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In the first place , in a style in which one of the fundamental problems had always been the reconciliation of solid form with the picture plane , the letters written or stenciled across the surface are the most conclusive way of emphasizing its two-dimensional character ; Braque has stressed this when he said of the letters : ' they were forms which could not be distorted because , being quite flat , the letters existed outside space and their presence in the painting , by contrast , enabled one to distinguish between objects situated in space and those outside it . It would certainly be wrong to think less highly of the work of the Limbourg brothers or , for that matter , of any other painting , because it lacked this faithful imitation of nature . Although the proposed method is tested on a SRBCT data set , it is quite general and can be applied to other cancer data sets . What can one say about such outwardly simple renditions ? Certainly , a portrait of himself could not compete with a flickering image of Mont Sainte-Victoire or the impossibly arranged fruit and jars of a permanently shifting still life . I feel this in the man bending forward to prepare the Cross , in the three women who emerge from the bottom of the frame , and above all in the effect of life pressing round a dedicated victim , which is also the theme of Michelangelo 's Crucifixion of St Peter . With Goya we do not think of the studio or even of the artist at work . Thus , although mtDNA mutations are quite common in somatic cells , the functional consequences may be greater in stem cells . Compare the conventional gesture of the mourning St John in the miniature with the passionate movement of St John in Giotto 's painting as he bends forward , his arms extended sideways . Some of these planes seem to recede away from the eye into shallow depth , but this sensation is always counteracted by a succeeding passage which will lead the eye forward again up on to the picture plane . It is this feeling of indignation which gives symbolic force to the man in the white shirt , to the pitiful body sprawling on the ground in a welter of blood , and to the batches of fresh victims who are being driven forward out of the darkness . But whoever it was that originated this idea , he had certainly been quick to understand the tremendous possibilities which lay in Van Eyck 's new way of painting . Titian certainly meant more to him than Tintoretto and Bassano , although a few tricks of mannerism which appear in the work of all three give an illusion of similarity . Here mass has been shattered by the dynamic energies of horse and rider , with their up-and-down as well as forward motion , rather than by the quiet spatial investigations of Cubism . Even though our study was not designed to make direct comparissons between NSAIDs , we observed that at least three individual NSAIDs ( the 3 most widely used ) appeared to have different risk profile within a seemingly heterogeneous group of tNSAIDS . All this is quite different in Van Eyck 's picture . Even here a role in motor control system is possible and , notably , no clear function has emerged for the dorsal part of this structure [ 35 ] . Even when nothing particularly alarming is going on , as in the plate of the Caprichos entitled ' Mala Noche ' , we are frightened by the shape of a fluttering scarf . Here there is really no parallel with the masters of the early Renaissance in Italy who never quite abandoned the traditions of Greek and Roman art . Not since the early middle ages had European art departed so far from visual and substantial truth ; and this unreality , as great as that of his own Cretan icon painters , certainly appealed to El Greco more than the solid abundance of Paul Veronese .