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These frescoes are considered Zuccari's greatest work.
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These and frescoes
These frescoes depict scenes of the life and society of ancient Greece, and constitute valuable historical testimonials.
These two works represented a highly novel illusionistic sotto in su treatment of dome decoration that would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco Assumption of the Virgin, in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of Santa Maria dei Miracoli in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches.
These murals, which include Art Nouveau influences, were made by local artists and are now referred to as " frescoes of the middle class ".
These frescoes show a new kind of inspiration, quite different from the earlier works, but confirm his continued research on the themes of the Ancient era.
These early masterpieces, novel for Venetian frescoes in their luminosity, brought him many commissions.
These are worked in tempera painted on dry lime mortar, unlike those in the chancel which are true frescoes.
These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage and the bestowal of virtuous leadership.
These are his native tradition of Northern woodcuts of the Dance of Death and the Italian conception of the Triumph of Death, as in frescoes he would have seen in the Palazzo Sclafani in Palermo and in the Camposanto Monumentale at Pisa.
These qualities also appear in the frescoes of Biblical and classical subjects that Michelangelo painted on the ceiling of the Vatican's Sistine Chapel.
These frescoes are unusual for the time in that they were commissioned by the governing body of the city, rather than by the Church or by a religious fraternity.
These and are
These are traversed by another line of vaults, and thus rooms, arched on all four sides, are formed.
These songs ( practically all Persian music, for that matter ) are limited to a range of two octaves.
These my grandmother left in their places ( they are still there, more persistent and longer-lived than the generations of man ) and planted others like them, that flourished without careful tending.
These are like the initial ways in which the world forces itself upon the self and thrusts the self into decision and choice.
These assumptions lead to an organization with one man at the top, six directly under him, six under each of these, and so on until there are six levels of personnel.
These ways are absolutely irreconcilable because they offer two different recipes for man's redemption from chaos.
These are, if the research is done with subtlety and skill, researchable topics, but the research is missing.
These moments are historical events in the lives of individual authors with which the student of comparative literature must be frequently concerned.
These lives are in themselves outside of the moral order and are unburdened with moral responsibility.
These conceptions and the manner in which they were transposed into poetry or engendered by poetic form are intrinsic to western life from the time of Aeschylus to that of Shakespeare.
These biographical analogies are obvious, and far too much time has been spent speculating on their possible implications.
These women whose organization grew out of the old suffrage movement are dedicated to Thomas Jefferson's dictum that one must cherish the people's spirit but `` Keep alive their attention ''.
These are, of course, the same people whose support he has only now rejected to seek the independent vote.
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