enimvero CONJ qu PRON10NOMSN lut VPAR31DATSMPERFPASSIVEPPL fict ADJ11NOMSNPOS vel ADVPOS aer N36LOCSC infus VPAR31NOMSNPERFPASSIVEPPL vel ADVPOS lapid N31LOCSM incus VPAR31NOMSNPERFPASSIVEPPL vel ADVPOS cer N11NOMSF inust VPAR31NOMSNPERFPASSIVEPPL vel ADVPOS pigment N22DATSN illit VPAR31NOMSNPERFPASSIVEPPL vel ADVPOS ali N24DATSN qu PRON10ABLSM human N22DATSN artifici N24DATSN adsimulat VPAR11NOMSNPERFPASSIVEPPL est V51PRESACTIVEIND3P non ADV mult N11NOMSF intercapedi OTHER n V21PRESACTIVEIMP2S tempor N32GENSN dissimil ADJ32NOMSNPOS redd V31PRESPASSIVEIND3S et CONJ rit N41ABLSM cadaver N32GENSN un NUM11NOMSNCARD vult N41ACCSM et CONJ immobil ADJ32ACCSCPOS possid V21PRESACTIVEIND3S tant ADJ11NOMSNPOS praest V11PRESACTIVEIND3S imagin N31GENSF art N33LOCPF ad ADVPOS similitudin N31ACCSF refer VPAR32ACCSFFUTPASSIVEPPL levit N11NOMSMinfreq ill PRON61NOMSF specul N22GENSN fabr ADJ12NOMSFPOS et CONJ splendor N31NOMSM opifex N31NOMSM
By contrast, what is molded in clay, poured in bronze, hammered in stone, burned in wax, applied in paint or reproduced by any other human art, after no great interval of time becomes unlike and possesses a single, fixed expression like a corpse, so far does the artful smoothness, the creative brilliance of a mirror surpass the arts of portraiture in reproducing a likeness.
final_alignments\Apuleius_Apologia.json