媲美

Giorgione blazed the trail.a top student of bellini,he later forged his own style,inspired by the current vogue for pastoral love poetry based on recently discovered ancient texts,then the bestsellers of Venice's flourishing printing industry.he excelled at what was known among the educated elite as the model a competition between painting and poetry in which painters sought to prove that they could rival poets in conveying beauty by appealing to the eyes,as well as to the mind.this was revolutionary because it implied that painting originated in the imagination of the artist,rather than being a simple recording of the great and the good ,history and religion.it proved painters were creators and not just craftsmen .

Giorgione是这条路上的披荆斩棘者。作为Bellini最好的学生，他随后发展出了自已的风格。他的灵感来自于其时风行的田园诗，从最近发现的古代文本来看，这得益于那个时代威尼斯欣欣向荣的出版业出版的畅销书。他的卓越之处在于一项闻名于知识精英中的对比：就是诗歌与绘画的竞争，画家们致力于证明他们可以在表现美感上与诗人媲美，既可以悦目亦能赏心。这是革命性的，因为它暗示了绘画产生于艺术家的想象而不只是对美好事物、历史、宗教的简单记录。它证明了画家是创造者而非工匠。

I opened the door to the shower room and entered a scene worthy of the artist Hieronymus Bosch.

我打开淋浴房的门，进入堪与艺术家希罗尼穆斯·波希作品相媲美的场景。

The juxtaposition of residences with nature was one of the constituent facts that grew out of the period of Louis XIV.

与大自然的住宅媲美的成分是事实的时期的路易十四。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。