongs.

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  • The church of St Mary and St Modwen is classic in style, of the 18th century, but embodies some remains of an ancient Gothic building.

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  • Later charters were granted by various sovereigns, and it was incorporated by Elizabeth in 1598 under the style of a mayor, 6 brethren and 12 capital burgesses.

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  • During these years he began to study literary matters and philology, instigated, it is asserted, by criticisms on his style.

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  • Other buildings include the grammar school, founded in 1532 and rebuilt in 1893, a town hall and corn exchange, erected in 1866 in Italian style, with an assembly room.

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  • They are remarkable for skill in the massing of light and shade, richness and delicacy of colouring, and for the admirable style in which the drapery of the figures is handled, Bartolommeo having been the first to introduce and use the lay-figure with joints.

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  • The great Conde was given, for a victory gained near this place, the right to use the style of Enghien among his subsidiary titles.

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  • The churches of Notre-Dame des Champs and St Saturnin are modern buildings in the Gothic style.

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  • Dinarchus had little individual style and imitated by turns Lysias, Hypereides and Demosthenes.

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  • A few years later he married Fraulein Loisinger, an actress, and assumed the style of Count Hartenau (February 6, 1889).

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  • of the kneeling posture of the images of Damia and Auxesia, of the use of native ware instead of Athenian in their worship, and of the change in women's dress at Athens from the Dorian to the Ionian style.

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  • Of these the most remarkable is the Pavilion, built as a residence for the prince regent (afterwards George IV.) and remodelled in 1819 by the architect, John Nash, in a grotesque Eastern style of architecture.

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  • Timocreon was also known as a composer of scolia (drinking-songs) and, according to Suidas, wrote plays in the style of the old comedy.

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  • Another small group of ruins in the same style is found at the village of Hajjiabad, on the Pulwar, a good hour's walk above Takhti Jamshid.

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  • And there is a marked contrast in style between these statues and the certain works of Pheidias.

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  • His head was of somewhat archaic type: the Otricoli mask which used to be regarded as a copy of the head of the Olympian statue is certainly more than a century later in style.

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  • There are many stately figures in the Roman and other museums which clearly belong to the same school as the Parthenos; but they are copies of the Roman age, and not to be trusted in point of style.

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  • Rhodes was again famous for its pottery in medieval times; this was a lustre ware at first imitated from Persian, though it afterwards developed into an independent style of fine colouring and rich variety of design.

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  • He was remarkable as a painter of decorative landscapes and classic ruins, somewhat in the style of Canaletto, but without his delicacy of touch; he appears also to have been influenced by Nicolas Poussin.

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  • He thus formed his style, which was artificial and conventionally decorative.

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  • The former Royal Dockyard was made over to the War Office in 1872 and converted into stores, wharves for the loading of troopships, &c. The Royal Artillery Barracks, facing Woolwich Common, originally erected in 1775, has been greatly extended at different times, and consists of six ranges of Brick building, including a church in the Italian Gothic style erected in 1863, a theatre, and a library in connexion with the officers' mess-room.

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  • In its construction an attempt has been made to produce a building suitable for Christian worship whilst the architecture is Moorish in style.

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  • In 1903 the foundations of this temple were discovered close to the Arch of Trajan, and many fragments of fine sculptures in both the Egyptian and the Greco-Roman style belonging to it were found.

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  • basilica with a vaulted portico and a nave and two aisles begun in 1103, a mosaic pavement in the Cosmatesque style, a good ambo resting on columns and decorated with mosaics showing traces of Moorish influence, a Paschal candelabrum, and an organ gallery of similar style.

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  • The principal buildings are the church of St Lawrence in Gothic style, erected in 1821, and the mechanics' institute, a fine building, comprising class-rooms, a library, a.

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  • Unlike any other buildings in Abyssinia, the castles and palaces of Gondar resemble, with some modifications, the medieval fortresses of Europe, the style of architecture being the result of the presence in the country of numbers of Portuguese.

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  • Of the forty-four churches, all in the circular Abyssinian style, which are said to have formerly existed in Gondar or its immediate neighbourhood, Major Powell-Cotton found only one intact in woo.

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  • The style is better than that of Socrates and Sozomen, as Photius has remarked, but as a contribution to history the work is inferior in importance.

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  • It shows that the " sobriety " of the Antiochene scholars can be predicated only of their exegesis; their style of piety was as exaggerated in its devotion to the ideals of monasticism as was that of their monophysite opponents.

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  • It will be convenient to take one supreme composer as the artist who has dealt so consistently with the essentials of the new style that he may be conveniently regarded as its creator.

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  • At present we can only be certain that the criterion according to which Brahms, being a symphonic writer, has no mastery of orchestration whatever, is not a criterion compatible with any sense of symphonic style.

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  • Richard Strauss, in his edition of Berlioz's works on Instrumentation, paradoxically characterizes the classical orchestral style as that which was derived from chamber-music. Now it, is true that in Haydn's early days orchestras were small and generally private; and that the styles of orchestral and chamber music were not distinct; but surely nothing is clearer than that the whole history of the rise of classical chamber-music lies in its rapid differentiation from the coarse-grained orchestral style with which it began.

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  • 4, is already in a style which not even the most casual listener could mistake for anything orchestral.

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  • Classical and modern chamber-music in the sonata style consists mainly of string-quartets for 2 violins, viola and violoncello; string-trios (rare, because very difficult to write sonorously); pianoforte-trios (pianoforte, violin and violoncello); pianoforte-quartets (pianoforte with string-trio); pianoforte-quintets (pianoforte with string-quartet); string-quintets (with 2 violas, very rarely with 2 violoncellos), and (in two important cases by Brahms) stringsextets.

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  • Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.

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  • In the earlier forms of instrument the record was made by embossing lines on a ribbon of paper by means of a sharp style fixed to one end of a lever, which carried at the other end the armature of an electromagnet.

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  • St Michael's church in East Teignmouth was rebuilt in 1824 in Decorated style, but retains a Norman doorway and other ancient portions; of St James', in West Teignmouth, the south porch and tower are Norman.

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  • I, 22) and professed to detect in Livy's style certain provincialisms of his native Padua (Quintilian, i.

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  • The style of cultivation vanes according to the)43 209,942 266,982 nature of the ground, terraces sup ~52 14,709 11,910 ported by stone walls being much;83 173,537 322,627 used in mountainous districts.

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  • Each region produces a special type, Venetia turning out imitations of 16th- and I 7th-century styles, Tuscany the 15th-century or cinquecento style, and the Neapolitan provinces the Pompeian style.

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  • 1130 he assumed the style of king of Sicily, inscribing upon his sword the famous hexameter Appulus et Calaber Siculus mihi servit et Afer.

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  • As their tenure of power grew firmer, they advanced dynastic claims, assumed titles, and took the style of petty sovereigns.

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  • They gradually entered into the spirit of their age, assumed the style of despots and made use of the humanistic movement, then at its height, to place themselves in a new relation to Italy.

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  • These youths assumed the style of princes, and it was against their lives that the Pazzi, with the sanction of Sixtus IV., aimed their blow.

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  • Martinengo Cesarescos Liberation of Italy (London, 1895) is to be strongly recommended, and is indeed, for accuracy, fairness and synthesis, as well as for charm of style, one of the very best books on the subject in any language; Bolton Kings History of Italian Unity (2 vols., London, 1899) is bulkier and less satisfactory, but contains a useful bibliography.

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  • died, and that same Cardinal Sarto became pope under the style of Pius X.

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  • The older, which extends to 150 B.C., set forth, in bald, unattractive language, without any pretensions to style, but with a certain amount of trustworthiness, the most important events of each successive year.

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  • At first they wrote in Greek, partly because a national style was not yet formed, and partly because Greek was the fashionable language amongst the educated, although Latin versions were probably published as well.

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  • His language was antiquated and his style dry, but his work was considered important.

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  • In June 1545 was issued his Litany, which was substantially the same as that now in use, and shows his mastery of a rhythmical English style.

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  • published in 1553 owe their form and style almost entirely to the hand of Cranmer.

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  • From the archaic style in which these mythological tales are usually composed, as well as from the fact that not a few of them are found in Brahmanas of different schools and Vedas, though often with considerable variations, it seems pretty evident that the groundwork of them must go back to times preceding the composition or final redaction of the existing Brahmanas.

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  • (After Moseley.) 1, Sporadopora dichos, Style.

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  • The Pantheon in Paris was the church built in the classical style by Soufflot; it was begun in 1764 and consecrated to the patroness of the city, Sainte Genevieve.

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  • Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-priority:99;mso-style-parent:"";mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;}The committee found a solution that was consensual to all members.

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  • The eastern façade overlooking the market-place was built in 1595-1628, in the Renaissance style, with three tiers of columns.

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  • The proportion of landowners is a very large one, and the prosperous condition of the Groningen farmer is attested by the style of his home, his dress and his gig.

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  • The first, a religious romance of remarkable interest, may owe its preservation to the charm of its style, the others to the accident that they were attributed by mistake to a famous apostle.

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  • (I) As to style, it is replied that if there are peculiarities in Colossians, so also in the admittedly genuine letters, Romans, Corinthians, Galatians.

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  • According to this scheme only the old choir was left; the nave and transepts were to be rebuilt after the classical style, with a lofty dome at the crossing - not unlike the plan eventually carried out.

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  • The change which took place during the 19th century in the substance and style of geography may be well seen by comparing the eight volumes of Malte-Brun's Geographic universelle (Paris, 1812-1829) with the twenty-one volumes of Reclus's Geographic universelle (Paris, 1876-1895).

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  • It is built in the simple Doric style, of grey limestone taken from a quarry owned by the state, near the city; is 304 ft.

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  • Many houses, especially in State, Danforth and Congress streets, are simple in style and old-fashioned in architecture.

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  • of Bourg), a building in the Romanesque style of Burgundy, and that of Nantua (12th century), are of architectural interest.

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  • Amongst the principal buildings are the beautiful cathedral in the Italian style, with a handsome dome 130 ft.

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  • The principal portal is a fine specimen of 12th-century Romanesque, and the lower part of the nave is of the same period; the choir and the transept are striking examples of the style of the 13th century.

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  • 12); they did not assume, so far as we know, the official style of "fathers in God."

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  • The remarkably definite and original style formed by Mantegna may be traced out as founded on the study of the antique in Squarcione's atelier, followed by a diligent application of principles of work exemplified by Paolo Uccello and Donatello, with the practical guidance and example of Jacopo Bellini in the sequel.

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  • Figures slim, muscular and bony, action impetuous but of arrested energy, tawny landscape, gritty with littering pebbles, mark the athletic hauteur of his style.

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  • The influence of Mantegna on the style and tendency of his age was very marked, and extended not only to his own flourishing Mantuan school, but over Italian art generally.

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  • He wrote numerous translations, of Galen, Aristotle, Ilariri, IIunain ben Isaac and Maimonides, as well as several original works, a Sepher Anaq in imitation of Moses ben Ezra, and treatises on grammar and medicine (Rephuath geviyyah), but he is best known for his Talzkemoni, a diwan in the style of Ilariri's Magimat.

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  • They are closely related in origin, style, diction and thought, and occupy so distinct a place in these respects that the Pauline authorship of them has been much questioned.

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  • The influence of the German master's earlier style can be traced in his operas.

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  • From northern Italy, as it would seem, they adopted a style of architecture which grew in their hands, both in Normandy and in England, into a marked and living form of art.

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  • But the growth of a united Sicilian nation was impossible; the usual style to express the inhabitants of the island is "omnes" or "u n iversi Siciliae populi."

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  • Few buildings, at least few buildings raised i n any reasonable style of architecture which makes use of the arched construction, can be less like one another Sicily.

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  • Out of these elements the Saracens of Sicily had formed a noble and beautiful style, grand and simple in its construction, rich and graceful in its characteristic detail.

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  • of the Norman kings at Palermo and Monreale and Cefalu and Messina are in style simply Saracenic; they were most likely the work of Saracen builders; they were beyond doubt built after Saracenic models.

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  • With that form of art the pointed style of Sicily has nothing in common.

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  • They had simply to make Saracen and Greek work in partnership. In England, on the other hand, the Normans did really bring in a new style of their own, their own form of Romanesque, differing widely indeed from the Saracenic style of Sicily.

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  • England indeed had, possibly in a somewhat ruder form, the earlier style of Romanesque once common to England with Italy, Gaul and Germany.

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  • To this style it is no wonder that the Normans preferred their own, and that style therefore supplanted the older one.

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  • A comparison of Norman buildings in England and in Normandy will show that the Norman style in England really was affected by the earlier style of England; but the modification was very slight, and it in no way affected the general character of the style.

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  • Where, as in Sicily, the Normans felt that they could not improve, they simply adopted the style of the country.

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  • Where, as in England, they felt that they could improve, they substituted for the style of the country their own style - that is, a style which they had not created but which they had adopted, which they had made thoroughly their own, and which they went on improving in England no less than in Normandy.

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  • At Bari, Trani and Bitonto we see a style in which Italian and strictly Norman elements are really mingled.

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  • It is plain that the Norman settlers in Apulia were not so deeply impressed with the local style as they were in Sicily, while they thought much more of it than they thought of the local style of England.

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  • The buildings of the latest French style keep a certain purity and sobriety in Normandy which they do not keep elsewhere.

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  • The old town is composed of winding streets and culs-de-sac bordered by old houses in the Flemish style.

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  • wide, built of granite and white limestone in the Italian Renaissance style, with 70 large Ionic columns, and a dome 205 ft.

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  • As a diplomatist he displayed many brilliant qualities - adroitness in negotiation, incisiveness in argument and elegance in style.

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  • The commune of Venice, the ancient style of the commonwealth, changed into the seigniory of Venice.

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  • Queen Elizabeth's Englishings " was reprinted in 1899; on the style, see A.

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  • Htittinger, Studia in Boetii carmina collata (Regensburg, 1900): on his style, G.

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  • The public buildings include the cathedral (1760), the government palace, the municipal palace, the episcopal palace, the church of Santa Ana, a national theatre, a school of arts and trades, a foreign hospital, the former administration building of the Canal Company, Santo Tomas Hospital, the pesthouse of Punta Mala and various asylums. The houses are mostly of stone, with red tile roofs, two or three storeys high, built in the Spanish style around central patios, or courts, and with balconies projecting far over the narrow streets; in such houses the lowest floor is often rented to a poorer family.

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  • Since 1880 the city has been almost entirely renovated in the " European " style; the narrow tortuous lanes and mean houses of the Turkish epoch have almost disappeared, and a new town with straight parallel streets has been constructed in the eastern suburb.

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  • The imperial style is still " Emperor and Autocrat of All the Russias "; but in the fundamental laws as remodelled between the imperial manifesto of 17/30 October and the opening of the first Duma 1 See A.

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  • Imperator is the official style.

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  • They style themselves " truly spiritual Christians," and in their rejection of the sacraments, their indifference to outward forms, and their insistence on the spiritual interpretation of the Bible (" the letter killeth "), they are closely akin to the Quakers, whom they resemble also in their inoffensive mode of life and the practice of mutual help.

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  • In the principal square stands the town hall, built in1448-1457in the VenetianGothic style, and skilfully restored after a fire in 1876; opposite is a clock tower resembling that of the Piazza di San Marco at Venice.

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  • See also a good description of the style of playing of the virtuoso J.

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  • His writing apparatus - a noctograph - lay before him, and he kept his ivory style in his hand to jot down notes as the reading progressed.

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  • As an historian Prescott stands in the direct line of literary descent from Robertson, whose influence is clearly discernible both in his method and style.

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  • Other noteworthy churches are the Jakobskirche, an i r th-century Romanesque basilica; the St Martinskirche; the Marienkirche or Obere Pfarrkirche (1320-1387), which has now been restored to its original pure Gothic style.

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  • Cyprian had none of that character which makes the reading of Tertullian, whom he himself called his magister, so interesting and piquant, but he possessed other qualities which Tertullian lacked, especially the art of presenting his thoughts in simple, smooth and clear language, yet in a style which is not wanting in warmth and persuasive power.

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  • The historian was born at Putney, Surrey, April 27 (Old Style), 1737.

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  • It is well known that in after years he had doubts whether he should not compose his great work in French; and it is certain that his familiarity with that language, in spite of considerable efforts to counteract its effects, tinged his style to the last.

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  • Much as he admired these writers, Hume and Robertson were still greater favourites, as well from their subject as for their style.

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  • Of his admiration of Hume's style, of its nameless grace of simple elegance, he has left us a strong expression, when he tells us that it often compelled him to close the historian's volumes with a mixed sensation of delight and despair.

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  • This theory Gibbon completely exploded in his Critical Observations (1770) - no very difficult task, indeed, but achieved in a style, and with a profusion of learning, which called forth the warmest commendations both at home and abroad.

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  • Gibbon, however, regrets that the style of his pamphlet was too acrimonious; and this regret, considering his antagonist's slight claims to forbearance, is creditable to him.

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  • Urged by such considerations, he once more turned his eyes to the scene of his early exile, where he might live on his decent patrimony in a style which was impossible in England, and pursue unembarrassed his literary studies.

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  • " In London," says he, " I was lost in the crowd; I ranked with the first families in Lausanne, and my style of prudent expense enabled me to maintain a fair balance of reciprocal civilities..

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  • That admiration for an empire of more than two hundred millions of men, where not one had the right to call himself free; that effeminate philosophy which has more praise for luxury and pleasures than for all the virtues; that style always elegant and never energetic, reveal at the most the elector of Hanover's slave."

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  • The style is commonly called Byzantine; but some of the most striking features of the churches of Ravenna - the colonnades, the mosaics, perhaps the cupolas - are not so much Byzantine as representative of early Christian art generally.

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  • The mosaics of the choir (547) are due to Justinian, and, though inferior in style, are remarkable for their splendour of colouring and the gorgeous dresses of the persons represented, and also for their historical interest, especially the scenes representing the emperor and the empress Theodora presenting offerings.

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  • Although his making religion the sole factor of this evolution was a perversion of the historical facts, the book was so consistent throughout, so full of ingenious ideas, and written in so striking a style, that it ranks as one of the masterpieces of the French language in the 19th century.

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  • Such superb self-confidence can accomplish much, and it undoubtedly helped to form Fustel's talent and to give to his style that admirable concision which subjugates even when it fails to convince; but a student instinctively distrusts an historian who settles the most controverted problems with such impassioned assurance.

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  • It resembles a very large and elaborate mausoleum, built in Byzantine style, with Moorish arabesques.

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  • Close by stands a large royal palace, Moorish in style.

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  • He made no attempt at a critical examination of historical traditions, and wrote in a flowery and often bombastic style, but in spite of this drawback, Mirkhond's Rauzat remains one of the most marvellous achievements in literature.

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  • Instead of reading Aristotle and other naturalists, people went for information to commonplace books like those of Aelian, in which scraps of folk-lore, travellers' tales and fragments of misapprehended science were set forth in an elegant style.

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  • In these forms, however, the third joint is really a complex, which in many families bears in addition a jointed bristle (arista) or style, representing the terminal joints of the primitive antenna.

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  • The same cause may account for the somewhat slovenly Syriac style.

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  • The church, however, was almost wholly reconstructed in the Perpendicular period, and is a fine example of that style, the interior gaining in beauty from the scheme of colour-decoration in the choir, while the magnificent stone-vaulted roof with fan tracery, extending throughout the church, excepting the south transept, is unsurpassed.

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  • The discovery of the inscription of a later king of Moab (q.v.) has proved that the east-Jordanic tribes were no uncivilized or barbaric folk; material wealth, a considerable religious and political organization, and the cultivation of letters (as exemplified in the style of the inscription) portray conditions which allow us to form some conception of life in Israel itself.

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  • Canea (Xavia), the seat of government since 1840 (pop. 20,972), is built in the Italian style; its walls and interesting galley-slips recall the Venetian period.

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  • The later phase, which follows on the destruction of the Cnossian palace, and corresponds with the diffused Mycenaean style of mainland Greece and elsewhere, is already partly decadent.

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  • objects of typical Minoan forms. Farther to the east the recent excavations on the old Philistine sites like Gezer have brought to light swords and vases of Cretan manufacture in the later palace style.

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  • remains both at Mycenae and Tiryns, still imperfectly investigated, show that this Cretan influence goes back to the Middle Minoan age, with its characteristic style of polychrome vase decoration.

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  • The ceiling of that of Orchomenos, and the painted vases and gold cups from the Vaphio tomb by Sparta, with their marvellous reliefs showing scenes of bull-hunting, represent the late palace style at Cnossus in its final development.

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  • Art was still by no means extinct, and its forms and decorative elements are simply later derivatives of the great palace style.

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  • A new geometrical style of decoration like that of contemporary Greece largely supplants the Minoan models.

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  • Coin Catalogue, Crete, &c.; P. Gardner, The Types of Greek Coins), which during the good period display a peculiarly picturesque artistic style distinct from that of the rest of the Greek world, and sometimes indicative of a revival of Minoan types.

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  • Three miles east of Stranraer is Lochinch, the residence of the earl of Stair, a modern structure in the Scots Baronial style.

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  • The church of St Bartholomew, one of the finest in the county, is in the Perpendicular style characteristic of the district.

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  • thick; the market church, in the Romanesque style, restored since its partial destruction by fire in 1844, and containing the town archives and a library in which are some of Luther's manuscripts; the old town hall (Rathaus), possessing many interesting antiquities; the Kaiserworth (formerly the hall of the tailors' gild and now an inn) with the statues of eight of the German emperors; and the Kaiserhaus, the oldest secular building in Germany, built by the emperor Henry III.

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  • about 1040, containing among other relics of the cathedral an old altar supposed to be that of the idol Krodo which formerly stood on the Burgberg near Neustadt-Harzburg; the church of the former Benedictine monastery of St Mary, or Neuwerk, of the 12th century, in the Romanesque style, with wall-paintings of considerable merit; and the house of the bakers' gild now an hotel, the birthplace of Marshal Saxe.

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  • A style guide would be nice too.

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  • The final breakdown of scholasticism as a rationalized system of dogma may be seen in Nicolas (or Nicolaus) of Cusa (1401-1464), who distinguishes between the intellectus and the discursively acting ratio almost precisely in the style of later distinctions between the reason and the understanding.

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  • The " Cherubic Wanderer," and other poems, of Johann Scheffier (1624-1677), known as Angelus Silesius, are more closely related in style and thought to Eckhart than to Boehme.

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  • Not far from Suczawa lies the monastery of Dragomirna, in Byzantine style, built at the beginning of the 17th century.

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  • These stamens encircle a style which is the upward continuation of the ovary, and which shows at its free end traces of the three originally separate but now blended carpels of which the ovary consists.

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  • Where Chinese influence had full play it introduced Confucianism, a special style in art and the Chinese system of writing.

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  • Even more than Buddhism Islam has carried with it a special style of art and civilization.

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  • Its style is mainly Early English, and among those buried here are Gower, Fletcher and Massinger, the poets, and Edmund, brother of William Shakespeare.

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  • As a lecturer, he was inferior in charm and eloquence to Brown and Stewart; the latter says that "silent and respectful attention" was accorded to the "simplicity and perspicuity of his style" and "the gravity and authority of his character."

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  • The fine tower in this style is characteristic of this part of England.

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  • The façade, in the baroque style, was added in 1703.

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  • He had read a pamphlet published in America attacking the proposed order, which was to form a bond of association between the officers who had fought in the American War of Independence against England; the arguments struck him as true and valuable, so he re-arranged them in his own fashion, and rewrote them in his own oratorical style.

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  • From them he heard plenty of abuse of stock-jobbing, and seizing their ideas he began to regard stock-jobbing, or agiotage, as the source of all evil, and to attack in his usual vehement style the Banque de St Charles and the Compagnie des Eaux.

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  • His writings show a deep love of nature, art and humanity, and are marked by vigour of thought, sincerity of feeling, and grace and finish of style.

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  • These lectures reveal all the charm of style and directness of presentation which made Hausser's work as a professor so vital.

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  • fine example of the style, having an ornate south porch of two storeys and a detached bell tower.

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  • Three miles south of Beauly is Beaufort Castle, the chief seat of the Lovats, a fine modern mansion in the Scottish baronial style.

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  • As to the style and literary character of Jordanes, every author who has used him speaks in terms of severe censure.

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  • All his gifts were made available for influencing other men by his easy command of a style rarely matched in dignity and colour.

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  • Coleridge was a diligent student and a warm admirer of Jeremy Taylor, whom he regarded as one of the great masters of English style.

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  • Indeed his work, written in a diffuse and inelegant style, passed almost unnoticed.

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  • St Andrew's (1811-1813), in the Romanesque style, is a Roman Catholic church, which also serves as the pro-cathedral of the diocese of Galloway.

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  • The county buildings, in Buccleuch Street, are an imposing example of the Scots Baronial style.

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  • It represented the goddess, standing in the stiff archaic style, holding a spear in her right hand, in her left a distaff and spindle or a shield.

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  • The Early English style is on the whole less well exemplified in the county, but Ashbourne church, with its central tower and lofty spire, contains beautiful details of this period, notably the lancet windows in the Cockayne chapel.

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  • Concerning Byrd's style as a writer, Professor Bassett says: " It would be hard to find before Franklin a better master of the art of writing clear, forceful and charming English."

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  • It is written in a simple and popular style.

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  • In 305, after the extinction of the old royal line of Macedonia, Seleucus, like the other four principal Macedonian chiefs, assumed the style of king.

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  • The occupation of Rome in February 1798 enabled Berthier to send a considerable sum to Paris and to style himself "treasurer to the chest of the Army of England."

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  • A wide range in space was proved by the identification of the Inselsteine and the Ialysus vases with the new style, and a wide range in time by collation of the earlier Theraean and Hissarlik discoveries.

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  • During the excavations on the Acropolis at Athens, terminated in 1888, many potsherds of the Mycenaean style were found; but Olympia had yielded either none, or such as had not been recognized before being thrown away, and the temple site at Delphi produced nothing distinctively Aegean.

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  • Petrie found painted sherds of Cretan style at Kahun in the Fayum, and farther up the Nile, at Tell el-Amarna, chanced on bits of no fewer than Boo Aegean vases in 1889.

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  • There have now been recognized in the collections at Cairo, Florence, London, Paris and Bologna several Egyptian imitations of the Aegean style which can be set off against the many debts which the centres of Aegean culture owed to Egypt.

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  • A diorite statuette, referable by its style and inscription to Dynasty XIII., was discovered in deposit of Period II.

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  • Actual vases of late Minoan style have been found with remains of Dynasty XVIII., especially in the town of Amenophis IV.

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  • Such artistic faculty as survived elsewhere issued in the lifeless geometric style which is reminiscent of the later Aegean, but wholly unworthy of it.

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  • In spite of many admirable quanlities both of style and matter the Essence of Christianity has never Made much impression upon British thought.

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  • This last name is evidently meant to be Hebrew, "Yahweh of the heavens," the God of the Jews being of a secondary rank in the usual Gnostic style.

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  • She was a woman of much ability, and her letters, written in an excellent English style, are of great value to students of the period in which she lived.

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  • The church was dedicated in 1260 by Walter Bronescombe, bishop of Exeter; and c. 1335 Bishop John Grandisson, on founding a secular college here, greatly enlarged the church; it has been thought that, by copying the Early English style, he is responsible for more of the building than is apparent.

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  • It has passed through a far greater number of editions than any other work on natural history in the whole world, and has become emphatically an English classic - the graceful simplicity of its style, the elevating tone of its spirit, and the sympathetic chords it strikes recommending it to every lover of Nature, while the severely scientific reader can scarcely find an error in any statement it contains, whether of matter of fact or opinion.

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  • This is devoted to the very distinct and not nearly-allied groups of hornbills and of birds which for want of a better name we must call " Chatterers," and is illustrated, like those works of which a notice immediately follows, by coloured plates, done in what was then considered to be the highest style of art and by the best draughtsmen procurable.

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  • Between 1803 and 1806 Le Vaillant also published in just the same style two volumes with the title of Histoire naturelle des oiseaux de Paradis et des rolliers, suivie de celle des toucans et des barbus, an assemblage of forms, which, miscellaneous as it is,.was surpassed in incongruity by a fourth work on the same scale, the Histoire naturelle des promerops et des guepiers, des couroucous et des touracos, for herein are found jays, waxwings, the cock-of-the-rock (Rupicola), and what not besides.

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  • Notwithstanding its name it only contains eighty plates, but of them forty-two, all by Pretre and in his usual stiff style, represent birds.

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  • Among contem p orary writers in a more popular style are John Burroughs; Herbert K.

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  • But, relieved as it may be by reflections of this kind - dreams some may perhaps still call them - the study of ornithology has unquestionably become harder and more serious; and a corresponding change in the style of investigation, followed in the works that remain to be considered, will be immediately perceptible.

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  • It is a stone building in Palladian style, and contains a number of splendid paintings and much fine wood-carving.

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  • His reasons were good; but his offensive style of argument rendered them unpalatable and himself unpopular.

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  • For two years he acted as manager of his father's bank, and in 1830 was inducted to his first charge, Arbirlot, in Forfarshire, where he adopted a vivid dramatic style of preaching adapted to his congregation of peasants, farmers and weavers.

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  • The church is Byzantine in style, and has been partially restored; but the main tower dates from the year 1210, when it was founded by St Sava, the patron saint of Servia.

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  • The style is early Decorated, and a rich ornamentation is carried out in Italian marble, serpentine and alabaster.

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  • There are six parks, of which the People's Park of 122 acres, presented by Sir Francis Crossley in 1858, is laid out in ornate style from designs by Sir Joseph Paxton.

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  • The Byzantine style prevailed in Venice during the 11th and 12th centuries.

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  • There can be no doubt that Byzantine artists had a large share in the work, but it is equally certain that Lombard workmen were employed along with the Orientals, and thus St Mark's became, as it were, a workshop in which twd styles, Byzantine and Lombard, met and were fused together, giving birth to a new style, peculiar to the district, which may fairly be called Veneto-Byzantine.

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  • The original part of the magnificent mosaic pavement probably dates from the middle of the 12th century, if we may judge from the pavement at Murano, exactly similar in style, material and workmanship, which bears the date 1140.

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  • Flatness and lack of deep shadows, owing to the impossibility of obtaining heavy cornices in that material, mark the style.

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  • From the interior of the court access is given to the upper loggia by a very beautiful staircase of early Renaissance style, built in the middle of the 15th century by Antonio Rizzo.

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  • At present the magnificent council chambers for the different legislative bodies of the Venetian republic and the state apartments of the doges are richly decorated with gilt carving and panelling in the style of the later Renaissance.

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  • But it is in the domestic architecture of Venice that we find the most striking and characteristic examples of Gothic. The introduction of that style coincided with the consolidation of the Venetian constitution and the Gothic development of Venetian commerce both in the Levant and with England and Flanders.

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  • It was built for Marino Contarini in 1421, rather a late period in the development of the style.

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  • Other notable examples of this style are the Palazzo Ariani at San Raffaelle, with its handsome window in a design of intersecting circles; the beautiful window with the symbols of the four Evangelists in the spandrils, in the facade of a house at San Stae; the row of three Giustinian palaces at S.

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  • Indeed, in this as in the earlier styles, Venice struck out a line for herself and developed a style of her own, known as Lombardesque, after the family of the Lombardi (Solari) who came from Carona on the Lake of Lugano and may be said to have created it.

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  • The essential point about the style is that it is intermediary between Venetian Gothic and full Renaissance.

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  • Special notes of the style are the central grouping of the windows, leaving comparatively solid spaces on each side, which gives the effect of FIG.

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  • The most perfect example of this style in ecclesiastical architecture is the little church of the Miracoli built by Pietro Lombardo in 1480.

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  • Early Renaissance palaces occur frequently in Venice and form a pleasing contrast with those in the Gothic style.

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  • The full meaning of the change which had come over Venetian architecture, of the gulf which lies between the early Lombardesque style, so purely characteristic of Venice, and the fully developed classical revival, which now assumed undisputed sway, may best be grasped by comparing the old and the new Procuratie.

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  • After Longhena's date church architecture in Venice declined upon the dubious taste of baroque; the facades of San Moise and of Santa Maria del Giglio are good specimens of this style.

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  • The architects Rupolo and Sardi have erected a considerable number of buildings, in which they have attempted, and with considerable success, to return either to Venetian Gothic or to the early Renaissance Lombardesque style.

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  • We have already mentioned two of these, the Scuola di San Giovanni Evangelista and the Scuola di San Marco, both of them masterpieces of the Lombardesque style.

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  • The grey column is surmounted by a fine bronze lion of Byzantine style, cast in Venice for Doge Ziani about 1178 (this was carried off to Paris by Napoleon in 1797, and sent back in pieces in 1816; but in 1893 it was put together again); and in 1329 a marble statue of St Theodore, standing upon a crocodile, was placed on the other column.

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  • The main door of the arsenal is the first example in Venice of the purely classical style.

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  • The writings of Erskine, especially his published letters, are distinguished by a graceful style, and possess originality and interest.

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  • The style, however, as in all his works, is remarkably dull.

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  • Architecturally, everything is subordinated to a conformity with the style of the original portion; and its gilded dome is a conspicuous landmark.

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  • The library (1888-1895; cost $2,486,000, exclusive of the site, given by the state) is a dignified, finely proportioned building of pinkish-grey stone, built in the style of the Italian Renaissance, suggesting a Florentine palace.

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  • The old Museum of Fine Arts (1876) is a red brick edifice in modern Gothic style, with trimmings of light stone and terra-cotta.

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  • The new Old South (the successor of the Old South, which is now a museum) is a handsome structure of Italian Gothic style, with a fine campanile.

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  • Olmsted, still other groups have formed - among others those of the marble buildings of the Harvard medical school; Fenway Court, a building in the style, internally, of a Venetian palace, that houses the art treasures of Mrs. J.

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  • The style of all the ruins is late classic and highly ornate, but without refinement.

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  • Trap-door nests are made by spiders belonging to two widely different groups, namely the Lycosidae or wolf-spiders, to which the true tarantula belongs, and the Mygalomorphae, containing the species which construct the best-known types of this style of burrow.

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  • The crop is picked, ginned and baled in the usual way, the Macarthy style action roller gins being almost exclusively employed.

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  • The 12th century collegiate church, a fine example of the Romanesque style of Limousin, contains a richly sculptured tomb of St Junien, the hermit of the 6th century from whom the town takes its name.

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  • Secondly, besides the plagiarist Tudebod, there are the artistic redacteurs of the Gesta, who confess their indebtedness, but plead the bad style of their original - Guibert of Nogent, Balderich of Dol, Robert of Reims (all c. 1120-1130), and Fulco, the author of a Virgilian poem on the Crusades, continued by Gilo (ob.

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  • Generally speaking the Arabic writings are late in point of date, and cold and jejune in style; while it must also be remembered that they are set religious works written to defend Islam.

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  • The high degree of civilization then prevailing in the country is proved by its architectural remains dating from the early Christian centuries; the investigations of De Vogue, Butler and others, have shown that from the 1st to the 7th century there prevailed in north Syria and the Hauran a special style of architecture - partly, no doubt, following Graeco-Roman models, but also showing a great deal of originality in details.

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  • The Poem of the Cid is but a fragment of 3744 lines, written in a barbarous style, in rugged assonant rhymes, and a rude Alexandrine measure, but it glows with the pure fire of poetry, and is full of a noble simplicity and a true epical grandeur, invaluable as a living picture of the age.

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  • The chief buildings are the chateau, mainly of the 15th century, of which the massive donjon of the 11th century known as the Tour de Cesar is the oldest portion; and the abbey-church of Notre-Dame, a building in the Romanesque style of architecture, frequently restored.

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  • 1-3, 12-15) quite in the style of the book of Proverbs, some of them contrasting the wise man and the fool; these appear to be the insertions of an editor.

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  • The cathedral has a Romanesque Gothic portal of 1332 by a Roman marble worker named Deodatus, and the interior is decorated in the Baroque style, but still retains the pointed vaulting of 1154, introduced into Italy by French Benedictines; it contains a splendid silver antependium by the 15th-century goldsmith Nicolo di Guardiagrele (1433-48).

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  • Antonio is also in the Romanesque Gothic style.

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  • The town has no buildings of great antiquity, but the public buildings (1867), in Italian style, are handsome.

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  • Taking Varro for his model, Fenestella was one of the chief representatives of the new style of historical writing which, in the place of the brilliant descriptive pictures of Livy, discussed curious and out-of-the-way incidents and customs of political and social life, including literary history.

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  • Manget's Bibliotheca chemica curiosa (1702), are confused productions, written in an allegorical style, but full of phrases and even pages taken literally from the Greek alchemists, and citing by name various authorities of Greek alchemy.

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  • It is remarkable for a porch ornamented in the richest Gothic style, and for its stained windows of the 16th century.

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  • Among private residences, the mansion built by Dr Schliemann, the discoverer of Troy, is the most noteworthy; its decorations are in the Pompeian style.

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  • There is a handsome borough hall in Italian style.

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  • The town hall and Easton institute are in the Scottish Baronial style.

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  • The covered aisles of the court of the Jumma Musjid at Jaunpur are in three storeys with piers, bracket-capitals and architraves, bearing therefore no resemblance to the arcades of Kairawan and Cordova, and constituting a different style.

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  • 1420) and the Queen's mosque at Mirzapur, the pointed arch exists only in the façades of the prayer chambers; in the mosques built 30 to 40 years later the whole is constructed without a single arch, all the pillars have bracket-capitals, and the domes, which are of very slight elevation, are all built in the trabeated style.

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  • The climax of Mahommedan work in India is reached in that of the Mogul emperors at Agra, Delhi and Fatehpur-Sikri, in which there is a very close resemblance in design to the mosques of Syria, Egypt, and Persia; the four-centred arch, which is in the Mogul style, finds general acceptance, and was probably derived from Persian sources.

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  • During his exile Wagner matured his plans and perfected his musical style; but it was not until some considerable time after his return that any of the works he then meditated were placed upon the stage.

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  • Moreover, the higher problems of rhythmic movement in the classical sonata forms are far beyond the scope of academic teaching; which is compelled to be contented with a practical plausibility of musical design; and the instrumental music which was considered the highest style of art in 18 3 0 was as far beyond Wagner's early command of such plausibility as it was obviously already becoming a mere academic game.

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  • Meanwhile the rest of the work (except in the prettily scored " Spinning Song," and other harmless and vigorous tunes) has more affinity with Wagner's mature style than the bulk of its much more ambitious successors, Tannhauser and Lohengrin.

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  • Moreover, the work was intended to be in one act, and is now so performed at Bayreuth; and, although it is very long for a one-act opera, this is certainly the only form which does justice to Wagner's conception.1 Spohr's appreciation of Der fliegende Hollander is a remarkable point in musical history; and his criticism that Wagner's style (in Tannhauser) " lacked rounded periods " shows the best effect of that style on a well-disposed contemporary mind.

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  • With the growing certainty of touch a stiffness of movement appears which gradually disturbs the listener who can appreciate freedom, whether in the classical forms which Wagner has now abolished, or in the majestic flow of Wagner's later style.

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  • These two works interrupted the execution of the Ring and formed the stepping-stones to Parsifal, a work which may perhaps be said to mark a further advance in that subtlety of poetic conception which, as we have seen, gave the determining impulse to Wagner's true musical style.

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  • Its harmonic style is, except in the Grail music, even more abstruse than in Tristan; and the intense quiet of the action is far removed from the forces which in that tumultuous tragedy carry the listener through every difficulty.

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  • But elsewhere there are few passages in which the extremely recondite harmonic style can be with certainty traced to anything but habit.

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  • This style originated, indeed, in a long experience of the profoundest dramatic impulses; but as a habit it does not seem, like the greatest things in art, the one inevitable treatment of the matter in hand.

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  • In Wagner's harmonic style we encounter the entire problem of modern musical texture.

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  • It is no exaggeration to say that a parallel condition in literature would be produced by a strong public opinion to the effect that any Enelish style was hopelessly out of date unless it consisted exclusively of the most difficult types of phrase to be found in the works of Browning and Meredith.

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  • The brilliant success of Humperdinck's Hansel and Gretel, in which Wagnerian technique is applied to the diatonic style of nursery songs with a humorous accuracy undreamed of by Wagner's imitators, points a moral which would have charmed Wagner himself; but until the revival of some rudiments of musical common sense becomes widespread, there is little prospect of the influence of Wagner's harmonic style being productive of anything better than nonsense.

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  • Between this and the Derwent valley the principal height is Grasmoor (2791 ft.); southward a steep narrow ridge (High Style, 2643) divides it from Ennerdale, containing Ennerdale Water (148 ft.

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  • His style is unsystematic, brief and abounding in symbolical expression.

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  • It is thus a true letter, but in the grand style, verging on the nature not of an essay but a poem.

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  • (I) The style has unquestionably a slow and lumbering movement, in marked contrast with the quick effectiveness of Romans and Galatians.

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  • 23-26), and on the whole the style shows Paul's familiar traits.

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  • l5 Baron Oppenheim's excavations at Tell Halaf have resulted in the recovery of reliefs of barbaric style, simulating the Syro-Hittite, from the palace of a local king, Kapara, of about the same period as Sinjirli and Sakchegozii (Toth-9th centuries B.C.), and pottery of all ages, going back to the chalcolithic period.ls The neolithic and chalcolithic pottery of Mesopotamia and Persia is one of the chief archaeological discoveries of late years in the Near East, and attention has recently been directed to it again by the important finds at Abu Shahrein (the ancient Eridu) and Tell el `Obeid, near Ur.

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  • We see however the similarity of the metal-working of both countries at approximately the same time; both are in the same style of artistic development, the Egyptian perhaps the more advanced of the two, and (if the published analysis by Mosso is to be relied upon) with the additional technique of the alloy with tin, making the metal bronze, and so easier for the heads to be cast.

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  • In Bithynia a native dynasty assumed the style of kings in 297.

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  • The style of " sister " was given in both courts to the queen, even when she was not the king's sister in reality (Strack, Dynastic, Nos.

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  • The church of St Leonard, founded before 1451, was frequently altered before it was rebuilt in1866-1868in the Perpendicular style.

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  • He was assisted, from about 1463 onwards, by his disciple and continuator, Jean Molinet, whose rhetorical and redundant style may be fairly traced in some passages of the Chronique.

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  • His French style, based partly on his Latin reading, has, together with its undeniable vigour and picturesqueness, the characteristic redundance and rhetorical quality of the Burgundian school.

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  • As a poet he is associated with his friend Catullus, whom he followed in style and choice of subjects.

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  • The Dufour map of Switzerland (i :ioo,000) is one of the finest examples of this style of hill-shading.

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  • Each carpel becomes divided by a median constriction in four portions, each containing one ovule; the style springs from the centre of the group of four divisions.

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  • Style of working was also taken into consideration.

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  • In 438-439 she made an ostentatious pilgrimage to Jerusalem, whence she brought back several precious relics; during her stay at Antioch she harangued the senate in Hellenic style and distributed funds for the repair of its buildings.

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  • The church of the Holy Ghost (Helgeands-Kyrka) in a late Romanesque style (c. 1250) is a remarkable structure with a nave of two storeys.

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  • His writings, said to have numbered four hundred and fifty-three, were in the style of Aristotle, and dealt with philosophy, ethics and music. The empirical tendency of his thought is shown in his theory that the soul is related to the body as harmony to the parts of a musical.

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  • The square is faced with handsome buildings mainly in the Italian style.

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  • Bede has the artist's instinct of proportion, the artist's sense for the picturesque and the pathetic. His style too, modelled largely, in the present writer's opinion, on that of Gregory in the Dialogues, is limpid and unaffected.

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  • His text, however, is so confused, both from obscurity of style and from corruptions in the MSS., that there is much difference of opinion as to the meaning of many words and phrases employed in his narrative, and their application in particular points of detail.

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  • The church of St Gwendoline, restored in 1873, is in Perpendicular style, with an embattled tower restored in 1898.

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  • These paintings, it will be seen, are simply decorative, of the same style as the wall-paintings of the baths, and those of Pompeii.

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  • The walls are often covered with paintings in a very simple archaic style, in red and black.

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  • The original entrance to the cemetery leads directly into a spacious corridor with no loculi, but recesses for sarcophagi, and decorations of the classical style of the 2nd century.

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  • They represent the Early English style at its best, and the view across the great transept is unsurpassed for architectural effect.

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  • In 1361 Archbishop Thoresby (1352-73) began the lady chapel and presbytery, both in the Early Perpendicular style.

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  • The guild-hall, with a fine old room in Perpendicular style erected in 1446, contains a number of stained-glass windows.

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  • The public institutions include the Yorkshire Philosophical Society, whose museum, in the Grecian style, was opened in 1830, and the free library in the building of the York Institute of Science and Art.

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  • They enumerate the following primary types of instinctive behaviour: the manner of attacking and capturing a particular kind of prey which alone affords the requisite presentation to sense; the manner of conveying the prey to the nest; the general style and locality of the nest; the method and order of procedure in stocking the nest with food for the unseen young.

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  • The residential château of the princes of Lippe-Detmold (1550), in the Renaissance style, is an imposing building, lying with its pretty gardens nearly in the centre of the town; whilst at the entrance to the large park on the south is the New Palace (1708-1718), enlarged in 1850, used as the dower-house.

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  • A large number of vases of Greek style were manufactured here and have been found in the neighbourhood.

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  • The two parts are distinguished by difference of style; the Hebrew principle of parallelism of clauses is employed far more in the first than in the second, which has a number of plain prose passages, and is also rich in uncommon compound terms. In view of these differences there is ground for holding that the second part is a separate production which has been united with the first by an editor, an historical haggadic sketch, a midrash, full of imaginative additions to the Biblical narrative, and enlivened by many striking ethical reflections.

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  • The style shows that the book was written in Greek, though naturally it contains Hebraisms. The author of the first part was in all probability an Alexandrian Jew; nothing further is known of him; and this is true of the author of the second part, if that be a separate production.

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  • It has high merits of style, being lucid and pointed to a degree.

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  • The outcome of the negotiations was the issue of an imperial decree, known as the " Decree of AIuharrem," owing to its bearing the date (Turkish style) of the 28th of Muharrem (Dec. 20) 1881.

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  • 3, 1844) as his successor, with the style of Mahommed V.

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  • They set the fashion of ghazel-writing; and their appearance was the signal for a more regular cultivation of poetry and a greater attention to literary style and to refinement of language.

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  • An intense and passionate ardour breathes in his verses, and forms one of the most remarkable as well as one of the most attractive characteristics of his style; for, while few even among Turkish poets are more artificial than he, few seem to write with greater earnestness and sincerity.

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  • Nef'i, who, like Fuzuli, formed a style of his own, had many to imitate him, of whom Sabri Shakir, a contemporary, was the most successful.

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  • This prolific author copied, and so imported into Ottoman literature, a didactic style of ghazel-writing which was then being introduced in Persia by the poet Sa'ib; but so closely did the pupil follow in the footsteps of his master that it is not always easy to know that his lines are intended to be Turkish.

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  • This work, the Taj-ut-Tevarikh (Crown of Chronicles), is reckoned, on account of its ornate yet clear style, one of the masterpieces of the old school, and forms the first of an unbroken series of annals which are written, especially the later among them, with great minuteness and detail.

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  • Coming now to the post-classical period, we find among poets worthy of mention Beligh, Nevres, Hishmet and Sunbuli-zada Vehbi, each of whom wrote in a style peculiar to himself.

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  • Ghalib's style is as original as that of Fuzuli, Nefi or Nedim.

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  • In the works of all of these, although we occasionally discern a hint of the new style, the old Persian manner is still supreme.

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  • The European style, on its introduction, encountered the most violent opposition, but now it alone is used by living authors of repute.

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  • If any of these does write a pamphlet in the old manner, it is merely as a tour de force, or to prove to some faithful but clamorous partisan of the Persian style that it is not, as he supposes, lack of ability which causes the modern author to adopt the simpler and more natural fashion of the West.

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  • Seeing clearly that his want of an efficient cavalry precluded all ideas of a resolute offensive in his old style, he determined to limit himself to a defence of the line of the Elbe, making only dashes of a few days' duration at any target the enemy might present.

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  • He is there characterized as ardent and impetuous in character and style.

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  • Among the few lines still remaining from his lost comedies, we seem to recognize the idiomatic force and rapidity of movement characteristic of the style of Plautus.

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  • The later part treated of the events of the first Punic war in the style of a metrical chronicle.

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  • The sentimentality of her sentiment and the florid magniloquence of her style equally disgust the reader.

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  • Mme de Stael's faults are great; her style is of an age, not for all time; her ideas are mostly second-hand and frequently superficial.

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  • 206), while blaming the diffuseness of these commentaries, praises the writer's learning and style, which, however, he considers too ornate for the purpose.

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  • 16 a the study is not smoothed by simplicity of style.

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  • Clement professed to despite rhetoric, but was himself a rhetorician, and his style is turgid, involved and difficult.

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  • The ancient church of St Edward the Confessor was replaced in 1850 by a structure in Decorated style.

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  • In glaring contrast to the bold and simple forms of the architecture, which belongs to the Doric style, were the bronze and marbles and pictures of the high altar, the masterpiece of the Milanese Giacomo Trezzo, almost ruined by the French in 1808.

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  • Probably no town in the kingdom has a nobler group of public buildings than those in Cathays Park, which also commands a view of the castle ramparts and the old keep. On opposite sides of a fine avenue are the assize courts and new town hall (with municipal offices), which are both in the Renaissance style.

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  • The only other building of historic interest is the church of St John the Baptist, which is in the Perpendicular style, its fine tower having been built about 1443 by Hart, who also built the towers of Wrexham and St Stephen's, Bristol.

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  • He studied also the Bolognese painters and Giovanni Barbieri, and formed for himself a style with very little express mannerism, partly resembling that of Maratta.

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  • His chief defects as a historian are want of imagination and an undignified familiarity of style, which, however, at least preserves his history from the dulness by which lack of imagination is usually accompanied.

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  • The books (manuscripts) are generally formed of palmleaves upon which the characters are traced by means of a style.

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  • The pistil consists of a single carpel with its ovary, style, stigma and solitary ovule or twin ovules.

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  • He was now labouring, with extreme assiduity, to ground himself in the forms and habits of literary style.

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  • In 1885 he published, after long indecision, his volume of poems, A Child's Garden of Verses, an inferior story, The Body Snatcher, and that admirable romance, Prince Otto, in which the peculiar quality of Stevenson's style was displayed at its highest.

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  • It is therefore from the point of view of its "charm" that the genius of Stevenson must be approached, and in this respect there was between himself and his hooks, his manners and his style, his practice and his theory, a very unusual harmony.

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  • This distinguished mastery of style, and love of it for its own sake within the bounds of good sense and literary decorum, gave him a pre-eminence among the story-tellers of his time.

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  • a v, portrait, image), generally any image or portrait-figure, but specially the term applied to the representations in the Eastern Church of sacred personages, whether in painting or sculpture, and particularly to the small metal plaques in archaic Byzantine style, venerated by the adherents of the Greek Church.

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  • Much pottery was found, including examples of a peculiar style, with decorative designs, mostly floral, and also considerable deposits of obsidian.

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  • A man of great oratorical power, Anthim delivered a series of sermons (Didahii), and some of his pastoral letters are models of style and of language as well as of exact and beautiful printing.

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  • Facing the botanical gardens a new central post-office, in the Renaissance style, was built in 1887.

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  • N.W., to Forum Appii; the bridge near Tripontium was similarly repaired, and that at Forum Appii, though it bears no inscription, is of the same style.

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  • Various charges had been brought against him by his enemies, among them that of illiteracy, the truth of which is borne out by the crudeness of his style, and is fully admitted by the writer himself.

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  • It is in the Pointed style, but suffered maltreatment in 1806 at the hands of restorers, whose work, however, disappeared during the restoration completed in 1902.

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  • Clear and forcible in style and arrangement, they are models of Puritan exposition and of appeal through the emotions to the individual conscience, illuminated by frequent flashes of spontaneous and often highly unconventional humour.

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  • The cathedral, originally Romanesque, but restored after 1300 is in the Gothic style; the façade is good, and so is the ciborium.

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  • Among these are the town hall, of the 16th century, in the Transition style from late Gothic to Renaissance, restored in recent years; the Kornhaus; the Ehingerhaus or Neubronnerhaus, now containing the industrial museum; and the commandery of the Teutonic order, built in1712-1718on the site of a habitation of the order dating from the 13th century, and now used as barracks.

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  • Coucy also has a church of the 15th century, preserving a façade in the Romanesque style.

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  • His lucid style and the perfection of his experimental demonstrations drew to his lectures a crowd of enthusiastic scholars, on whom he impressed the importance of applied science by conducting them round the factories and workshops of the city; and he further found time to hold weekly "colloquies" on physical questions at his house with a small circle of young students.

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  • The Latin sermons of St Augustine, of which 384 are extant, have been taken as their models by all sensible subsequent divines, for it was he who rejected the formal arrangement of the divisions of his theme, and insisted that simplicity and familiarity of style were not incompatible with dignity and religion.

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  • The oldest of its churches, St Mexme, is in the Romanesque style, but only the facade and nave are left.

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  • p, a thickened line on the walls forming the placenta; c, calyx; d, ovary; s, hooded stigma terminating the short style.

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  • a, anther; s, pistil; st, style; v, stigmatic surface.

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  • forma), in general, the external shape, appearance, configuration of an object, in contradistinction to the matter of which it is composed; thus a speech may contain excellent arguments, - the matter may be good, while the style, grammar, arrangement, - the form - is bad.

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  • The old church at St Mary Church, north of Torquay, was rebuilt in Early Decorated style; and in 1871 a tower was erected as a memorial to Dr Phillpotts, bishop of Exeter, who with his wife is buried in the churchyard.

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  • The style of his letters reveals a mind enthusiastic and ill-balanced.

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  • Besides, his style is that of the driest annalist.

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  • The purity of the style is also urged, and a comparison of Amos i.

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  • 3) make it not incredible that the purity of his style - which is rather elegant than original and strongly marked - is in large measure the fruit of literary culture.

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  • The style of Joel is clear (which hardly favours an early date), and his language presents peculiarities which are evidences of a late origin.

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  • Pietro), erected in 910, is now almost entirely in the baroque style.

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  • Petronio, the patron saint of Bologna, which was begun in 1390; only the nave and aisles as far as the transepts were, however, completed, but even this is a fine fragment, in the Gothic style, measuring 384 ft.

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  • His style is, however, often barbarous; and the obvious S cholia.

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  • His model is Thucydides (according to Bekker, Herodotus); his language is tolerably pure and correct, his style simple and clear.

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  • St Eloi, erected about 1560 in the Gothic style, was deprived of its first two bays in the 18th century; the present façade dates from 1889.

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  • It possesses a castle of Count Esterhazy, a modern Roman Catholic Church in Gothic style and two convents.

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  • Photius praises the style of Hesychius, and credits him with being a veracious historian.

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  • That of "count" was, as Luchaire points out, "equivocal" even as late as the 12th century; any castellan of moderate rank could style himself comte who in the next century would have been called seigneur (dominus).

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  • Even when, in the 13th century, the ranks of the feudal hierarchy in France came to be more definitely fixed, the style of "count" might imply much, or comparatively little.

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  • actually changing his style, without sense of loss, from that of duc de Bordeaux to that of comte de Chambord.

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  • The heads of these countly families of the "high nobility" are entitled (by a decree of the federal diet, 1829) to the style of Erlaucht (illustrious, most honourable); (2) Counts of the Empire 2 (Reichsgrafen), descendants of those counts who, before the end of the Holy Roman Empire (1806), were Reichsstiindisch, i.e.

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  • The style Altgraf (old count), occasionally found, is of some antiquity, and means that the title of count has been borne by the family from time immemorial.

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  • Both the two former are iron-grey on the upper parts, and black below, a style of coloration rare among mammals, as the upper side of the body is in the great majority darker than the lower.

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  • In the vicinity are the castles of Murthly, one a modern mansion in the Elizabethan style, erected about 1838 from designs by James Gillespie Graham (1777-1855), and the other the old castle, still occupied, which was occasionally used as a hunting-lodge by the Scottish kings.

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  • The Royal Institution, in the Doric style, surmounted by a colossal stone statue of Queen Victoria by Sir John Steell, formerly furnished official accommodation for the Board of Trustees for Manufactures and the Board of Fishery, and also for the school of art, and the libraries and public meetings of the Royal Society (founded in 1783), and the Society of Antiquaries of Scotland (founded in 1780).

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  • It is in the Early Pointed style, by Sir Gilbert Scott, is 278 ft.

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  • Burns's monument, in the style of a Greek temple, occupies a prominent position on the Regent Road, on the southern brow of the lower terrace of Calton Hill.

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  • The medical school is in the Italian Renaissance style from the designs of Sir Rowand Anderson.

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  • New College buildings, designed in the Pointed style of the 16th century, and erected on the site of the palace of Mary of Guise, occupy a prominent position at the head of the Mound.

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  • Fettes College, an imposing structure in a 16th-century semi-Gothic style, designed by David Bryce and called after its founder Sir William Fettes (1750-1836), is organized on the model of the great English public schools.

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  • The vestibule, in the Cosmatesque style, is supported by ten ancient columns resting upon recumbent lions, with a mosaic frieze upon them.

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  • There are also remains of the town wall in the "polygonal" style, and above the town are several massive platforms for supporting buildings, in a more archaistic form of this style; these may well belong to the Roman period, and the latter even to the empire.

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  • A charming style, a vivid fancy, exhaustive research, were not to be expected from a hard-worked barrister; but he must certainly be held responsible for the frequent plagiarisms, the still more frequent inaccuracies of detail, the colossal vanity which obtrudes on almost every page,'the hasty insinuations against the memory of the great departed who were to him as giants, and the petty sneers which he condescends to print against his own contemporaries, with whom he was living from day to day on terms of apparently sincere friendship.

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  • Francesco, in the lower part of the town, built in 1259, preserves its original style, but the interior has been modernized; and the same fate has overtaken the Gothic churches of S.

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  • The city is adorned by many other noble edifices both public and private, among which the following palaces may be mentionedTolomei (1205); Buonsignori, formerly Tegliacci, an elegant 14thcentury construction, restored in 1848; Grottanelli, formerly Pecci and anciently the residence of the captain of war, recently restored in its original style; Sansedoni; Marsilii; Piccolomini, now belonging to the Government and containing the state archives;1 Piccolomini delle Papesse, like the other Piccolomini mansion,.

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  • designed by Bernardo Rossellino, and now the Banca d'Italia; the enormous block of the Monte de' Paschi, a bank of considerable wealth and antiquity, enlarged and partly rebuilt in the original style between 1877 and 1881, the old Dogana and Salimbeni palaces; the Palazzo Spannochi, a fine early Renaissance building by Giuliano da Maiano (now the post office); the Loggia di Mercanzia (15th century), now a club, imitating the Loggia dei Lanzi at Florence, with sculptures of the 15th century; the Loggia del Papa, erected by Pius II.; and other fine buildings.

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  • The year of her death (1380) was that of the birth of St Bernardino Albizzeschi (S Bernardino of Siena), a popular preacher whose sermons in the vulgar tongue are models of style and diction.

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  • From an artistic standpoint, these stories are rather laboured productions, besides being ultra-romantic in tone; but it must be remembered that they were written mainly with an educational object, and, moreover, they deserve high praise for their style.

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  • He wrote poems of all kinds in a language hitherto employed only for ballads and hymns; he instituted a theatre, and composed a rich collection of comedies for it; he filled the shelves of the citizens with works in their own tongue on history, law, politics, science, philology and philosophy, all written in a true and manly style, and representing the extreme attainment of European culture at the moment.

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  • Murimuth has no merits of style, and gives a bald narrative of events.

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  • The post office is a handsome sandstone building in Renaissance style; it is colonnaded on two sides with polished granite columns and surmounted by a clock tower, containing a peal of bells.

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  • Adjoining the town hall is the Anglican cathedral of St Andrew, in the Perpendicular style; it has two towers at the west end and a low central tower above the intersection of the nave and transepts, with a very handsome chapter house.

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  • All these government offices are in classical style.

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  • Like most of the buildings at Sydney, the university is built of the excellent sandstone from the quarries of Pyrmont; it is 15th-century Gothic in style and stands at the top of a gentle slope, surrounded by gardens.

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  • Around it lie three Gothic colleges in the 14th-century style, affiliated to the university and known as St Paul's, St John's and St Andrew's.

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  • Boetius ends by declining to adjudicate between Plato and Aristotle, remarking in a semi-apologetic style that, if he has expounded Aristotle's opinion by preference, his course is justified by the fact that he is commenting upon an introduction to Aristotle.

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  • The earliest temple in Paestum, the socalled Basilica, must in point of style be associated with the temples D and F at Selinus, and is therefore to be dated about 57 0 -554 B.C.'

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  • It is discursive and badly arranged, but it is marked by a power of style, a vigour of narrative, and a skill in delineation of character which give life to the most unattractive period of German history; notwithstanding the extreme spirit of partisanship and some faults of taste, it will remain a remarkable monument of literary ability.

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  • The Life of Horne Tooke, by Alexander Stephens, is written in an unattractive style and was the work of an admirer only admitted to his acquaintance at the close of his days.

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  • The lyric and epic poems of Stephen GyongyOsi, who sang the deeds of Maria Szechy, the heroine of Murany, Murdnyi Venus (Kassa, 1664), are samples rather of a general improvement in the style than of the purity of the language.

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  • On account of the classic purity of his style in prose, Faludi was known as the " Magyar Cicero."

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  • The " classical " school reached its highest state of culture under Virag, whose poetical works, consisting chiefly of Horatian odes and epistles, on account of the perfection of their style, obtained for him the name of the " Magyar Horace."

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  • Poetry and belles lettres still o e continued to occupy the chief place in the native literature, la8nguage 1 but under Kazinczy and his immediate followers Berzsenyi, 807- Kolcsey, Fay and others, a correctness of style and ex- 1830).

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  • Generally less varied and romantic, though easier in style, are the heroic poems Augsburgi iitkozet (Battle of Augsburg) and Aradi gyules (Diet of Arad) of Gregory Czuczor, who was, moreover, very felicitous as an epigrammatist.

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  • Emil Abranyi adopts a rather romantic style, but his Nagypentek (Good Friday) is an excellent descriptive sketch.

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  • Far from adopting the levity of style too often observable in French romances, the Magyar novels, although enlivened by touches of humour, have generally rather a serious historical or political bearing.

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  • The graphic descriptions of Hungarian life in the middle and lower classes by Lewis Kuthy won for him temporary renown; but his style, though flowery, is careless.

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  • But by far the most prolific and talented novelist that Hungary can boast of is Maurus Jokai (q.v.), whose power of imagination and brilliancy of style, no less than his true representations of Hungarian life and character, have earned for him a European reputation.

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  • His style is elevated and concise, but somewhat difficult.

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  • 1850), one of the most gifted modern lyrical poets of Hungary, has the charm of tenderness and delicacy together with that of a peculiar and original style, his Kurucz notcik being so far his most successful attempt at romantic lyrics.

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  • Yet it can scarcely be denied that several of the " foreign " novelists have contributed a wholesome, if not quite Magyar, element of form or thought to literary narrative style in Hungary.

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  • In the fourth class may be grouped such of the latest Hungarian novelists as have tried, and on the whole succeeded, in clothing their ideas and characters in a style peculiar to themselves.

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  • The style is simple or branched, and the stigma is linear, capitate or globose in form; these variations afford means for distinguishing the different genera.

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  • The style is lucid and masterly, and the summary of astronomical history with which it terminates has been reckoned one of the masterpieces of the language.

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  • The modern castle, in the Scottish Baronial style, 12 m.

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  • in 1480 in Gothic style; near it is a chapel (1609) remarkable for its architecture and sculpture.

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  • The Greek cathedral, built in1740-1779in the Basilica style, is situated on a height which dominates the town.

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  • The Armenian cathedral was built in 1437 in the ArmenianByzantine style.

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  • These architectural decorations are derived from a style of building found by the recent German expedition extant in an ancient church; courses of stone here alternate in the walls (both inside and out) with beams of wood held by circular clamps.

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  • Exceptions were gradually made in favour of foreign residents; but it was not till 1785 that regular inhabitants were allowed to exercise the religious rites of other denominations, and it was not till after the war of freedom that they were allowed to have buildings in the style of churches.

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  • In the Kul Oba tomb mentioned above the chamber was of stone and the contents, with one or two exceptions, of purely Greek workmanship, but the ideas underlying are the same - the king has his wife, his servant and his horse, his amphorae with wine, his cauldron with mutton-bones, his drinking vessels and his weapons, the latter being almost the only objects of barbarian style.

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  • East of the Maeotis on the Kuban we have many barrows; the most interesting are the groups called the Seven Brothers, and those of Karagodeuashkh, Kostromskaya, Ul and Kelermes, the latter remarkable for objects of Assyrian style, the others for the enormous slaughter of horses; on the Ul were four hundred in one grave.

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  • Assyrian and afterwards Greek craftsmen working for Scythic employers were compelled to decorate these outlandish forms, which they did according to their own fashion: but there was also a native style with conventionalized beast decoration, which was almost always employed for the adornment of bits and horses' gear, and very often for weapons.

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  • This style and the types of dagger, cauldron, bit and twolooped socketed axehead run right across from Hungary to the upper Yenisei, where a special Bronze Age culture seems to have developed them.

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  • Again, the Scythic style is interesting as being one element in the art of the barbarians who conquered the Roman Empire and the zoomorphic decoration of the early middle ages.

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  • The dominance from the Yenisei to the Carpathians of a distinct style of art which, whatever its original elements may have been, seems to have taken shape as far east as the Yenisei basin is an additional argument in favour of a certain movement of population from the far north-east towards the south Russian steppes.

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  • His style is strongly tinged with preciosite; and his chief surviving interest is as a glaring example of the evils from which Bossuet delivered the French pulpit.

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  • They display, in a rather irregular style and with some oddities of dialect and phrase, extraordinary narrative skill and a high degree of ability in that special art of the 17th century - the drawing of verbal portraits or characters.

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  • mp belonged to the repertoire of the Korahites, or they were intended to be sung in the Korahite style.

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  • Nieremberg has not the enraptured vision of St Theresa, nor the philosophic significance of Luis de Leon, and the unvarying sweetness of his style is cloying; but he has exaltation, unction, insight, and his book forms no unworthy close to a great literary tradition.

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  • 13, 14, was attached by Isaiah to an oracle on archaic style by another prophet (Isaiah's hand has, however, been traced by some in xvi.

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  • The comparative feebleness of the style has led to the conjecture that, even if the basis of the prophecy be Isaianic, yet in its present form it must have undergone the manipulation of a scribe.

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  • Hence the semi-dramatic character of the style.

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  • is written in much the same delightfully flowing style.

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  • It is without a heading, and by its abrupt transitions, and honestly preserved variations of style, invites us to such a theory as we are now indicating.

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  • It is not because Isaiah could not have conceived of a personal Messiah, but because the Messiahpassages are not plainly Isaiah's either in style or in thought.

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  • When we put aside one or two exceptionally fine pieces, like the hymn of the soul in the apocryphal Acts of Thomas, the highest degree of excellence in style is perhaps attained in staightforward historical narrative - such as the account of the PersoRoman War at the beginning of the 6th century by the author who passes under the name of Joshua the Stylite, or by romancers like him who wrote the romance of Julian; by biographers like some of those who have written lives of saints, martyrs and eminent divines; and by some early writers of homilies such as Philoxenus (in prose) and Isaac of Antioch (in verse).

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