Mourners putting on Chelsea shirts and yelling "Arsenal sucks!" in memory of the football-loving deceased do not bear comparison with Matthew's reading of "Stop All The Clocks" by that "splendid bugger", W.H. Auden.
|
|
93 These weapons were very basic, as they had no trigger or sights, and could not bear comparison with the more advanced European weapons which were introduced in Japan more than 250 years later.
|
|
"The Path of God's Bondsmen: From Origin to Return." Islamic Publications International. North Haledon, New Jersey (1980). Quoted from page 18 The literary importance of the Merṣād is considerable: it ranks among the masterpieces of Persian literature, and certain sections – particularly the narrative of the creation and appointment of Adam – bear comparison with the best prose written in Persian.
|
|
The premiere of Les bergers took place on 11 December 1865 at the Bouffes-Parisiens, Paris. It was generally well received by critics but did not run to great success, having to bear comparison with La belle Hélène, Offenbach's most recent hit.. Jacques Offenbach. Éditions Gallimard, Paris, 2000, pp. 193–4. The work was staged, in German, in Vienna in 1866.
|
|
Together with some similar views of a Chicago steelworks in 1928, these paintings bear comparison with work by major figures of the Precisionist movement such as Charles Sheeler. In the 1930s, his portraits of the international elite included the Maharajah Yashwant Rao Holkar II and Maharani Sanyogita Devi of Indore in court dress (1934), Lady Charles Mendl (1936), and the Marquis de Cuevas (1938).
|
|
"Rovin 1975, p. 127. He suggests that Doppelgänger is "neither a kid's film nor a cult film" but rules that "the elements that comprise the finished effort are more than individually successful." Martin Anderson compares Doppelgänger to other science-fiction films like Solaris (1972), identifying a "lyrical" tone to the dialogue. However, he concedes that Doppelgänger "doesn't bear comparison with Kubrick or [Solaris director] Tarkovsky.
|
|
He also wrote a novel, Glenfergus (1820), considered by Andrew Murray Scott to bear comparison with the gentle social satires of his Ayrshire contemporary, John Galt.Scott, Andrew Murray (2003), Dundee's Literary, Lives, Volume 1: Fifteenth to Nineteenth Century, Abertay Historical Society, pp. 52-53 He furnished the letter-press to Gilbert's Modern Atlas, the "Natural History" to the British Cyclopaedia, and numerous other contributions to periodical works. He was editor of the Caledonian Quarterly Magazine, as well as its illustrator and chief contributor.
|
|
The success of the project was marked by the erection of the Stewart Memorial Fountain in Kelvingrove Park. The works were described by James M. Gale as worthy to "bear comparison with the most extensive aqueducts in the world, not excluding those of ancient Rome".Transactions of the Institution of Engineers in Scotland, 1863-4, vii. 27 The first aqueduct project was built under the guidance of John Frederick Bateman (an example of his engineering prowess that can still be seen working today).
|
|
The reign of Æthelstan has been overshadowed by the achievements of his grandfather, Alfred the Great, but he is now considered one of the greatest kings of the West Saxon dynasty.Williams, "Athelstan" Modern historians endorse the view of twelfth century chronicler William of Malmesbury that "no one more just or more learned ever governed the kingdom".Lapidge, Anglo-Latin Literature, p. 49 Frank Stenton and Simon Keynes both describe him as the one Anglo-Saxon king who will bear comparison with Alfred.
|
|
Another example of a walled village is Sachsenburg in the East Tirol. These bear comparison with the fortified villages of Istria such as Hum and Boljun and also Zumberk in Bohemia. Another smaller settlement that was fortified, but at an earlier date was Friedberg, in Styria, which, in the 12th century, was fortified as a refuge point on the Wechel Strasse (Trade Road), between Wiener Neustadt and Gleisdorf:de:Wechsel Straße. This provides the route and recent history, but not the construction details in the Medieval period.
|
|
Inevitably, it attracts misinformation, skulduggery and crime. The southern African countries continue to attempt to sell ivory through legal systems. In an appeal to overcome national interests, a group of eminent elephant scientists responded with an open letter in 2002 which clearly explained the effects of the ivory trade on other countries. They stated that the proposals for renewed trade from southern Africa did not bear comparison with most of Africa because they were based on a South African model where 90% of the elephant population lived in a fenced National Park.
|
|
Philo himself was a man of wealth and learning, who mingled with all classes of men and frequented the theatre and the great library. Equally at home in the Septuagint and the Greek classics, he was struck and perplexed by the many beautiful and noble thoughts contained in the latter, which could bear comparison with many passages of the Bible. As this difficulty must have frequently presented itself to the minds of his coreligionists, he endeavoured to meet it by saying that all that was great in Socrates, Plato, etc. originated with Moses.
|
|
Ludowici 1927; Ricken 1942; Ricken & Fischer 1963 Rheinzabern produced both decorated and plain forms for around a century from the middle of the 2nd century. Some of the Dr.37 bowls, for example those with the workshop stamp of Ianus, bear comparison with Central Gaulish products of the same date: others are less successful. But the real strength of the Rheinzabern industry lay in its extensive production of good-quality samian cups, beakers, flagons and vases, many imaginatively decorated with barbotine designs or in the 'cut-glass' incised technique.
|
|
The musical substance of the piece is not particularly Lisztian. Its overt "virtuoso" style is one which Liszt had abandoned decades previously. Further, the piano part overuses certain unsubtle effects which do not bear comparison with Liszt's piano writing ostensibly in a similar vein. But if Menter really collected the themes, (which are unknown in Liszt's works - although they are similar in style to melodies found in some of Liszt's Hungarian Rhapsodies or the Ungarischer Romanzero) and if Liszt helped to arrange the short score, then his possible collaboration may be conceded.
|
|
The Stewart Memorial Fountain, celebrating the establishment of the Loch Katrine and Milngavie waterworks In 1852 Bateman was consulted by Glasgow Council in regard to its water supply. In 1854–85, on Bateman's advice, a bill was obtained to supply water to Glasgow from Loch Katrine. Work commenced in spring 1856 and was completed by March 1860. The works extend over 34 miles, and were described by James M. Gale as worthy to "bear comparison with the most extensive aqueducts in the world, not excluding those of ancient Rome".
|
|
The ambition of Deeping Rangers Football Club is reflected in the efforts it is making to provide a stadium which will bear comparison with the finest at this level of football in the country. The club shares a site on the northern edge of Market Deeping, close to the recently completed Deepings by-pass on the A16, with the local cricket and tennis clubs. All the clubs have joint use of the sports and social club at the centre of the site, which was completed in 1999. The main stand on the first-team pitch cost £33,000 and took three years to complete.
|
|
A composite imaginary view of Japan: textile artwork The 1902 edition of Encyclopædia Britannica wrote, "In no branch of applied art does the decorative genius of Japan show more attractive results than that of textile fabrics, and in none has there been more conspicuous progress during recent years. [...] Kawashima of Kyoto [...] inaugurated the departure a few years ago by copying a Gobelin, but it may safely be asserted that no Gobelin will bear comparison with the pieces now produced in Japan"."Japan" in Encyclopædia Britannica (1902), Volume 29, pages 724–725. Very large, colourful pictorial works were being produced in Kyoto.
|
|
The area was divided between the parishes of Godshill and Newchurch. In 1820 both of the manors (Holloway was then known as Ventnor Manor) were sold to John Hamborough and other building speculators. The spur for expansion was the publication in 1830 of the second edition of physician James Clark's book: The influence of climate on disease. This identified the microclimate of Ventnor and the Undercliff as ideal for people with chest complaints ("nothing along the south coast will bear comparison with it", Clark enthused), at a time when consumption (now known as TB) was a common cause of death.
|
|
The letterforms also bear comparison with the condensed, calligraphic thirteenth-century Italian monumental capitals. Due to space constraints, the type had to be narrow enough to allow the title to fit on a single line across the top, so as to not intrude on the Van Gogh painting that filled the rest of the jacket. To accomplish this he drew the letterforms freehand, giving them highly animated organic strokes and narrow character set. He also added distinctive junctions of letter strokes to the D, P, and R. The typeface was drawn in outline, intending to reverse to white, so as to not be overly assertive on the cover.
|
|
Chakrarahu is considered the steepest and the most difficult-to-climb six-thousander in the Andes. Although by no means worked out, the south face of the mountain has a quite staggering number of steep and difficult lines, enough to bear comparison with areas such as the south face of Mont Blanc du Tacul for maturity. The north side bore the brunt maturity of early development but still retains the greatest potential. A French expedition led by Lionel Terray first climbed the mountain on 31 July 1956 (Chakrarahu Oeste) and on 5 August 1962 (Chakrarahu Este) on what after have become the normal routes (northeast face and northeast ridge).
|
|
Sidney Colvin wrote "For loftiness of thought and language together, there are passages in Gebir that will bear comparison with Milton" and "nowhere in the works of Wordsworth or Coleridge do we find anything resembling Landor's peculiar qualities of haughty splendour and massive concentration".Sidney Colvin Landor (1881) in the English Men of Letters series John Forster wrote "Style and treatment constitute the charm of it. The vividness with which everything in it is presented to sight as well as through the wealth of its imagery, its moods of language – these are characteristics pre-eminent in Gebir".John Forster "The Works and Life of Walter Savage Landor" (8 vols.
|
|
Ely Cathedral: A descriptive tour , accessed 16 March 2015 But there are doubts about just how early, especially as Eustace had taken refuge in France in 1208, and had no access to his funds for the next 3 years. George Gilbert Scott argued that details of its decoration, particularly the 'syncopated arches' and the use of Purbeck marble shafts, bear comparison with St Hugh's Choir, Lincoln Cathedral, and the west porch at St Albans, which both predate Eustace, whereas the foliage carvings and other details offer a date after 1220, suggesting it could be a project taken up, or re-worked by Bishop Hugh of Northwold.
|
|
John Eilbeck Hillman succeeded Captain Smart. The Coonatto (Coonato) on the far right, May 1867 or 1869 at Port Adelaide. > During the sixties and seventies, when Sydney and Melbourne were filling > their harbours with the finest ships in the British Mercantile Marine, > Adelaide, in a smaller way, was carrying on an ever increasing trade of her > own, in which some very smart little clippers were making very good money > and putting up sailing records which could well bear comparison with those > made by the more powerful clippers sailing to Hobson's Bay and Port Jackson. > ... Their captains, however, were always keen in rivalry and put a high > value on their reputations as desperate sail carriers.
|
|
In a series of lectures at the Royal Institution, Constable proposed a three-fold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught. He also spoke against the new Gothic Revival movement, which he considered mere "imitation". In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art", was "cheered most heartily". He died on the night of 31 March 1837, apparently from heart failure, and was buried with Maria in the graveyard of St John-at-Hampstead Church in Hampstead in London.
|
|
These men, once found, were willing, for the cause, to submit to a rigorous training and an iron discipline such as other troops, fighting for honour only or for profit only, could not be brought to endure. The result was soon apparent. As early as 13 May, Cromwell's regiment of horse, recruited from the horse-loving yeomen of the eastern counties, demonstrated its superiority in the field, in a skirmish near Grantham. In the irregular fighting in Lincolnshire, during June and July (which was on the whole unfavourable to the Parliament), as previously in pacifying the Eastern Association itself, these Puritan troopers distinguished themselves by long and rapid marches that may bear comparison with almost any in the history of the mounted arm.
|
|
Theodoric’s magnum opus is a collection of panel paintings and wall paintings that were done on the commission of Charles IV for the Chapel of the Holy Cross at Karlštejn. All together, there are 129 works, all of saints, prophets, or angels. The National Gallery in Prague said that they “only few equals in the world: we believe that it is no exaggeration to say that they bear comparison with such artistic monuments and phenomena as the Arena in Padua, the churches at Assisi or Sta, Croce in Florence and the palace of the popes in Avignon.”"Magister Theodoricus, court painter of Emperor Charles IV" by Jiri Fajt & Jan Royt, published by the National Gallery in Prague in 1998 Known for his bold and vigorous style, he is seen as a central figure in the development of Bohemian art.
|
|
Many of the later sources may also have formed part of a propaganda effort designed to create a history for the people of Ireland that could bear comparison with the mythological descent of their British invaders from the founders of Rome that was promulgated by Geoffrey of Monmouth and others. There was also a tendency to rework Irish genealogies to fit into the known schema of Greek or Biblical genealogy. It was once unquestioned that medieval Irish literature preserved truly ancient traditions in a form virtually unchanged through centuries of oral tradition back to the ancient Celts of Europe. Kenneth Jackson famously described the Ulster Cycle as a "window on the Iron Age", and Garret Olmsted has attempted to draw parallels between Táin Bó Cuailnge, the Ulster Cycle epic, and the iconography of the Gundestrup Cauldron.
|
|
He was a lawyer of great ability, and went on to become one of a remarkable group of Irish judges, which included Christopher Palles, Hugh Holmes, and Gerald FitzGibbon, who gave the Irish Court of Appeal, in the years 1890–1910, a reputation for judicial eminence which has never been equalled by any other Irish Court, and could bear comparison with any equivalent English court. Maurice Healy praised him as "a loyal friend and a man of courage" but thought that these qualities sometimes led him into acts of political recklessness. His insistence on appointing Matthias Bodkin, a leading journalist and a staunch political ally, to a County Court judgeship, was a serious political blunder. Although Bodkin was a qualified barrister, legitimate doubts had been raised by Walker's political opponents as to whether he had the necessary years of practice to qualify for appointment to the Bench.
|
|
Freedman, 33 Raphael and Giulio's frescos decorated spaces used for lavish entertaining that might bear comparison with Olympian hospitality; the previous century Marsilio Ficino had written a thank-you letter to Lorenzo de' Medici that made just that comparison. The later paintings can also be seen in the context of the wider interest in "company scenes" of social occasions in Netherlandish art at the start of the 17th century, expressed in the new genre subject of the merry company, and its "gallant" and "elegant" variations,Liedke, 13–15 as well as the continuation of Pieter Bruegel the Elder's scenes of peasant life by his son Jan and others. The feasts formed a division of the class of small-scale mythological paintings, in which the interest of the figures is very often shared with landscape or still life elements.Vlieghe, 105–106, and passim for the rest of chapter 6 Both of these figure in many feasts, but the emphasis is on a generous range of nude figures, displaying a variety of complicated poses that display the artist's virtuosity.
|
|
Tregor and Tregoff, Cornwall, 1947, Tate Gallery From there followed Bomberg's great period of painting and drawing in landscape, in Spain at Toledo (1928), Ronda (1934–35 and 1954–57) and Asturias (1935), in Cyprus (1948) and intermittently in Britain, perhaps most powerfully in Cornwall. A six-month stay at Odessa in the Soviet Union in the second half of 1933, following Hitler's seizure of power in Germany, led Bomberg on his return to London to immediate resignation from the Communist Party. During World War II, he painted Evening in the City of London (1944), showing the blitzed city viewed rising up to a triumphant, surviving St Paul's Cathedral on the horizon, since described as the "most moving of all paintings of wartime Britain" (Martin Harrison); a series of flower paintings saturated with turbulent feeling; and his single commission as a war artist, a series of "Bomb Store" paintings (1942) expressing Bomberg's expanded first-hand sense of the destructive powers of modern technology in warfare. These "Bomb Store" paintings convey a premonitory sense of the massive explosion that destroyed the underground store two years later, killing 68 people, and bear comparison with Piranesi's Carceri etchings.
|
|
Of his first one-man show in London in 1955, The art critic of The Times described Ramsay's work as “beyond reproach”. During the intervening years he has covered a vast field of subjects ranging from a 9 x 6 ft painting of The Resurrection to a 3 x 2in study of a leaf described by one critic as “easily mistaken for a Ruskin” - it has long been acknowledged that his still life paintings bear comparison with the Dutch and Flemish masters of the 15-17 th centuries. Though his still life and religious work is highly figurative, he does not treat that as an end in itself, but rather as a means of expressing more clearly a wide range of subjects and emotions – from the simple faith of a peasant's humble shrine to a piece of fruit, or the innocence of a child in his drawings. In 1965 the Church Times described his treatment of the great religious themes as being “painted with extraordinary technical accomplishment in terms relevant to the present age, but of deep spirituality”. More recently he was described by the prominent Australian art dealer, Tom Silver, as being “… the best living still life artist in Australia in old master technique.
|
|