trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
one of the	2014
and in the	1188
in order to	1038
as well as	948
in the same	875
it is not	850
there is a	838
the church of	829
part of the	824
to have been	768
that he was	758
of the same	743
the work of	739
of the most	739
that he had	737
it is a	720
the works of	707
on the other	700
that of the	687
there is no	664
the art of	651
of the virgin	627
it is the	602
it may be	595
that it is	591
in which the	568
is in the	563
is to be	559
the same time	552
the life of	543
and it is	542
in the year	538
the hand of	536
the death of	528
at the same	527
of the great	520
the end of	517
the name of	506
the head of	496
work of art	494
some of the	490
at that time	485
out of the	484
and of the	481
the house of	478
to be a	474
in the church	473
that it was	461
church of s	452
of his own	451
the time of	449
may be seen	448
of all the	447
it would be	447
according to the	446
to be the	439
of the church	438
but it is	436
i do not	434
he did not	428
the chapel of	426
on the right	423
and the other	421
a work of	420
by the hand	419
in which he	419
so far as	416
side of the	415
as in the	411
the history of	411
of the art	408
is one of	407
on account of	407
the form of	402
a portrait of	400
and on the	400
of the world	397
one of his	393
to be seen	392
would have been	387
of the work	385
on the left	385
as it is	383
in such a	382
the age of	376
he was a	374
now in the	371
by means of	369
it has been	365
in the centre	358
the palace of	355
the beauty of	353
end of the	349
of the artist	348
to the end	345
not to be	344
the portrait of	343
in the world	341
in the first	340
a man of	339
the manner of	339
and all the	338
was to be	335
works of art	334
to be found	334
as has been	331
the power of	329
he painted a	329
those of the	328
the fact that	328
a number of	327
in the middle	324
when he was	322
the other hand	322
seems to have	319
be able to	317
it was a	313
the son of	312
the reason that	311
that he should	311
the court of	308
of the picture	306
more or less	305
of his life	304
account of the	300
this is the	300
a very beautiful	300
in the other	299
as it were	296
which he had	296
the hands of	295
must have been	294
of our lady	294
of the whole	293
in spite of	293
in one of	291
of the old	286
the beginning of	285
of the two	285
as to the	285
of the first	284
the use of	283
as far as	283
chapel of the	283
dance of death	282
that he would	281
the duke of	281
picture of the	281
that is to	280
it was not	280
said to have	277
the whole of	275
and at the	273
the rest of	272
the study of	269
at the end	269
and it was	268
the middle of	268
in the house	268
he had been	267
be seen in	265
to make a	265
in the form	263
the spirit of	263
of the city	261
a picture of	259
are in the	259
that there is	259
it must be	259
a kind of	258
the midst of	257
many of the	256
be found in	255
that in the	255
are to be	255
on one side	254
a pupil of	254
he made a	254
it will be	253
in his own	253
which is the	252
it is said	252
at the foot	251
is to say	249
work of the	249
in the midst	249
of those who	248
by his hand	248
the character of	247
the story of	246
and he was	246
by the same	245
the idea of	245
a sort of	245
it is to	243
the expression of	243
ought to be	243
which it is	243
the present day	243
he would have	242
the centre of	242
the course of	242
the end that	241
he could not	241
portrait of the	241
church of the	241
at the time	240
in front of	240
a series of	239
the walls of	239
of the best	238
he was not	238
one of these	237
head of the	237
portrait of a	236
a young man	234
the royal academy	234
the possession of	233
the collection of	232
the fine arts	232
seen in the	231
of the human	231
as i have	231
of which the	230
to return to	230
it is true	229
a most beautiful	228
a piece of	228
of the royal	227
and that the	226
the case of	226
there was a	226
so as to	226
is said to	225
in addition to	225
and for the	223
court of the	223
and to the	222
in the chapel	222
at the age	222
which i have	221
placed in the	221
for the reason	221
by no means	220
of fine arts	220
held to be	219
the foot of	219
but in the	218
up to the	218
he painted the	218
on either side	217
of the palace	217
of the other	217
the figure of	216
member of the	215
found in the	215
it was the	215
the tomb of	215
that he has	215
on the contrary	214
in the case	214
of one of	213
works of the	213
of the madonna	213
which is a	213
the presence of	212
may be said	211
of light and	211
was in the	209
one of them	209
and with the	208
the style of	208
in all the	208
art of the	208
we do not	208
of the painter	207
it is in	207
the nature of	206
john the baptist	206
the most beautiful	206
is not the	205
could not be	205
if he had	205
of the time	204
him in the	204
of which he	204
by reason of	204
to say that	203
with his own	203
to see the	203
he had a	202
the influence of	201
that they were	201
in the background	201
in like manner	200
that he might	200
seems to be	200
the other side	200
point of view	200
the service of	200
in that city	199
middle of the	199
to make the	199
of his art	199
the appearance of	199
for the most	199
a part of	198
on the ground	198
in the art	198
to that of	198
such a manner	198
with all the	198
in the most	197
as may be	197
the effect of	197
was one of	196
the th of	196
a painter of	195
that they are	195
so that the	195
which he was	195
as much as	195
of which is	194
the school of	194
at the present	194
the face of	193
that he is	193
is not a	192
beauty of the	192
of the works	192
which had been	192
at this time	191
in the foreground	191
the best of	191
of the house	191
is now in	190
the subject of	190
life of the	190
may have been	190
in the louvre	189
the right hand	189
of his works	188
it is only	187
form of a	187
history of the	186
as he was	186
in the air	185
you will find	185
he had not	185
and there is	185
to go to	184
and by the	184
more than a	184
men and women	184
from the life	183
than that of	183
as soon as	183
some of his	183
for it is	182
of his work	182
it seems to	182
of the arts	181
it to be	180
of the greatest	180
the top of	180
the men of	179
and when he	178
a matter of	178
for the sake	177
of such a	177
the first of	176
the sake of	176
that i have	176
of the duke	175
which may be	175
and a half	175
he painted in	174
be said to	174
were to be	173
is a very	173
the body of	173
there was no	173
parts of the	173
that of a	173
the king of	172
in the palace	172
they are not	171
it does not	171
which we have	171
those who have	171
the door of	171
is the most	171
with the greatest	170
on the th	170
of the court	170
of the building	170
with regard to	170
of art in	170
to those who	170
the side of	170
in his hand	170
the act of	169
a group of	169
the result of	169
the city of	169
in the possession	168
of a man	168
down to the	168
of the last	168
of the earth	168
and that he	168
the genius of	167
rest of the	167
in her arms	167
of the new	167
to do with	167
that he could	167
the number of	167
the company of	166
when he had	166
one of which	166
the people of	166
but it was	165
light and shade	165
in a very	165
idea of the	165
well as the	165
knowledge of the	164
is that of	164
of the day	164
the most part	164
have been the	164
it to the	164
he went to	163
time of the	163
of the people	163
in the way	163
the temple of	163
been able to	162
the point of	162
of art is	162
the dance of	161
and in a	160
the british museum	160
he was the	160
had not been	160
character of the	160
of the subject	159
than any other	159
the fifteenth century	159
in the second	159
to be made	158
in the work	158
centre of the	158
has been said	158
of the lord	158
of his time	158
as they are	158
in the manner	158
one of those	157
sense of the	157
the purpose of	157
in company with	157
in the great	157
would not be	157
in the time	156
and that of	156
the most important	156
in the act	156
he is a	156
it should be	155
in the course	155
because it is	155
this is a	155
there is nothing	155
in a picture	155
a short time	154
view of the	154
of the magi	153
those who are	153
foot of the	152
and the same	152
at the head	152
in the hands	152
it had been	152
of which we	152
any of the	151
as it was	151
the arts of	151
to his own	151
door of the	151
most of the	151
beginning of the	151
of the king	151
madonna and child	151
which has been	151
it in the	151
palace of the	150
for the same	150
the daughter of	149
has been related	149
his own hand	149
of which are	149
is said that	149
of the present	149
have been a	148
in the works	148
the sixteenth century	148
in the end	147
of the renaissance	147
da san gallo	147
might have been	147
of the french	147
appears to have	147
front of the	147
was the first	146
in which it	146
the principles of	146
in new york	146
and the most	146
of the ancient	145
to the other	145
of the temple	145
it came to	145
adoration of the	145
the direction of	145
of the sun	145
seem to be	144
do not know	144
in the history	144
house of the	144
the light of	144
figure of the	144
the order of	143
given to the	143
the value of	143
men of the	143
after the death	142
in those days	142
there is an	142
with which the	142
for the first	141
was a very	141
of the four	141
of the above	140
of this kind	140
he does not	140
that it would	140
to the same	140
story of the	140
the mother of	140
raffaello da urbino	139
a great deal	139
i have been	139
the mind of	139
the man who	139
to the great	139
who had been	138
painted for the	138
at any rate	138
painted in fresco	138
and he said	138
who was a	138
with the same	138
in the life	138
seem to have	138
which it was	138
at the beginning	137
not in the	137
of his father	137
came to pass	137
art of painting	137
but there is	137
here and there	137
said to be	137
the painting of	137
to be in	137
of the mind	137
for this reason	137
two or three	136
the seventeenth century	136
as that of	136
which is in	136
we have the	136
of the academy	135
walls of the	135
the eyes of	135
for the purpose	135
the sight of	135
in this way	135
of the universe	135
he would not	135
with which he	134
is not to	134
as will be	134
for a time	134
in a few	134
to paint the	134
expression of the	134
there is the	134
i have said	134
and from the	133
with that of	133
it is impossible	133
at the top	133
to the eye	133
in the temple	132
as we have	132
as one of	132
more and more	132
together with the	132
and this is	132
on the whole	132
of the chapel	132
the habit of	131
of the man	131
of the pope	131
in which they	131
of the figures	131
the statue of	131
nature of the	131
the greater part	131
of their own	131
and one of	131
when it was	131
and the whole	131
the place of	131
it would have	131
name of the	131
the middle ages	130
of this work	130
of the society	130
a sense of	130
a picture by	129
was born in	129
for the church	129
to the work	129
of the figure	129
one or two	129
the sense of	129
of the dead	129
of the body	129
a figure of	129
the size of	128
pictures of the	128
i have seen	128
of a great	128
the representation of	128
if it were	128
which was a	128
with the other	128
the virgin and	128
from the collection	128
of the high	128
an old man	128
spirit of the	127
the practice of	127
belonging to the	127
by way of	127
it is an	127
there is not	127
such as the	127
hand of the	127
on the walls	126
a long time	126
in the last	126
he returned to	126
appears to be	126
the father of	125
study of the	125
regard to the	125
which is now	125
in the picture	125
for some time	125
there are many	125
all the other	125
i am not	125
the arms of	125
of a young	124
the way of	124
the ruins of	124
his hand to	124
in order that	124
i have not	124
form of the	124
in this work	124
even in the	124
on each side	124
no less than	124
virgin and child	124
the picture of	123
a man who	123
as he had	123
the picture is	123
use of the	123
the eighteenth century	123
painters of the	123
it might be	123
leonardo da vinci	122
he wished to	122
this was the	122
the virgin is	122
from the cross	122
and in this	122
of the highest	122
of the fifteenth	122
the part of	122
of art and	122
so long as	122
years of age	122
the first time	121
the altar of	121
had to be	121
that there was	121
of some of	121
the building of	121
many of his	121
not so much	120
master of the	120
to speak of	120
on the subject	120
place in the	120
of the life	120
the title of	119
the work was	119
of the early	119
the height of	119
which he has	119
while he was	119
for many years	119
the design of	119
in the matter	119
in the morning	119
between the two	119
they did not	119
the shape of	119
altar of the	119
seems to me	118
the close of	118
on the side	117
when it is	117
painted in the	117
and with a	117
of the young	117
to paint a	117
of the cross	117
him to the	117
and his wife	116
of his pictures	116
in the distance	116
that is the	116
andrea del sarto	116
the meaning of	116
could not have	116
is true that	116
to have the	116
which they were	115
as long as	115
to have a	115
great number of	115
the left hand	115
to be able	115
the cause of	115
caused him to	115
would not have	115
of the past	115
that are in	115
that they have	114
was a pupil	114
a great number	114
to be placed	114
it is very	114
that we have	114
face of the	114
that he did	114
as a whole	114
the national gallery	114
the back of	114
which they are	114
in the presence	114
on the same	113
in his work	113
to the king	113
of the medici	113
to those of	113
of the country	113
in the hand	113
the most perfect	113
the battle of	113
of what is	113
it is possible	113
a few years	113
either side of	113
in the old	112
the whole work	112
known as the	112
the execution of	112
the society of	112
him to paint	112
to the ground	112
he had to	112
of the three	112
we have seen	112
after he had	112
the love of	112
greater part of	112
of michael angelo	111
more than the	111
of the holy	111
which have been	111
they do not	111
it is that	111
them in the	111
and many other	111
he was in	111
which there is	110
is not so	110
the time when	110
there is in	110
in the city	110
to believe that	110
of the latter	110
as an artist	110
way in which	110
top of the	110
and in his	110
members of the	110
he used to	109
as to be	109
in the garden	109
portraits of the	109
the feet of	109
to which the	109
maria del fiore	109
as a painter	109
of the beautiful	109
it is difficult	108
chapel of s	108
the heads of	108
much of the	108
said unto him	108
with the child	108
the birth of	108
of the year	108
he made the	108
the same master	108
the nineteenth century	108
the difference between	108
in that place	108
of the principal	108
of the fine	108
is the only	108
to be an	107
is full of	107
what has been	107
was born at	107
it as a	107
pictures in the	107
more than one	107
him in his	106
that we are	106
work in the	106
the author of	106
of the sea	106
of the kind	106
attention to the	106
in any other	106
he had made	106
in the british	106
one and the	106
the portraits of	106
in this country	106
will be found	105
but he was	105
the names of	105
some of them	105
by which the	105
in the service	105
him that he	105
appear to be	105
the first to	105
the academy of	105
if it is	105
of the roman	105
reason of the	104
as for the	104
was able to	104
to all the	104
to the right	104
there may be	104
out of his	104
and you will	104
so that it	104
of the finest	104
than in the	104
in the very	104
all that is	104
of the said	103
or in the	103
the world of	103
there is one	103
being able to	103
and when the	103
van de velde	103
supposed to be	103
whole of the	103
and it came	103
a dance of	103
where he was	103
he has been	103
as a rule	103
the excellence of	103
look at the	103
the absence of	102
made in the	102
which is not	102
to make it	102
it was in	102
it is necessary	102
his attention to	102
in a word	102
sir joshua reynolds	102
that had been	102
not able to	102
he began to	102
because of the	102
head of a	102
it cannot be	102
he had no	101
is difficult to	101
of its own	101
the same city	101
caused to be	101
was a great	101
the glory of	101
is called the	101
to the present	101
to the mind	101
figures in the	101
they may be	101
in the following	101
description of the	101
as they were	101
his way to	101
a few days	101
the days of	101
only in the	100
he was born	100
so that he	100
it is now	100
that they had	100
the truth of	100
little more than	100
the work is	100
on the wall	100
in our own	100
of the ancients	100
of the head	100
the hall of	99
and he had	99
i know not	99
because he was	99
to look at	99
the infant christ	99
was a man	99
the child in	99
in so far	99
the painter of	99
of the seventeenth	99
of the grand	99
the reign of	99
death of the	99
in the mind	99
with the most	99
that it should	98
of the sixteenth	98
to which he	98
presented by the	98
on the part	98
b born in	98
works that he	98
effect of the	98
there can be	98
the artist has	98
connected with the	98
something of the	98
in the national	97
well as in	97
due to the	97
but they are	97
to the duke	97
figures of the	97
not only in	97
in the whole	97
was not a	97
we have no	97
history of art	97
so to speak	97
and there are	97
as it may	97
not have been	97
the adoration of	97
is impossible to	97
who was then	97
the state of	96
a state of	96
i did not	96
that the work	96
the land of	96
there are two	96
the base of	96
the quality of	96
for a long	96
of a very	96
after the manner	96
of all that	96
the artist is	96
that he made	96
the production of	96
for a moment	96
at all events	96
him to be	96
which was to	96
the minds of	96
of the emperor	95
to do it	95
the children of	95
representation of the	95
portion of the	95
on the piazza	95
in this respect	95
he was so	95
possession of the	95
after his death	95
so great a	95
this is not	95
on which the	95
set himself to	95
the progress of	95
child in her	94
by the artist	94
in the round	94
is on the	94
of the order	94
like that of	94
for his own	94
is also a	94
it is so	94
as if it	94
is seen in	94
in the collection	94
the creation of	94
a very good	94
of which there	94
from the same	94
of a work	94
exhibited at the	94
said that he	94
order of the	94
account of his	94
the master of	94
the united states	94
of the eighteenth	94
he is not	93
the perfection of	93
to represent the	93
the existence of	93
or at least	93
to give a	93
a manner that	93
to show that	93
with the exception	93
the principal chapel	93
in our book	93
addition to the	93
the memory of	93
it is also	93
the marriage of	93
by those who	93
has not been	93
that it may	93
of that city	93
in consequence of	92
he might have	92
not only the	92
the human form	92
of jesus christ	92
the same place	92
the charge of	92
of the walls	92
it is no	92
that which is	92
in the country	92
may not be	92
owing to the	92
we find the	92
it is as	92
the thirteenth century	92
for which he	92
there are no	92
there is something	92
power of the	92
there are some	92
a pair of	92
is of the	92
to give the	92
that i am	92
will not be	92
at one time	91
the forms of	91
and there was	91
to him that	91
had been a	91
example of the	91
came to the	91
should have been	91
they have been	91
also in the	91
the book of	91
in the early	91
painter of the	91
little by little	91
to each other	91
the object of	91
the same manner	91
taken from the	91
conception of the	91
in the present	91
in the museum	90
of the late	90
can only be	90
that it has	90
we know that	90
may be called	90
in some of	90
in his life	90
to do so	90
in the highest	90
the exception of	90
to one of	90
in connection with	90
the knowledge of	90
which was the	89
that this is	89
for he was	89
and some of	89
the family of	89
part of his	89
of a woman	89
of our own	89
in his youth	89
to this day	89
his right hand	89
picture of a	89
by his own	89
is the same	89
it can be	89
which he is	89
the arrangement of	89
of the wall	89
one of her	88
sides of the	88
of the middle	88
the friend of	88
said that the	88
up to that	88
about the same	88
part of a	88
the remains of	88
him as a	88
is supposed to	88
to the last	88
of works of	88
a statue of	88
but to return	88
the help of	88
be in the	88
for all the	88
of the master	88
figure of a	88
scenes from the	88
midst of the	88
of the spirit	88
was sent to	87
his native city	87
the development of	87
to the most	87
artists of the	87
the virgin mary	87
with those of	87
belongs to the	87
far as the	87
of the others	87
the tower of	87
opposite to the	87
up in the	87
make use of	87
to the left	87
that all the	87
to the world	87
a very great	87
the young man	87
the first place	87
the making of	87
in accordance with	86
that he may	86
to him in	86
he was very	86
is at the	86
to the art	86
of this picture	86
and i have	86
the composition of	86
reference to the	86
was given to	86
the same kind	86
the level of	86
in their own	86
in the third	86
new york gallery	86
which we are	86
arrangement of the	86
and those of	86
i will not	86
and they were	86
in place of	86
manner in which	86
in his native	86
the same way	85
of the louvre	85
it would not	85
the fame of	85
come to the	85
is not only	85
company of the	85
he is the	85
the pictures of	85
far as i	85
gallery of fine	85
have been made	85
in imitation of	85
he had done	85
york gallery of	85
of new york	85
of the age	85
picture in the	85
the line of	85
vast number of	84
that it might	84
should not be	84
that there are	84
to be very	84
painting of the	84
back to the	84
subject of the	84
appear to have	84
that i should	84
painted a panel	84
in all his	84
of which i	84
to be done	84
half of the	84
the lord duke	84
the nativity of	84
of the word	84
madonna in the	84
he had the	84
the surface of	84
them to the	84
it in a	84
the matter of	83
that may be	83
light and shadow	83
hall of the	83
the introduction of	83
the fountain of	83
in the gallery	83
in the arts	83
of the modern	83
many works in	83
these are the	83
one in the	83
himself in the	83
made for the	83
the origin of	83
in another place	83
of the exposition	83
from the first	83
no more than	83
black and white	83
which are in	83
one side of	83
in this case	83
would be a	83
works of this	83
of his genius	83
church of st	83
at the bottom	83
mind of the	83
the high altar	82
the words of	82
the last judgment	82
some of these	82
one hundred and	82
in a short	82
the heart of	82
surface of the	82
the works that	82
of the second	82
to work in	82
they had been	82
and the king	82
corner of the	82
it is of	82
in that of	82
in respect of	82
a variety of	82
the same church	82
by order of	82
the decoration of	82
than those of	82
we have a	82
a copy of	82
spite of the	82
of the company	82
as if the	82
of the family	82
christ in the	82
many of them	82
and died in	82
to that time	82
in the least	82
and in particular	82
nothing of the	82
the office of	82
the period of	82
under the direction	82
away from the	81
of an artist	81
but for the	81
that has been	81
at the salon	81
all the rest	81
it is one	81
we are not	81
to the pope	81
the interior of	81
to the first	81
he seems to	81
of the soul	81
represented in the	81
the attention of	81
is not in	81
in the next	81
the madonna and	81
the human figure	81
is a great	81
the effects of	81
the duomo of	81
have been in	81
be seen from	80
be considered as	80
the details of	80
with respect to	80
of the duomo	80
in the sky	80
of the original	80
that the artist	80
of the school	80
with so much	80
out of a	80
a disciple of	80
all that he	80
whom he had	80
the houses of	80
that they should	80
treatment of the	80
he came to	80
is in a	80
statue of the	80
of a picture	80
we have already	80
which he made	80
the wife of	80
and many others	80
and that is	80
of the nineteenth	80
the nuns of	80
the monks of	80
the position of	80
ought to have	80
of any kind	80
over the door	80
i have already	80
on one of	80
and died at	79
the place where	79
the four seasons	79
art is the	79
of our lord	79
in regard to	79
john the evangelist	79
the painters of	79
from which the	79
returned to florence	79
seated on a	79
in the royal	79
it is by	79
to which they	79
in a manner	79
the laws of	79
the method of	79
supposed to have	79
to him by	79
the choice of	79
a vast number	79
service of the	79
of the greek	79
the kind of	79
according to his	79
of the tower	79
in all its	79
was held to	78
the lines of	78
and full of	78
the same year	78
was buried in	78
in his house	78
is necessary to	78
the first and	78
that is in	78
a member of	78
hands of the	78
in this picture	78
of the gods	78
was the reason	78
that can be	78
this work was	78
belong to the	78
it is probable	78
this may be	78
compared with the	78
in the face	78
it was to	78
with each other	78
ought not to	78
interest in the	78
that i was	78
return to the	78
what he had	78
although he was	78
can be no	78
to the whole	78
the invention of	78
the figures of	78
an expression of	78
set his hand	78
the way in	78
to such a	78
you will see	78
wall of the	78
of which was	77
and a little	77
appeared to be	77
he would be	77
president of the	77
adam and eve	77
it from the	77
each of the	77
to think of	77
executed many works	77
by one of	77
in which we	77
the exhibition of	77
is no doubt	77
to a certain	77
the group of	77
to be painted	77
of his master	77
as if he	77
by the rev	77
level of the	77
by the way	77
to me that	77
instead of the	77
of the italian	77
far as it	76
of the arch	76
our own day	76
the artists of	76
the scene of	76
what is the	76
not to mention	76
the holy family	76
each of these	76
of the period	76
i could not	76
him by the	76
because they are	76
in the latter	76
style of the	76
with a very	76
stories of the	76
to the public	76
what i have	76
presence of the	76
when they were	76
went to rome	76
the same man	76
presented to the	76
as he did	76
in the rijks	76
the loss of	76
a few of	76
the bottom of	76
from the original	76
of the public	76
the significance of	76
and i will	76
of which it	76
where he had	76
the pleasure of	75
has been the	75
she was a	75
the summit of	75
madonna of the	75
he has a	75
must not be	75
a very fine	75
to paint in	75
in competition with	75
fact that the	75
emperor charles v	75
this picture is	75
in the new	75
placed on the	75
has been made	75
god the father	75
the secret of	75
of the scene	75
in the court	75
as if they	75
the means of	75
that she was	75
was placed in	75
to give him	75
on the one	75
the right of	75
the way to	75
one who has	75
at the very	75
because it was	75
made by the	74
of life and	74
be given to	74
of his mother	74
death and the	74
made use of	74
the madonna in	74
in his works	74
those who had	74
that they may	74
in this manner	74
have not been	74
now and then	74
and said unto	74
so that they	74
and that it	74
it did not	74
a collection of	74
the convent of	74
in the style	74
not seem to	74
of the various	74
and the rest	73
value of the	73
the cathedral of	73
it is well	73
himself to the	73
and to be	73
were in the	73
said to him	73
of an old	73
the other is	73
if it be	73
to me to	73
he was able	73
not at all	73
in his art	73
he was an	73
in relation to	73
may be found	73
to take the	73
i have no	73
of this period	73
is a little	73
he executed a	73
and other things	73
body of the	73
come down to	73
the subject is	73
at the sides	73
of form and	73
the painting by	73
a picture in	73
connection with the	73
for the chapel	73
them to be	73
that have been	73
a young woman	73
of the men	73
the architecture of	73
it is clear	73
after the painting	73
the emperor charles	72
they were not	72
the same as	72
there is another	72
of his friends	72
no doubt that	72
he said unto	72
the necessity of	72
nothing to do	72
base of the	72
an example of	72
the upper part	72
examples of the	72
it is certain	72
of the many	72
all the others	72
the weight of	72
that they might	72
which is to	72
as to make	72
attached to the	72
of the east	72
to come to	72
family of the	72
so much as	72
one of whom	72
the figures are	72
he also painted	72
the aid of	72
in proportion to	71
from that of	71
to think that	71
even to the	71
and when they	71
to give it	71
building of the	71
art in the	71
that could be	71
in which a	71
he may be	71
of the nile	71
of any other	71
in her hand	71
that is not	71
is that the	71
as those of	71
portraits from life	71
of our art	71
if it had	71
the completion of	71
into the hands	71
in memory of	71
to the study	70
was not the	70
the manner in	70
covered with a	70
in the vatican	70
altar of s	70
the most illustrious	70
the day of	70
to see it	70
they seem to	70
from time to	70
the space of	70
of these two	70
has been told	70
and he is	70
do you think	70
all that was	70
the prince of	70
time to time	70
to the general	70
in favour of	70
close of the	70
to the artist	70
all sorts of	70
have been able	70
among other things	70
light of the	70
he has made	70
place of the	70
that he executed	70
chapel in the	70
at a time	70
in the academy	70
of a lady	70
to our own	70
a chapel in	70
the greatest of	70
it is all	69
the fall of	69
on his way	69
to whom he	69
belonged to the	69
of a new	69
was not able	69
we must not	69
if they were	69
it with the	69
there has been	69
in their hands	69
to be of	69
picture of our	69
it appears to	69
set to work	69
to which it	69
of the english	69
order to make	69
with a great	69
all of them	69
the museum of	69
upon which the	69
of the national	69
for us to	69
of the face	69
of it in	69
by him in	69
of the good	68
of the composition	68
of the little	68
of a few	68
and all that	68
and if he	68
in the shape	68
at the moment	68
three or four	68
it was painted	68
in the duomo	68
painted a picture	68
and the two	68
the designs of	68
you will be	68
the force of	68
has been a	68
he executed in	68
i am sure	68
in a great	68
new york city	68
that of his	68
be said that	68
number of figures	68
to express the	68
the cardinal of	68
the duc de	68
will be related	68
that no one	68
of the very	68
on the head	68
of his age	68
in a little	68
the opinion of	68
at the royal	68
the fresco by	68
the last of	68
of the artists	68
not long afterwards	68
of it is	68
that i had	68
the grace of	68
is held to	68
height of the	68
the other a	67
great deal of	67
of the tomb	67
nations of the	67
the gallery of	67
reply to circular	67
in the place	67
likely to be	67
are not to	67
antonio da san	67
for him to	67
the construction of	67
it is evident	67
with whom he	67
of the west	67
every part of	67
it is quite	67
of the pictures	67
it is easy	67
with much diligence	67
son of the	67
in the beginning	67
they would have	67
in which is	67
down to us	67
so it is	67
where there is	67
no reply to	67
seemed to be	67
which is so	67
over the whole	67
a desire to	67
is the first	67
the men who	67
duke of urbino	67
work on the	67
with all his	67
of the venetian	67
of the imagination	67
shown in the	67
he must have	66
only to the	66
hand to the	66
painting and sculpture	66
be seen at	66
the most famous	66
to be so	66
of the dance	66
and we are	66
to the house	66
the picture was	66
jacopo da pontormo	66
could have been	66
for the work	66
the foundation of	66
and if you	66
the want of	66
when they are	66
he was to	66
is a picture	66
hundred and fifty	66
he would never	66
of his wife	66
all the world	66
daughter of the	66
copy of the	66
go to the	66
a good deal	66
which the artist	66
and for this	66
and in all	66
by the side	66
relation to the	66
it must have	65
meaning of the	65
in its own	65
that we may	65
the artist to	65
of the child	65
the most interesting	65
acquainted with the	65
in a chapel	65
out in the	65
which can be	65
the type of	65
i should be	65
of all his	65
life in the	65
of the divine	65
the judgment of	65
the last supper	65
be regarded as	65
such a way	65
what is more	65
the colour of	65
end that he	65
made a portrait	65
art is not	65
because he had	65
that part of	65
the strength of	65
in his mind	65
not only to	65
in any way	65
do not think	65
the date of	65
a way that	65
in a certain	65
of the thirteenth	65
lines of the	65
has never been	65
at the back	65
course of the	65
at the base	65
of the earliest	64
the figures in	64
the action of	64
in the name	64
and very beautiful	64
he was always	64
it seemed to	64
with the head	64
piece of the	64
and also the	64
a great measure	64
is a portrait	64
the possibility of	64
means of the	64
the charm of	64
does not appear	64
and this was	64
and they are	64
the attitude of	64
was forced to	64
it is this	64
executed in the	64
of art to	64
of a certain	64
in the open	64
the labours of	64
is probable that	64
that he painted	64
in that work	64
by the great	64
the old man	64
he did the	64
no long time	64
that you have	64
the gates of	64
at a distance	64
a right to	64
where it is	64
in some degree	64
with a few	64
and as the	63
the madonna of	63
we have been	63
of the book	63
saying that he	63
to live in	63
the garden of	63
a master of	63
of a painter	63
or any other	63
of art as	63
among the most	63
edition of the	63
manner of the	63
to be one	63
proved to be	63
surrounded by a	63
in the habit	63
works in the	63
of him in	63
he painted for	63
the soul of	63
an air of	63
of the vaulting	63
but this is	63
for a few	63
of which were	63
they are the	63
imitation of the	63
to the best	63
the commencement of	63
are those of	63
of a single	63
such is the	63
giovanni da udine	63
like those of	63
as a man	63
as he is	62
with which they	62
you will not	62
speak of the	62
the arch of	62
that the whole	62
this kind of	62
him with the	62
was the son	62
in a state	62
to be considered	62
on the way	62
here is a	62
arch of the	62
manner of a	62
and the great	62
to which we	62
the mouth of	62
size of life	62
say that he	62
a period of	62
after the panel	62
of the cathedral	62
appearance of the	62
and a few	62
of this artist	62
of all these	62
of the antique	62
the panel by	62
a very large	62
as a means	62
so far from	62
is no need	62
be one of	62
to see that	62
the air of	62
of men and	62
in which there	62
scene of the	62
to the very	62
there was seen	62
to show the	62
which is very	62
the sides of	62
may still be	62
the image of	62
is due to	62
of the one	62
of so many	62
it would seem	62
the same thing	61
by a great	61
had been made	61
is able to	61
the eye of	61
this picture was	61
went to the	61
the edge of	61
after the fresco	61
the sale of	61
on the opposite	61
all those who	61
and most beautiful	61
that i may	61
a time when	61
work of a	61
lived in the	61
to suppose that	61
in the evening	61
at the entrance	61
of his death	61
are full of	61
i wish to	61
in the original	61
is not possible	61
in one hand	61
of them in	61
may be a	61
to make him	61
only a few	61
in a large	61
with the great	61
the benefit of	61
do not mean	61
the virgin in	61
of the greeks	61
with such diligence	61
his work is	61
duc de berry	61
has always been	61
of the cardinal	61
most beautiful and	61
himself to be	61
masters of the	61
with which it	61
at once to	61
not a little	61
which are the	61
it was his	61
design of the	60
it could not	60
if i had	60
although it is	60
many other things	60
you do not	60
the old testament	60
the triumph of	60
the banks of	60
the world is	60
to follow the	60
was the most	60
the sons of	60
and the lord	60
he was also	60
of his day	60
at the door	60
of the future	60
and a very	60
of the death	60
there was nothing	60
as we are	60
but he is	60
sent to the	60
used in the	60
the conception of	60
what may be	60
if you will	60
the corner of	60
the old masters	60
able to do	60
instead of being	60
as i am	60
to the works	60
his left hand	60
buried in the	60
worthy of praise	60
we are told	60
and of a	60
the passion of	60
the most ancient	60
none of the	60
presented by mrs	60
to take a	60
of color and	60
the variety of	60
in the fine	60
by the most	60
the destruction of	60
a portion of	60
from which he	60
the great masters	60
made his way	60
we see the	60
of the river	60
a friend of	59
fra giovanni agnolo	59
the most remarkable	59
rather than the	59
the language of	59
young man of	59
and to make	59
we have to	59
arms of the	59
to finish the	59
tower of jewels	59
worthy to be	59
had come to	59
two of the	59
still to be	59
i believe that	59
in other words	59
but he had	59
and of his	59
side by side	59
in the proper	59
who have been	59
believe that the	59
on this subject	59
on the altar	59
added to the	59
in the public	59
the holy spirit	59
the man of	59
produced by the	59
the lives of	59
been in the	59
a view of	59
great part of	59
there is also	59
to point out	59
and so well	59
was commissioned to	59
of the mother	58
of the general	58
the essence of	58
all kinds of	58
the artist and	58
the exercise of	58
a native of	58
in fresco in	58
to the people	58
the gate of	58
and so on	58
he died at	58
was not to	58
in the school	58
not one of	58
large number of	58
mother of the	58
early in the	58
way to the	58
with the utmost	58
the likeness of	58
what it is	58
is represented by	58
and then to	58
to make his	58
part in the	58
the imitation of	58
proportion to the	58
to be called	58
which he painted	58
he had already	58
as the first	58
number of the	58
the plan of	58
feet of the	58
and he made	58
a great part	58
and the first	58
him to make	58
i have never	58
i shall not	58
the stories of	58
in comparison with	58
in a work	58
of them are	58
with most beautiful	58
in this place	58
in the past	58
at first sight	58
that she had	58
he will be	58
does not seem	58
the merits of	58
of nature and	58
of the true	58
say that the	58
in the light	58
the proper place	58
is easy to	58
the studio of	58
the sistine chapel	57
in the above	57
in the days	57
there will be	57
the great hall	57
to be more	57
and those who	57
the salon of	57
said unto them	57
a means of	57
to be taken	57
heads of the	57
is the best	57
painter of florence	57
of the sistine	57
now to be	57
no need to	57
he had never	57
first of these	57
in fresco the	57
and what is	57
to be built	57
as he could	57
at the first	57
to have it	57
the masters of	57
of the place	57
his father and	57
it is more	57
to make use	57
in the right	57
a visit to	57
of the town	57
bottom of the	57
end of his	57
of the size	57
in each of	57
years of his	57
there must be	57
can never be	57
and i am	57
he had seen	57
in the two	57
died at the	57
the immaculate conception	57
the middle distance	57
to find the	57
of the former	57
be called the	57
of that church	57
he also made	57
if they had	57
of duke cosimo	57
similar to that	57
and as a	57
of that kind	57
by all the	57
at the academy	57
will be the	57
the dignity of	57
the same subject	57
each of them	56
and executed with	56
what is called	56
to mention that	56
in the cathedral	56
the present time	56
the other in	56
the vision of	56
the siege of	56
from the time	56
collection of the	56
is well known	56
we ought to	56
plan of the	56
there is little	56
of the ground	56
in the composition	56
charge of the	56
but of the	56
his own country	56
while in the	56
known to the	56
the law of	56
will find that	56
the other the	56
is to the	56
used to say	56
work that he	56
and beauty of	56
the mass of	56
man in the	56
in the hall	56
it with a	56
that you are	56
have been found	56
if we are	56
much his friend	56
and so he	56
the coronation of	56
is seated on	56
as the most	56
we are to	56
our lady of	56
the depth of	56
of the dutch	56
well as of	56
on the cross	56
the head and	56
idea of a	56
lies in the	56
my husband had	56
about the year	56
of which they	56
the latter is	56
the first is	56
he was commissioned	56
sight of the	56
had been in	56
the painter has	56
the principal door	56
are seen in	56
of his mind	56
and even the	56
of her husband	55
to his father	55
glory of the	55
features of the	55
he made his	55
on the table	55
part of it	55
an artist of	55
the medium of	55
in order not	55
yet it is	55
it will not	55
which he did	55
and in that	55
in which are	55
seen at the	55
returned to his	55
to him who	55
that some of	55
from the old	55
which he executed	55
of great beauty	55
the fourteenth century	55
the most excellent	55
who had a	55
from the beginning	55
of the state	55
on the back	55
with one hand	55
was that of	55
as a matter	55
in the sense	55
the wall of	55
would have done	55
by the duke	55
i think it	55
of beauty and	55
are now in	55
to him the	55
and with such	55
pope paul iii	55
be placed in	55
but at the	55
of my own	55
at the feet	55
the martyrdom of	55
in the best	55
would be the	55
has been done	55
a knowledge of	55
it in his	55
the intention of	55
his own portrait	55
related in the	55
in his day	54
the world has	54
exhibition of the	54
again and again	54
that he who	54
the outer side	54
appears to me	54
was also a	54
on his own	54
and a great	54
far as to	54
was not only	54
see in the	54
upper part of	54
edge of the	54
all of which	54
taste of the	54
academy of design	54
christ and the	54
difference between the	54
with many other	54
nothing but the	54
the powers of	54
down from the	54
the fact of	54
seemed to me	54
the valley of	54
the greatness of	54
his return to	54
is only a	54
all these things	54
are very beautiful	54
not of the	54
in the human	54
of the passion	54
executed for the	54
devoted himself to	54
a large picture	54
nor is it	54
was much extolled	54
ancient and modern	54
in the upper	54
of many of	54
and went to	54
the authority of	54
the steps of	54
signed and dated	54
to the painter	54
it is still	54
him with a	54
the piazza di	54
order not to	54
he was at	54
on the outer	54
in many of	54
he set himself	54
they are all	54
for want of	54
reason that he	54
for the present	54
there were no	54
that a man	54
on his return	54
may be the	53
the symbol of	53
he died in	53
is by no	53
that there were	53
had not yet	53
the one and	53
are on the	53
from the ground	53
there should be	53
at her feet	53
on the top	53
perino del vaga	53
and the work	53
we come to	53
had made a	53
he should have	53
is a fine	53
one of a	53
he has not	53
of more than	53
was on the	53
those who were	53
the only one	53
and he has	53
more of the	53
that we should	53
larger than life	53
of the florentine	53
piazza di s	53
to us in	53
us in the	53
the science of	53
a very rich	53
attention of the	53
did not know	53
and of all	53
of his most	53
at the corners	53
is very beautiful	53
architecture of the	53