remunerable

[English remuner( ate ); able.] Capable of being remunerated or rewarded; fit to be remunerated or rewarded. rě-mü'-ner-āte, v . t . [Latin remuneratus , pa. par. of remunero , remuneror =to reward; re -again, and munero, muneror to discharge an office, to give; mun us (gen it. muneris )=a gift; Fr. rému nérer; Sp. remunerar .] To reward, to recompense, to requite, to repay; to pay an equivalent for any service, lo , expense, outlay, . "They were remunerated partly by fees and partly by salaries."- Macaulay: Hist. Eng., ch. xviii. re-mu-ner-ā-tion, s. [Fr. from Lat.remunera tionem, acc us. of rem une ratio, from remuneratus, pa. par. of remunero.] 1. The act of remunerating, recompensing, or paying for services, lo , outlay, . 2. That which is given or paid as an equivalent for services rendered, . "The remuneration of workmen employed in manufac tures."-Macaulay: Hist. Eng., ch. iii. rě-mü-ner-ā-tive, a . [Fr. rémunérat if .] 1. Affording or yielding remuneration; producing a sufficient return for outlay, expenses, . *2. Exercised in rewarding; remuneratory. "Fit objects for remunerative justice."- Cudworth : Intell. System . p. 690. rě-mū-ner-ā-tör-ý, adj. [Fr. rémunératoire.] Affording or yielding remuneration, recompense, or reward. "Laws rather vindicatory than remuneratory." -Black stone: Comment. (Introd.) rē-mür'-mür, v. t. & i. [Lat. remurmuro. ] IMG:content-0437.png:[blocks in formation] Florence (died 1446), and Ambrogio Borgognone of Pavia in 1473. (Early Florentine.) The Venetian Renai ance style first sprang into existence toward the end of the fifteenth century and flourished till the close of the sixteenth. It is chiefly remarkable in connection with the architecture of palaces. The decoration appears to have been borrowed from Byzantine models. Palladio, the special champion of this style (born 1518, died 1580), introduced the style known after him as Palladian (q. v.). The first and most important school of the Roman Renai ance was originated by Donato Lazzari, known under the name of Bramante (1444-1514); this was joined by Balthazar Peruzzi and Antonio di Sangallo; another school was represented by Giacomo Barozzio, known as Vignola (1507-1573), while a third was directed by Michelangelo Buonarotti (1474-1564), and by its arbitrary character formed a stepping-stone to the Rococo style which suc ceeded it. The finest example of these schools are the Can cell in a Palace, the Court of the Vatican, the Farnese Palace, and St. Peter's at nai ance style was introduced