Example sentences of "the nineteenth " in BNC.

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1 A partial and passionate critic also writing in the middle of the nineteenth century was John Ruskin , as devoted to Turner as Baudelaire was to Delacroix .
2 One must never forget that the reality of the twentieth century is not the reality of the nineteenth century , not at all and Picasso was the only one in painting who felt it , the only one .
3 Matisse and all the others saw the twentieth century with their eyes but they saw the reality of the nineteenth century , Picasso was the only one in painting who saw the twentieth century with his eyes and saw its reality and consequently his struggle was terrifying , terrifying for himself and for the others , because he had nothing to help him , the past did not help him , nor the present , he had to do it all alone and , in spite of much strength he is often very weak , he consoled himself and allowed himself to be seduced by other things which led him more or less astray .
4 These functions have been well carried out by Baedeker guides since the foundation of the German firm in the first part of the nineteenth century .
5 European studio practice from the Renaissance to the nineteenth century included the master 's employment of assistants , and the use of specialists for parts of pictures , such as drapery or landscape .
6 In the nineteenth century it was Richard Wagner whose extraordinary ambition it was to make a complete artistic environment , in which the arts would blend .
7 In the nineteenth century to say that a picture was poetic was a common term of praise .
8 The second half of the nineteenth century saw new standards achieved in art historical scholarship , both through the careful study of documents and by close scrutiny of works of art .
9 Nor did they plan portfolios of prints , as Die Brücke did ; a practice , by the way , followed by a variety of artists ' organisations including the Senefelder Group in England , which has sold its members ' lithographs from the nineteenth century to the present day .
10 Impressionism is the most familiar group with an artistic programme in the nineteenth century .
11 Part of the critic 's task in the nineteenth century , as now , was to interpret art for the lay public ; but what , artists asked themselves , if we interpreted our own work ? from such a thought sprang statements of artistic aims and manifestos , some using the new device of naming a group with a progressive title , such as futurism .
12 During the nineteenth century to be noticed was good fortune , while to be praised was a professional advantage .
13 Exhibiting societies , once established , bred rivals ; the most remarkable rivalry in the nineteenth century was in Paris , where the choice of pictures for the Salon in 1866 was so generally considered to be unfair that the rejected pictures were shown in a Salon of their own .
14 There are amusing archaeological records in the nineteenth century of the inability of even trained artists to record what they saw ; Assyrian figure sculptures , for example , were recorded as having unmistakably classical Greek features by an artist in the employ of the archaeologist Sir Henry Layard .
15 The nineteenth century was , by and large , an unexciting time for theatre writing , until the end of the century when Oscar Wilde and George Bernard Shaw make their entry .
16 This was despite the fact that the reform of Irish catholicism in the nineteenth century sprang mainly from urban areas .
17 It showed itself to have a horror of socialism already in the nineteenth century .
18 But its opposition also had a base in the property-owning , rural peasantry , and middle-classes , who had in the nineteenth century paid a heavy price for their liberation from oppression and whose status became rooted in their property , land , and livestock .
19 Several aspects of catholicism became particularly important in the nineteenth century .
20 One has to remember that well into the nineteenth century British identity was predicated first of all of the English .
21 They remained so throughout the nineteenth century and were not normally trusted with public office .
22 As seen in Chapter 3 , this was also true in the nineteenth century , despite lower clergy support particularly for the Fenian movement .
23 It supported the British state for most of the nineteenth century in Ireland , then supported constitutional politics for home rule ; and when independence came in 1921 , it supported the pro-treaty faction in Southern Ireland and opposed the civil war because that faction was the state .
24 Some Irish nationalists hold that it is just to unite the nation by force — a typical view of secular nationalism throughout the nineteenth and twentieth centuries in Europe .
25 The spirit of papal statements throughout the nineteenth and early twentieth centuries was that it was the duty of the state to oppose freedom of conscience in matters of religion and freedom of worship and to celebrate openly the worship of God ‘ in that way which he has shown to be his will ’ , namely Roman catholicism ( Leo XIII 1903 : 111–12 ) .
26 The article as a whole is strangely lopsided but seems to follow on from the logic of this position , embodying the agreement made between clergy and politicians towards the end of the nineteenth century outlined in Chapter 3 .
27 So extensive became the control of the catholic sector , both primary and secondary , that priests had extensive powers of dismissal over the teachers until the end of the nineteenth century .
28 ‘ It reminds me of my dear father one day at Sandwich , ’ she was saying , ‘ when we were picnicking on the sands and we had arranged to meet him at the nineteenth hole .
29 This somewhat idiosyncratic interpretation is no doubt coloured by the specificities of French history , yet there is little doubt that the British police system is also a political construction of the nineteenth century , created to contain the potential in the newly urbanized working classes for mob disorder , which the excesses of the military had seemed likely to exacerbate rather than disperse .
30 The framework for the investigation of ‘ sensory coding ’ was established in the nineteenth and early twentieth centuries , when the business of explaining perception was transformed into the more specific project of correlating the physical properties of perceived objects and events with patterns of activity in the nervous system and the latter with the subjective properties of the experience :
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