byzantios造句

• It was probably made on Gotland by the master stonemason sometimes referred to as Master Semi-Byzantios.
• Byzantios was possibly from, or at the very least received his training in, north-eastern Italy.
• All are located on Gotland, notable examples can be found in V鋘ge church is also attributed to Byzantios.
• Byzantios was the first of a series of stone sculptors working on Gotland during the Romanesque period of Scandinavian art history.
• The baptismal font is Romanesque, probably a work by the anonymous Master Semi-Byzantios, but only the foot remains.
• The baptismal font, probably a work by the craftsman or workshop known as Master Byzantios, is from the late 12th century.
• The baptismal font is from the 12th century, Romanesque in style and a work by the sculptor known by the assigned name Byzantios.
• They, in turn, had heard their predecessors : Daniel from Tyrnabos, Iakovos Giakoumakis from Peloponnesos, Petros Byzantios, and Gregorios the Levite.
• The base of the baptismal font is made by the obscure Master Byzantios, while the upper part of the font is from the 14th century.
• Homeric Rhytion was probably at " Rotasani Kefala " near the modern village of Rotasi ( near Nonnos, Pliny the Elder and Stefanos Byzantios.
• Byzantios in 1851 could not possibly have had anything pertinent to say about this, because the whole discipline on which such judgments are based was not yet developed.
• The signature was used within the heirmologion kalophonikon, since heirmoi of devteros echoi were still treated as a diatonic melos unlike the school of Petros Peloponnesios and his follower Petros Byzantios.
• This is sourced to a mid-19th century work by a Greek writer called Scarlatos Byzantios, the author of a Greek dictionary and a book on the history of Constantinople.
• The dispute was followed by alternative editions, and the hyphos was continued as an oral tradition among traditionalist protopsaltes like Konstantinos Byzantios, Georgios Raidestinos II, Iakovos Nafpliotes, and Konstantinos Pringos.
• His repertoire included Aeschylus, Sophocles, Euripides, Shakespeare, Moli鑢e, Goldoni, Schiller, O'Neill, as well as modern Greek playwrights like Demetrios Byzantios, Gregorios Xenopoulos, Pantelis Horn, Spyros Melas and Alecos Lydorikis.
• Concerning the discussion of the heirmologic melos between Petros Peloponnesios, Petros Byzantios, and Iakovos the Protopsaltes, there is a very similar evolution, as it can be found in the definition of the sticheraric melos according to the New Method.
• Iakovos had heard exceptional Patriarchal protopsaltis ( right chorus leading chanters ) such as Ioannis Byzantios ( the surname " Byzantios " meaning " originating from Constantinople " ), Konstantinos Byzantios and Georgios Raidestinos II ( the surname " Raidestinos " meaning " originating from Raidestos " ).
• Iakovos had heard exceptional Patriarchal protopsaltis ( right chorus leading chanters ) such as Ioannis Byzantios ( the surname " Byzantios " meaning " originating from Constantinople " ), Konstantinos Byzantios and Georgios Raidestinos II ( the surname " Raidestinos " meaning " originating from Raidestos " ).
• Iakovos had heard exceptional Patriarchal protopsaltis ( right chorus leading chanters ) such as Ioannis Byzantios ( the surname " Byzantios " meaning " originating from Constantinople " ), Konstantinos Byzantios and Georgios Raidestinos II ( the surname " Raidestinos " meaning " originating from Raidestos " ).
• The controversial discussion of the " syntomon style " as it had been created by Petros Peloponnesios and his student Petros Byzantios, was about rhythm, but the later rhythmic system of the New Method which had been created two generations later, had provoked a principle refuse of Chrysanthine notation among some traditionalists.