Word Finder - style

definition

Senses relating to a thin, pointed object.

definition

(by extension from sense 1.1) A particular manner of expression in writing or speech, especially one regarded as good.

definition

A particular manner of creating, doing, or presenting something, especially a work of architecture or art.

definition

To design, fashion, make, or arrange in a certain way or form (style)

definition

To call or give a name or title to.

synonyms

• designate
• dub
• name

definition

To create for, or give to, someone a style, fashion, or image, particularly one which is regarded as attractive, tasteful, or trendy.

definition

To act in a way which seeks to show that one possesses style.

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.

Gerald mounted in his usual awkward style and followed her.

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?

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.

What is your 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.

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.

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.

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.

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

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.

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.