Fijóse en la desgarbada estatura que recordaba al chopo entre los vegetales; vió los sagaces ojos que bajo el ala de ancho sombrero de terciopelo viejo resplandecían; vió la mano morena
— from Doña Perfecta by Benito Pérez Galdós

Books Recommended : Bermudez, Diccionario de las Bellas Artes en España ; Davillier, Mémoire de Velasquez ; Davillier, Fortuny ; Eusebi, Los Differentes Escuelas de Pintura ; Ford, Handbook of Spain ; Head, History of Spanish and French Schools of Painting ; Justi, Velasquez and his Times ; Lefort, Velasquez ; Lefort, Francisco Goya ; Lefort, Murillo et son École ; Lefort, La Peinture Espagnole ; Palomino de Castro y Velasco, Vidas de los Pintores y Estatuarios Eminentes Españoles ; Passavant, Die Christliche Kunst in Spanien ; Plon, Les Maîtres Italiens au Service de la Maison d'Autriche ; Stevenson, Velasquez ; Stirling, Annals of the Artists of Spain ; Stirling, Velasquez and his Works ; Tubino, El Arte y los Artistas contemporáneos en la Peninsula ; Tubino, Murillo ; Viardot, Notices sur les Principaux Peintres de l'Espagne ;
— from A Text-Book of the History of Painting by John Charles Van Dyke

Den ole Brer Rabbit tuck'n draw long breff, en wipe he forrerd, en 'low dat ef dem t'er creeturs w'at bin atter 'im so long is got any de 'vantage er him, de time done come fer um fer ter show it.
— from Nights With Uncle Remus by Joel Chandler Harris

He maintained that it was improper to speak of the “ form of a hat,” because form “est la disposition extérieure des corps qui sont animés,” and therefore we should say the “ figure of a hat,” because figure “est la disposition extérieure des corps qui sont inanimés;” and because his adversary could not agree, he called him “un ignorant, un ignorantissime, ignorantifiant, et ignorantifiè” (sc.
— from Character Sketches of Romance, Fiction and the Drama, Vol. 3 A Revised American Edition of the Reader's Handbook by Ebenezer Cobham Brewer