Style Sentence Examples

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

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

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?

Gerald mounted in his usual awkward style and followed her.

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

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.

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.

What is your style?

For me everything is functional, but you have style.

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

Imperator is the official style.

No, that wasn't his style.

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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

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.

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.

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).

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

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

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.

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.

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.

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

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.

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."

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.

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.

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

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.

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

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

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.

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

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.

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

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.

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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."

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.

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.

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.

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.

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

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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

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

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

A style guide would be nice too.

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.

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.

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

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.

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

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

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

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."

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

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

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.

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.

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.

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

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

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

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

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

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

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.

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

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.

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.

It is written in a simple and popular style.

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.

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."

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.

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.

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.

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.

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

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

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

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

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.

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.

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.

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.

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.

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.

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

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.

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

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

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.

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.

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

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.

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

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.

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.

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

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.

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.

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.

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

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.

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

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.

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

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

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.

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.

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.

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.

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.

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

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

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

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

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.

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

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.

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

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.

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

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.

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.

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.

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.

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.

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).

Antonio is also in the Romanesque Gothic style.

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

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.

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.

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

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

There is a handsome borough hall in Italian style.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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.

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

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.

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

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

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.

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.

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

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.

Style of working was also taken into consideration.

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.

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.

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.

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

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.

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.

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

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

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

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.

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

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

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

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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

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

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

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.

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.

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

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.

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

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

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.

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

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

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.

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.

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.

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.

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.

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

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

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

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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

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.

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

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.

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.

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

Besides, his style is that of the driest annalist.

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

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

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.

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

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

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.

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

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

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).

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.

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.

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.

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.

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.

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).

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

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.

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

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.

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.

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

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.

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,.

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.

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.

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.

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

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.

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.

All these government offices are in classical style.

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.

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.

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.

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.'

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.

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.

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.

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

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."

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.

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

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.

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.

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.

His style is elevated and concise, but somewhat difficult.

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.

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.

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.

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.

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

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

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.

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.