Chapter IX

used before a singular noun to mean one of a group, when it is not a particular one

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

(followed by “to”) in agreement with or accordant with

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

a component that is added to something to improve it

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

in addition

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

used to join words or parts of a sentence that go together

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

one more of the same kind, or a different one

From this reading We reach now another principle of composition.

an architectural product or work

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

the form of “be” used with you, we, they, or a plural noun

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

put into a proper or systematic order

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

plural of “arrangement” — the thing arranged or agreed to

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

contrived by art rather than nature

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

plural of “artist” — a person whose creative work shows sensitivity and imagination

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

at the same time that; because; in the way that

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

take to be the case or to be true; accept without verification or proof

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

bring into balance or equilibrium

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

a relation that provides the foundation for something

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

the past participle of “be”

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

the -ing form of “be”

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

make by combining materials and parts

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

showing who or what does the action

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

past form of “call” — assign a specified (usually proper) proper name to

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

plural of “chapter” — a subdivision of a written work; usually numbered and titled

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

a creation of the highest excellence

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

the spatial property resulting from the arrangement of parts in relation to each other and to the whole

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

plural of “composition” — the spatial property resulting from the arrangement of parts in relation to each other and to the whole

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

plural of “contrast” — the opposition or dissimilarity of things that are compared

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

a large formal assembly

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

following accepted customs and proprieties

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

every one of two or more people or things, taken separately

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

an item of information that is typical of a class or group

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

regard something as probable or likely

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

plural of “feature” — a prominent attribute or aspect of something

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

a diagram or picture illustrating textual material

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

plural of “figure” — a diagram or picture illustrating textual material

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

being in accord with established forms and conventions and requirements (as e.g. of formal dress)

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

a group of symbols that make a mathematical statement

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

characterized by simple geometric forms in design and decoration

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

plural of “gesture” — motion of hands or body to emphasize or help to express a thought or feeling

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

of behavior that is impressive and ambitious in scale or scope

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

arranged into groups

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

plural of “group” — any number of entities (members) considered as a unit

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

the form of “have” used with he, she, it, or a singular noun

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

used with a past participle to form the perfect tenses

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

inside something, or within a place, period, or state

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

the form of “be” used with he, she, it, or a singular noun

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

an expanse of scenery that can be seen in a single view

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

immediately past

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

a characteristic state or mode of living

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

perceive with attention; direct one's gaze towards

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

produced by a manufacturing process

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

the force of workers available

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

used to say something is possible but not certain

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

(comparative of “much” used with mass nouns) a quantifier meaning greater in size or amount or extent or degree

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

representing what is real; not abstract or ideal

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

the essential qualities or characteristics by which something is recognized

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

and not; used after a negative to add a second negative

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

used to make a word, phrase, or sentence negative

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

widely known and esteemed

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

in the historical present; at this point in the narration of a series of past events

From this reading We reach now another principle of composition.

belonging to, or connected with, somebody or something

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

touching and supported by a surface

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

used to join alternatives or possibilities

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

have the will and intention to carry out some action

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

the particular portion of space occupied by something

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

plural of “position” — the particular portion of space occupied by something

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

existing or coming before

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

a basic generalization that is accepted as true and that can be used as a basis for reasoning or conduct

From this reading We reach now another principle of composition.

reach a destination, either real or abstract

From this reading We reach now another principle of composition.

being or occurring in fact or actuality; having verified existence; not illusory

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

plural of “repetition” — an event that repeats

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

a principle or condition that customarily governs behavior

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

inflected form of “see” — perceive by sight or have the power to perceive by sight

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

reading carefully with intent to remember

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

used to introduce what somebody said, thought, or felt

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

belonging to the people or things already mentioned

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

the people or things already mentioned, as the object

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

the plural of “this”: the people or things near, or just mentioned

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

the people, animals, or things already mentioned, as the subject

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

used before the base form of a verb to make the infinitive

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

being or moving higher in position or greater in some value; being above a former position or level

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

under normal conditions

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

the speaker together with one or more other people

From this reading NATURALISTIC COMPOSITION In the preceding chapters we have been studying _formal_, or _conventional_, composition.

the past form of “be” used with you, we, they, or a plural noun

From this reading And these formal compositions we have seen were also called, _classic_; the last example being the _classic landscape_ in which nature has been made to look more grand by the addition of features of classic architecture.

used to introduce a clause giving more about a thing just mentioned

From this reading We have seen how the artists arrange their groups of figures and the position and gestures of each figure according to a rule or formula or convention, the basis of which is a geometric plan, on which they build up a balance of repetitions and contrasts.

plural of “woman” — an adult female person (as opposed to a man)

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.

the person or people being spoken to

From this reading And we have noted that these formal compositions are artificial arrangements; that the figures are not grouped as you might expect them to be in real life, nor in positions that men and women usually assume.