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 | 2703 |
as well as | 1289 |
and in the | 1135 |
to have been | 1091 |
it is not | 1012 |
in the same | 1004 |
the church of | 1001 |
of the most | 962 |
the works of | 931 |
part of the | 922 |
that of the | 894 |
there is a | 883 |
the art of | 868 |
there is no | 856 |
it is a | 840 |
and it is | 809 |
of the picture | 802 |
that he was | 794 |
of the same | 793 |
in which the | 787 |
is to be | 784 |
one of his | 779 |
the work of | 774 |
at the same | 756 |
in which he | 732 |
the national gallery | 732 |
of the great | 730 |
the same time | 693 |
in order to | 684 |
it may be | 673 |
the end of | 667 |
he was a | 664 |
the name of | 661 |
of the virgin | 656 |
on the other | 654 |
some of the | 653 |
in the church | 643 |
he did not | 635 |
out of the | 634 |
as in the | 629 |
but it is | 623 |
it is the | 620 |
the life of | 606 |
that it is | 606 |
of his own | 602 |
of the art | 599 |
is one of | 596 |
is in the | 586 |
the history of | 585 |
more or less | 572 |
in the national | 571 |
picture of the | 559 |
of the old | 554 |
as it is | 552 |
now in the | 550 |
it would be | 535 |
i do not | 533 |
the school of | 530 |
seems to have | 519 |
it will be | 512 |
of his life | 512 |
to be seen | 506 |
of all the | 492 |
the time of | 492 |
the royal academy | 488 |
the portrait of | 487 |
light and shade | 486 |
that he had | 483 |
the influence of | 483 |
are to be | 481 |
and of the | 481 |
of his pictures | 481 |
of the first | 471 |
to be the | 466 |
of the world | 466 |
as far as | 461 |
to be found | 460 |
that it was | 460 |
the style of | 454 |
the fact that | 448 |
according to the | 446 |
in the first | 445 |
to be a | 445 |
the death of | 445 |
a number of | 443 |
the head of | 432 |
so far as | 431 |
the beauty of | 429 |
when he was | 428 |
must have been | 427 |
not to be | 424 |
would have been | 418 |
it has been | 416 |
the possession of | 413 |
side of the | 411 |
a man of | 411 |
in spite of | 410 |
at the time | 410 |
was one of | 408 |
in the louvre | 405 |
of light and | 404 |
the use of | 400 |
end of the | 400 |
said to have | 400 |
some of his | 399 |
the spirit of | 399 |
seen in the | 392 |
this is the | 389 |
be found in | 389 |
be seen in | 388 |
in the world | 384 |
the manner of | 383 |
of the two | 382 |
the study of | 380 |
it was not | 375 |
it was a | 375 |
at that time | 374 |
the beginning of | 369 |
the character of | 367 |
the effect of | 362 |
of his works | 359 |
the age of | 357 |
of the artist | 357 |
and it was | 356 |
those of the | 356 |
in the art | 355 |
in his own | 354 |
church of s | 353 |
the other hand | 353 |
as to the | 351 |
in the year | 351 |
works of the | 350 |
a picture of | 350 |
which he was | 350 |
that is to | 349 |
he was not | 348 |
of the painter | 347 |
the old masters | 346 |
of the work | 341 |
which he had | 341 |
in the possession | 339 |
in the picture | 337 |
of the church | 337 |
it was the | 335 |
of the whole | 334 |
there was a | 334 |
of his art | 334 |
many of the | 334 |
the middle of | 332 |
of which the | 331 |
a series of | 330 |
the form of | 329 |
the whole of | 329 |
is to say | 327 |
of the best | 326 |
so as to | 325 |
he was the | 325 |
portrait of a | 324 |
of a man | 323 |
is said to | 321 |
was in the | 321 |
the duke of | 320 |
the centre of | 316 |
to that of | 314 |
the subject of | 314 |
the picture of | 313 |
the rest of | 312 |
a painter of | 311 |
of the royal | 310 |
by means of | 310 |
the fifteenth century | 310 |
the power of | 309 |
and all the | 306 |
which it is | 306 |
at the end | 305 |
the nature of | 305 |
was to be | 304 |
him in the | 302 |
he had been | 299 |
as a painter | 299 |
portrait of the | 297 |
church of the | 296 |
of the sea | 294 |
in the middle | 293 |
on the left | 292 |
of the human | 291 |
character of the | 291 |
as they are | 290 |
many of his | 290 |
the course of | 290 |
a portrait of | 289 |
he had a | 288 |
it must be | 288 |
may be seen | 287 |
the figure of | 286 |
it is to | 286 |
he could not | 285 |
that in the | 285 |
it is said | 284 |
the expression of | 283 |
of one of | 281 |
the sixteenth century | 281 |
so that the | 281 |
but in the | 281 |
and at the | 280 |
by permission of | 280 |
on account of | 278 |
and there is | 278 |
on the right | 278 |
the picture is | 277 |
was the first | 276 |
the painting of | 276 |
which is the | 275 |
the pictures of | 273 |
it is in | 272 |
the house of | 272 |
the hand of | 272 |
of the day | 271 |
more than a | 271 |
found in the | 270 |
middle of the | 270 |
be able to | 270 |
of which he | 269 |
and that the | 269 |
of the sun | 268 |
of the school | 268 |
a pupil of | 267 |
seem to have | 266 |
for the first | 266 |
to the eye | 265 |
work of the | 265 |
that there is | 265 |
to see the | 264 |
as it were | 264 |
beauty of the | 264 |
of the earth | 264 |
in the midst | 263 |
it is impossible | 262 |
from a photograph | 262 |
a sort of | 261 |
the first time | 261 |
the side of | 261 |
there was no | 261 |
and the other | 260 |
by no means | 260 |
is not the | 259 |
painter of the | 259 |
and on the | 259 |
the midst of | 259 |
in such a | 259 |
of the figures | 258 |
the nineteenth century | 257 |
life of the | 257 |
which i have | 257 |
one of these | 257 |
pictures of the | 256 |
the best of | 254 |
as much as | 254 |
to make a | 252 |
it is only | 252 |
possession of the | 251 |
the colour of | 251 |
in point of | 250 |
a work of | 250 |
the son of | 250 |
he painted the | 250 |
on the contrary | 250 |
the walls of | 250 |
it does not | 249 |
the story of | 249 |
and he was | 248 |
of the greatest | 248 |
with which he | 248 |
as he was | 247 |
for the most | 247 |
a piece of | 246 |
in front of | 244 |
and to the | 244 |
of the renaissance | 244 |
one of them | 244 |
as we have | 244 |
than that of | 243 |
it is true | 243 |
are in the | 243 |
was born in | 241 |
in one of | 241 |
that they are | 241 |
the idea of | 240 |
a matter of | 240 |
have been a | 239 |
the light of | 239 |
of the time | 239 |
of his time | 239 |
to say that | 238 |
works of art | 238 |
in the foreground | 237 |
account of the | 237 |
and this is | 236 |
the seventeenth century | 236 |
of the other | 236 |
study of the | 235 |
he would have | 235 |
the eighteenth century | 234 |
in regard to | 234 |
is not a | 234 |
painting of the | 234 |
more and more | 233 |
of his work | 233 |
of those who | 233 |
adoration of the | 233 |
such as the | 232 |
but there is | 230 |
of the new | 230 |
in the history | 230 |
the most part | 230 |
of the city | 229 |
it was in | 229 |
as it was | 229 |
with regard to | 228 |
i have seen | 228 |
up to the | 228 |
at the age | 228 |
it in the | 228 |
of the subject | 228 |
well as the | 227 |
in proportion as | 227 |
here and there | 227 |
painters of the | 227 |
the top of | 227 |
will be found | 226 |
at this time | 225 |
the cause of | 225 |
in all the | 224 |
of the academy | 224 |
with all the | 224 |
leonardo da vinci | 223 |
one or two | 223 |
his native place | 223 |
but it was | 223 |
because it is | 222 |
that of a | 222 |
the close of | 222 |
the hands of | 222 |
which may be | 222 |
knowledge of the | 222 |
of the fifteenth | 222 |
the case of | 221 |
beginning of the | 221 |
ought to be | 220 |
the result of | 220 |
history of the | 220 |
as one of | 220 |
he went to | 220 |
art of the | 219 |
i have not | 218 |
the most important | 218 |
and by the | 218 |
the surface of | 217 |
in the most | 217 |
one of those | 217 |
a kind of | 215 |
owing to the | 215 |
a photograph by | 215 |
appears to have | 215 |
to paint the | 215 |
the sense of | 215 |
the painter of | 214 |
it seems to | 214 |
to the end | 213 |
in the case | 213 |
a man who | 212 |
for the sake | 212 |
the british museum | 211 |
in the centre | 211 |
the face of | 211 |
the same way | 211 |
the first of | 210 |
work of art | 210 |
the sake of | 210 |
the representation of | 210 |
portion of the | 210 |
the number of | 210 |
figure of the | 209 |
of the last | 209 |
have been the | 209 |
the body of | 209 |
the collection of | 209 |
as i have | 208 |
any of the | 207 |
to make the | 207 |
years of age | 206 |
this is a | 206 |
point of view | 206 |
in the original | 205 |
parts of the | 205 |
of the body | 205 |
a great deal | 204 |
painted for the | 204 |
is the most | 204 |
most of the | 203 |
that i have | 203 |
could not be | 203 |
spirit of the | 203 |
as soon as | 202 |
painted in the | 202 |
they are not | 202 |
but he was | 202 |
may have been | 202 |
and in his | 202 |
he does not | 201 |
member of the | 201 |
of a great | 200 |
the appearance of | 200 |
there is not | 199 |
of which is | 198 |
the presence of | 198 |
in the background | 197 |
on the th | 197 |
of the sky | 196 |
and the same | 196 |
the most beautiful | 196 |
a young man | 196 |
it should be | 196 |
the city of | 196 |
the date of | 196 |
in the course | 196 |
that which is | 196 |
sense of the | 195 |
two or three | 195 |
of the sixteenth | 194 |
place in the | 194 |
in the academy | 194 |
and for the | 194 |
a scholar of | 194 |
head of the | 194 |
as that of | 194 |
even in the | 194 |
and in this | 194 |
in the works | 193 |
belonging to the | 193 |
his picture of | 193 |
picture in the | 193 |
of painting in | 193 |
with the same | 193 |
leighton house collection | 193 |
with that of | 193 |
in this way | 192 |
much of the | 192 |
the picture was | 192 |
art of painting | 191 |
centre of the | 191 |
the names of | 191 |
down to the | 191 |
rest of the | 191 |
in the following | 191 |
of the master | 191 |
idea of the | 190 |
in that of | 190 |
in the cathedral | 189 |
than any other | 189 |
of the man | 189 |
the fourteenth century | 189 |
the th of | 189 |
artists of the | 188 |
is now in | 188 |
colour of the | 188 |
pictures in the | 188 |
and that he | 188 |
there is nothing | 188 |
i have been | 188 |
the part of | 188 |
madonna and saints | 188 |
might have been | 187 |
which he has | 187 |
of the venetian | 187 |
if he had | 187 |
is impossible to | 186 |
of the works | 186 |
andrea del sarto | 186 |
we have seen | 186 |
in proportion to | 185 |
on one side | 185 |
the service of | 185 |
part of his | 185 |
in his pictures | 185 |
the place of | 185 |
as an artist | 184 |
seems to me | 184 |
light of the | 184 |
when it is | 184 |
of the pictures | 184 |
that he could | 184 |
the production of | 184 |
he seems to | 184 |
the man who | 183 |
of the present | 183 |
in the second | 183 |
the first to | 183 |
do not know | 183 |
crowe and cavalcaselle | 182 |
it to the | 182 |
to his own | 181 |
of the french | 180 |
is that of | 180 |
expression of the | 180 |
in the last | 180 |
the eyes of | 179 |
if it were | 179 |
in his native | 179 |
madonna and child | 179 |
seems to be | 178 |
of this kind | 178 |
said to be | 178 |
in this respect | 177 |
from the life | 177 |
to the same | 177 |
and with the | 176 |
to which he | 176 |
in the collection | 176 |
for it is | 176 |
the purpose of | 176 |
and from the | 176 |
a long time | 176 |
of the original | 176 |
the fine arts | 176 |
as may be | 175 |
of the eye | 175 |
of the century | 175 |
a few years | 175 |
on the same | 175 |
may be said | 174 |
in the air | 174 |
than in the | 174 |
a native of | 174 |
nature of the | 174 |
of the people | 173 |
this was the | 173 |
use of the | 172 |
a part of | 172 |
it is difficult | 172 |
and that of | 171 |
that he should | 171 |
he had not | 171 |
in his work | 171 |
he was in | 171 |
we do not | 170 |
is full of | 170 |
regard to the | 170 |
in the great | 170 |
is not to | 170 |
and in a | 169 |
in possession of | 169 |
the act of | 169 |
the habit of | 169 |
is the only | 168 |
in which they | 168 |
the portraits of | 168 |
of their own | 167 |
in the manner | 167 |
black and white | 167 |
in the uffizi | 167 |
is not so | 166 |
men and women | 166 |
in the royal | 166 |
in the distance | 166 |
to those who | 166 |
which they are | 165 |
which we have | 165 |
in the style | 165 |
he had to | 165 |
the court of | 165 |
of the finest | 165 |
of the three | 165 |
it had been | 165 |
for a long | 165 |
a group of | 163 |
the point of | 163 |
at any rate | 163 |
i am not | 163 |
he is a | 163 |
be said to | 163 |
the king of | 163 |
drawing of the | 162 |
is difficult to | 162 |
exhibited at the | 162 |
of the head | 161 |
all that is | 161 |
the mind of | 161 |
which had been | 161 |
the truth of | 161 |
to do with | 161 |
of the early | 161 |
in the way | 161 |
in the act | 161 |
something of the | 161 |
on the subject | 161 |
they do not | 160 |
in the studio | 160 |
is a very | 160 |
surface of the | 160 |
of such a | 159 |
for a moment | 159 |
of the age | 159 |
it to be | 159 |
of the figure | 159 |
the virgin and | 159 |
which has been | 159 |
the drawing of | 158 |
the painters of | 158 |
john the baptist | 158 |
in the early | 158 |
placed in the | 158 |
the chapel of | 158 |
painting in the | 158 |
for a time | 157 |
was not a | 157 |
of the nineteenth | 157 |
for the purpose | 157 |
for some time | 156 |
not so much | 156 |
by the same | 156 |
of the water | 156 |
and if you | 156 |
in the house | 156 |
virgin and child | 156 |
to which the | 156 |
in some of | 156 |
of a picture | 155 |
with which the | 155 |
the other side | 155 |
on the ground | 155 |
the thirteenth century | 155 |
effect of the | 155 |
could not have | 154 |
on the whole | 154 |
on which the | 154 |
proportion to the | 154 |
will not be | 154 |
in those days | 154 |
he came to | 154 |
members of the | 154 |
that they were | 154 |
you will find | 154 |
given to the | 154 |
in the life | 153 |
with respect to | 153 |
look at the | 153 |
portraits of the | 153 |
which is not | 153 |
of the house | 153 |
to the great | 152 |
of the caracci | 152 |
figures of the | 152 |
it is an | 152 |
is of the | 151 |
the foot of | 151 |
seem to be | 151 |
as if they | 151 |
the decoration of | 151 |
at a time | 151 |
is the same | 150 |
of his master | 150 |
history of art | 150 |
influence of the | 150 |
in the other | 150 |
would not have | 150 |
he must have | 150 |
of which are | 150 |
the principles of | 150 |
the glory of | 150 |
that he has | 149 |
and the whole | 149 |
of which i | 149 |
in the form | 149 |
at one time | 149 |
sir joshua reynolds | 149 |
the love of | 149 |
is said that | 149 |
about the year | 149 |
where it is | 148 |
in the work | 148 |
were to be | 148 |
the opinion of | 148 |
the middle ages | 148 |
top of the | 148 |
in the time | 148 |
the present day | 148 |
about the same | 148 |
of the magi | 147 |
of what is | 147 |
was a great | 147 |
that of his | 147 |
in this picture | 147 |
in the city | 147 |
the strength of | 146 |
an artist of | 146 |
of the life | 146 |
to give the | 146 |
the academy of | 146 |
on the walls | 146 |
he was born | 145 |
that he would | 145 |
of the latter | 145 |
not in the | 145 |
the value of | 145 |
of the madonna | 145 |
him in his | 145 |
was able to | 145 |
there can be | 145 |
the venetian school | 145 |
the action of | 145 |
at the beginning | 145 |
in the gallery | 144 |
in the british | 144 |
the figures of | 144 |
in order that | 144 |
more than the | 144 |
the lines of | 144 |
of the seventeenth | 144 |
after the original | 144 |
like that of | 144 |
of an old | 144 |
in his hand | 144 |
and the most | 144 |
but they are | 144 |
walls of the | 144 |
in the whole | 143 |
in a few | 143 |
it was only | 143 |
there is an | 143 |
of art in | 143 |
and one of | 143 |
no less than | 143 |
to each other | 143 |
to the other | 143 |
it is possible | 143 |
a sense of | 143 |
to go to | 143 |
view of the | 143 |
with the most | 142 |
which he painted | 142 |
had not been | 142 |
the cathedral of | 142 |
them in the | 142 |
he painted in | 142 |
of the light | 141 |
to look at | 141 |
of the fine | 141 |
of the italian | 141 |
that he is | 141 |
to the world | 141 |
as long as | 141 |
a good deal | 141 |
of the second | 140 |
work in the | 140 |
lines of the | 140 |
puvis de chavannes | 140 |
of his age | 140 |
on the wall | 140 |
which is a | 140 |
a variety of | 140 |
in which it | 140 |
style of the | 139 |
a few of | 139 |
the book of | 139 |
the forms of | 139 |
the same year | 139 |
of his father | 139 |
for the church | 139 |
the size of | 138 |
in his life | 138 |
name of the | 138 |
in a picture | 138 |
and i have | 137 |
that is the | 137 |
of the eighteenth | 137 |
the figures are | 137 |
the battle of | 137 |
to paint a | 137 |
the daughter of | 137 |
him to the | 136 |
the direction of | 136 |
to the last | 136 |
the author of | 136 |
to him in | 136 |
it is evident | 136 |
the artists of | 136 |
preserved in the | 136 |
when he had | 136 |
way in which | 136 |
had to be | 135 |
form of the | 135 |
the shadow of | 135 |
the birth of | 135 |
from the first | 135 |
no more than | 135 |
of the roman | 135 |
of the fourteenth | 134 |
the days of | 134 |
years of his | 134 |
in addition to | 134 |
the composition of | 134 |
those who have | 134 |
been able to | 134 |
in the old | 134 |
of the beautiful | 134 |
the time when | 134 |
description of the | 134 |
it is necessary | 134 |
at the top | 134 |
of the highest | 134 |
permission of the | 133 |
i did not | 133 |
the way of | 133 |
this is not | 133 |
to be in | 133 |
may not be | 133 |
in a very | 133 |
well as in | 133 |
there is the | 133 |
close of the | 133 |
supposed to have | 133 |
of the public | 133 |
a member of | 132 |
history of painting | 132 |
the absence of | 132 |
at the royal | 132 |
he began to | 132 |
from the cross | 132 |
he is not | 132 |
he was an | 132 |
of the young | 132 |
a time when | 132 |
as they were | 132 |
of the duke | 132 |
and when he | 132 |
the height of | 131 |
half of the | 131 |
the genius of | 131 |
face of the | 131 |
of the holy | 131 |
that he did | 131 |
one of which | 130 |
supposed to be | 130 |
they did not | 130 |
the bottom of | 130 |
away from the | 130 |
example of the | 130 |
the greater part | 130 |
so that it | 130 |
an old man | 130 |
at the foot | 130 |
and his wife | 129 |
can only be | 129 |
he has been | 129 |
of the past | 129 |
the back of | 129 |
of some of | 129 |
if it is | 129 |
it would have | 129 |
there is something | 129 |
as he had | 129 |
he is the | 128 |
the adoration of | 128 |
of the air | 128 |
when it was | 128 |
the meaning of | 128 |
went to the | 128 |
back to the | 128 |
which it was | 128 |
with the exception | 128 |
only in the | 127 |
him as a | 127 |
the period of | 127 |
not have been | 127 |
form of a | 127 |
was a man | 127 |
the aid of | 127 |
portrait of himself | 127 |
chapel of the | 127 |
side by side | 127 |
it is that | 127 |
to the art | 127 |
of his contemporaries | 127 |
and the like | 126 |
produced by the | 126 |
as to be | 126 |
the most celebrated | 126 |
will be the | 126 |
part of a | 126 |
known as the | 126 |
you will see | 126 |
time of the | 126 |
far as i | 125 |
belongs to the | 125 |
the th century | 125 |
and when the | 125 |
the marriage of | 125 |
attention to the | 125 |
of the word | 125 |
should not be | 125 |
was not the | 125 |
in the evening | 125 |
so long as | 125 |
by him in | 125 |
of the th | 124 |
the world of | 124 |
at the bottom | 124 |
the quality of | 124 |
the effects of | 124 |
which have been | 124 |
the order of | 124 |
of the middle | 124 |
the society of | 124 |
who had been | 124 |
in the morning | 124 |
representation of the | 124 |
to the right | 124 |
in the present | 123 |
for many years | 123 |
of the kind | 123 |
the studio of | 123 |
together with the | 123 |
if it be | 123 |
to have a | 123 |
the lives of | 123 |
which he is | 122 |
of the year | 122 |
for which he | 122 |
out of his | 122 |
treatment of the | 122 |
in the vatican | 122 |
as a rule | 122 |
connected with the | 122 |
due to the | 122 |
has been said | 122 |
at the academy | 122 |
he had no | 122 |
of the composition | 122 |
it is of | 122 |
a few days | 122 |
can be no | 121 |
to return to | 121 |
is seen in | 121 |
the arrangement of | 121 |
of the face | 121 |
his works are | 121 |
in the school | 121 |
and there are | 121 |
it is very | 121 |
at a distance | 121 |
the development of | 121 |
manner in which | 121 |
was born at | 121 |
some of them | 121 |
story of the | 121 |
the image of | 121 |
portrait of man | 121 |
under the influence | 121 |
it might be | 120 |
the first place | 120 |
by way of | 120 |
that i am | 120 |
of the colour | 120 |
would seem to | 120 |
of the painters | 120 |
of all that | 120 |
the eye of | 120 |
of this work | 120 |
the practice of | 120 |
the treatment of | 120 |
there is in | 120 |
of which we | 119 |
he had the | 119 |
to be met | 119 |
of the country | 119 |
will be seen | 119 |
of the scene | 119 |
the laws of | 119 |
by which the | 119 |
in a letter | 119 |
should have been | 119 |
a short time | 119 |
on each side | 119 |
we shall see | 119 |
spite of the | 119 |
from that of | 119 |
to those of | 118 |
the last of | 118 |
that he might | 118 |
by the side | 118 |
appears to be | 118 |
he might have | 118 |
the introduction of | 118 |
of the ancient | 118 |
or in the | 118 |
and full of | 118 |
the same period | 118 |
and if the | 118 |
it is as | 118 |
body of the | 118 |
to me to | 118 |
the progress of | 117 |
reference to the | 117 |
his pictures are | 117 |
of his death | 117 |
characteristic of the | 117 |
there are some | 117 |
himself to the | 117 |
of any other | 116 |
is a picture | 116 |
to the left | 116 |
was at the | 116 |
met with in | 116 |
with his own | 116 |
the position of | 116 |
of a new | 116 |
the eye and | 116 |
though it is | 116 |
in his art | 116 |
and with a | 116 |
to be of | 116 |
be met with | 116 |
the exception of | 116 |
every one of | 116 |
with each other | 116 |
there are many | 116 |
must not be | 116 |
which is now | 116 |
of the english | 116 |
that there was | 115 |
of the dead | 115 |
a portrait painter | 115 |
say that the | 115 |
it was to | 115 |
he returned to | 115 |
between the two | 115 |
masters of the | 115 |
we have the | 115 |
after his death | 115 |
power of the | 115 |
or any other | 115 |
we have already | 114 |
the same as | 114 |
about this time | 114 |
of the period | 114 |
conception of the | 114 |
with the greatest | 114 |
it is now | 114 |
the father of | 114 |
to the painter | 114 |
of the modern | 113 |
the heads of | 113 |
of the little | 113 |
than those of | 113 |
death of the | 113 |
in the very | 113 |
in all its | 113 |
as if it | 113 |
there are no | 113 |
of a young | 113 |
of the principal | 113 |
where he was | 113 |
those who are | 113 |
the necessity of | 113 |
none of the | 113 |
the martyrdom of | 113 |
of the object | 112 |
of his most | 112 |
it can be | 112 |
little more than | 112 |
gazette des beaux | 112 |
they have been | 112 |
in black and | 112 |
is true that | 112 |
of this picture | 112 |
compared with the | 112 |
in any other | 112 |
he has not | 112 |
the master of | 112 |
he painted a | 111 |
frescoes in the | 111 |
of the cathedral | 111 |
of the king | 111 |
in the latter | 111 |
the example of | 111 |
instead of the | 111 |
in a great | 111 |
i could not | 111 |
of it in | 111 |
of life and | 111 |
in connection with | 111 |
imitation of the | 111 |
greater part of | 111 |
the type of | 111 |
of the arts | 111 |
of the family | 111 |
the title of | 111 |
figures in the | 111 |
the original painting | 111 |
in his youth | 110 |
of the mind | 110 |
the difference between | 110 |
in any way | 110 |
of the very | 110 |
also in the | 110 |
and as the | 110 |
he wished to | 110 |
of the vatican | 110 |
from the eye | 110 |
appear to be | 110 |
in his studio | 110 |
in the hands | 110 |
coronation of the | 110 |
is supposed to | 110 |
of a very | 110 |
the state of | 110 |
whole of the | 110 |
a study of | 109 |
master of the | 109 |
if they were | 109 |
the impression of | 109 |
in common with | 109 |
as a man | 109 |
in the drawing | 109 |
close to the | 109 |
appear to have | 109 |
the taste of | 109 |
of the thirteenth | 109 |
equal to the | 109 |
to the academy | 109 |
from the same | 109 |
the most perfect | 109 |
the pitti palace | 108 |
this may be | 108 |
one in the | 108 |
up in the | 108 |
i have already | 108 |
of the imagination | 108 |
of the dutch | 108 |
as early as | 108 |
the way in | 108 |
have been painted | 108 |
it is quite | 108 |
on the part | 108 |
in the light | 108 |
it is more | 108 |
that can be | 107 |
the convent of | 107 |
decoration of the | 107 |
a book of | 107 |
has not been | 107 |
by reason of | 107 |
or at least | 107 |
as a whole | 107 |
the execution of | 107 |
who was a | 107 |
great number of | 107 |
it must have | 107 |
of his best | 107 |
that the artist | 107 |
the gallery of | 107 |
and you will | 107 |
art in the | 107 |
the last supper | 107 |
he was to | 107 |
the prince of | 107 |
taken from the | 106 |
head of a | 106 |
in many of | 106 |
and the more | 106 |
far as it | 106 |
church of san | 106 |
which is in | 106 |
in the garden | 106 |
for him to | 106 |
on either side | 106 |
the honour of | 106 |
at the head | 106 |
perhaps the most | 106 |
as in his | 106 |
that all the | 106 |
an artist who | 106 |
is necessary to | 106 |
as we shall | 106 |
was the most | 105 |
a great number | 105 |
that he painted | 105 |
to speak of | 105 |
to give a | 105 |
of all his | 105 |
of form and | 105 |
to the public | 104 |
on the canvas | 104 |
it as a | 104 |
at this period | 104 |
of the louvre | 104 |
the human figure | 104 |
the method of | 104 |
in the matter | 104 |
and that is | 104 |
of colour and | 103 |
to form a | 103 |
the charm of | 103 |
far as the | 103 |
added to the | 103 |
was a very | 103 |
it would seem | 103 |
from the time | 103 |
the dignity of | 103 |
because of the | 103 |
seen in a | 103 |
be seen at | 103 |
list of illustrations | 103 |
the want of | 103 |
the picture in | 103 |
as a portrait | 103 |
meaning of the | 103 |
large number of | 102 |
to be made | 102 |
of an artist | 102 |
a great artist | 102 |
in the service | 102 |
all of them | 102 |
as a matter | 102 |
the feet of | 102 |
the triumph of | 102 |
of the brush | 102 |
from time to | 102 |
most of his | 102 |
a copy of | 102 |
not only the | 102 |
not at all | 101 |
the owner of | 101 |
and the two | 101 |
in the temple | 101 |
in the pitti | 101 |
and he had | 101 |
these are the | 101 |
the same subject | 101 |
in consequence of | 101 |
time to time | 101 |
lived in the | 101 |
an example of | 101 |
of the landscape | 101 |
that the painter | 101 |
to the present | 101 |
they are the | 101 |
as he is | 101 |
the following year | 101 |
be remembered that | 101 |
the object of | 101 |
that i should | 100 |
have been in | 100 |
especially in the | 100 |
in the presence | 100 |
and a few | 100 |
of his day | 100 |
he was one | 100 |
but he is | 100 |
of the florentine | 100 |
the case with | 100 |
of the late | 100 |
said that he | 100 |
in that city | 100 |
gallery of the | 100 |
of the greek | 100 |
the human form | 100 |
they may be | 99 |
of the artists | 99 |
great deal of | 99 |
of the room | 99 |
removed from the | 99 |
the sistine chapel | 99 |
in some measure | 99 |
with those of | 99 |
collection of the | 99 |
of the book | 99 |
the salon of | 99 |
is of a | 99 |
come to the | 99 |
part of it | 99 |
go to the | 99 |
of a painter | 99 |
that there are | 99 |
at all events | 99 |
it was painted | 99 |
we are to | 99 |
more of the | 98 |
in some degree | 98 |
front of the | 98 |
whom he had | 98 |
end of his | 98 |
are full of | 98 |
it is probable | 98 |
size of the | 98 |
the perfection of | 98 |
for this reason | 98 |
the shape of | 98 |
in the habit | 98 |
we have to | 98 |
nothing of the | 98 |
which does not | 98 |
is a great | 98 |
not seem to | 98 |
president of the | 98 |
in a manner | 98 |
any of his | 98 |
the greatest of | 98 |
works in the | 97 |
the soul of | 97 |
and i am | 97 |
by which he | 97 |
and in that | 97 |
in the country | 97 |
prince of wales | 97 |
of the nature | 97 |
adam and eve | 97 |
i know not | 97 |
to all the | 97 |
him to be | 97 |
to the whole | 97 |
to me that | 97 |
of these two | 97 |
and there was | 97 |
himself in the | 97 |
of the town | 97 |
the work is | 97 |
where there is | 97 |
in the end | 97 |
that i was | 97 |
those of his | 97 |
and they are | 97 |
no doubt that | 96 |
the reign of | 96 |
all the rest | 96 |
is not in | 96 |
all that he | 96 |
the eye is | 96 |
it is one | 96 |
bottom of the | 96 |
a mixture of | 96 |
of the emperor | 96 |
the last judgment | 96 |
in the beginning | 96 |
in all his | 96 |
distance from the | 96 |
i shall be | 96 |
in the rue | 96 |
of his genius | 96 |
in the palace | 96 |
the light and | 96 |
from which the | 96 |
scenes from the | 96 |
of the atmosphere | 96 |
them to the | 95 |
the heart of | 95 |
in their own | 95 |
it is no | 95 |
the roman school | 95 |
to him the | 95 |
the mass of | 95 |
is that the | 95 |
which can be | 95 |
church of st | 95 |
work of his | 95 |
this picture is | 95 |
the fall of | 95 |
the edge of | 95 |
to one of | 95 |
there is one | 95 |
he would not | 95 |
came to the | 95 |
we are told | 95 |
christ in the | 95 |
at the church | 95 |
arrangement of the | 95 |
from the hand | 95 |
in the highest | 95 |
lives of the | 95 |
the only one | 95 |
three or four | 95 |
the sun is | 94 |
foot of the | 94 |
the memory of | 94 |
but for the | 94 |
it with the | 94 |
many of them | 94 |
be in the | 94 |
manner of the | 94 |
because they are | 94 |
all the other | 94 |
ought not to | 94 |
fact that the | 94 |
action of the | 94 |
in accordance with | 94 |
shown in the | 94 |
of a lady | 94 |
the great masters | 94 |
the palace of | 94 |
it is well | 94 |
in the least | 94 |
when he painted | 94 |
owner of the | 94 |
the authority of | 94 |
is evident that | 94 |
he may be | 94 |
of this school | 94 |
be considered as | 94 |
that we have | 93 |
a knowledge of | 93 |
i have no | 93 |
in this case | 93 |
mind of the | 93 |
of the various | 93 |
one and the | 93 |
the group of | 93 |
the subject is | 93 |
the way to | 93 |
author of the | 93 |
the artist was | 93 |
to such a | 92 |
part in the | 92 |
the force of | 92 |
on to the | 92 |
to the old | 92 |
of its own | 92 |
to believe that | 92 |
in the chapel | 92 |
few of his | 92 |
to represent the | 92 |
the artist has | 92 |
and he is | 92 |
and child with | 92 |
to the king | 92 |
they had been | 92 |
difference between the | 92 |
those in the | 92 |
to show the | 92 |
the painter has | 92 |
it cannot be | 92 |
interest in the | 92 |
to be done | 92 |
i have never | 92 |
he was so | 92 |
not only in | 91 |
we know that | 91 |
given in the | 91 |
and of a | 91 |
line of the | 91 |
that this is | 91 |
of this period | 91 |
would not be | 91 |
to the most | 91 |
the pontificate of | 91 |
the attention of | 91 |
image of the | 91 |
in this work | 91 |
of the more | 91 |
of the copyright | 91 |
would be a | 91 |
the human body | 91 |
and some of | 91 |
the limits of | 91 |
he had seen | 91 |
acquainted with the | 91 |
of it is | 90 |
but this is | 90 |
at the present | 90 |
forms of the | 90 |
we may be | 90 |
by the way | 90 |
on his return | 90 |
the manner in | 90 |
so that he | 90 |
does not seem | 90 |
and a half | 90 |
an account of | 90 |
on the one | 90 |
the same manner | 90 |
of the antique | 90 |
was painted in | 90 |
made by the | 90 |
out of a | 90 |
to think of | 90 |
belong to the | 90 |
as if the | 90 |
we find the | 90 |
that part of | 90 |
picture of a | 90 |
hands of the | 90 |
from the original | 90 |
in the pictures | 90 |
relation to the | 90 |
may be found | 90 |
of the soul | 89 |
with a few | 89 |
nearer to the | 89 |
of a woman | 89 |
with whom he | 89 |
the figures in | 89 |
the secret of | 89 |
connection with the | 89 |
he is said | 89 |
a degree of | 89 |
as if he | 89 |
you do not | 89 |
said that the | 89 |
from which he | 89 |
in the next | 89 |
being able to | 89 |
we shall find | 89 |
which we are | 89 |
son of a | 89 |
at the louvre | 89 |
the list of | 89 |
the minds of | 89 |
of his figures | 89 |
the line of | 89 |
place of the | 89 |
the sacristy of | 89 |
in the sky | 89 |
the wallace collection | 88 |
painter to the | 88 |
i should have | 88 |
if they had | 88 |
to be painted | 88 |
to be an | 88 |
of art and | 88 |
each of the | 88 |
the holy family | 88 |
with the other | 88 |
that the picture | 88 |
and then the | 88 |
his work was | 88 |
in the ducal | 88 |
the design of | 88 |
in the new | 88 |
of michael angelo | 88 |
and that it | 88 |
the sight of | 88 |
his works in | 88 |
he may have | 88 |
again and again | 88 |
account of his | 88 |
to do so | 88 |
the series of | 88 |
manuscripts of the | 88 |
study of a | 88 |
when i was | 88 |
position of the | 88 |
of this artist | 88 |
so great a | 88 |
he became a | 88 |
an idea of | 88 |
of a certain | 88 |
where he painted | 87 |
portrait of his | 87 |
the choice of | 87 |
the painter was | 87 |
to a certain | 87 |
the exhibition of | 87 |
in the venetian | 87 |
and in other | 87 |
of the name | 87 |
he was at | 87 |
those which are | 87 |
the loss of | 87 |
and it will | 87 |
to make it | 87 |
and if it | 87 |
belonged to the | 87 |
the same thing | 87 |
on the side | 87 |
work of a | 87 |
the library of | 87 |
in the composition | 87 |
hand of the | 87 |
in his works | 87 |
by his own | 87 |
so much as | 86 |
the reputation of | 86 |
to whom he | 86 |
in the little | 86 |
that it should | 86 |
a picture by | 86 |
he was also | 86 |
i went to | 86 |
the pupil of | 86 |
he used to | 86 |
of his career | 86 |
the madonna and | 86 |
is the first | 86 |
the knowledge of | 86 |
men of the | 86 |
was a painter | 86 |
you will not | 86 |
the family of | 86 |
of the national | 86 |
subject of the | 86 |
of the grand | 86 |
and so on | 86 |
to show that | 86 |
now and then | 86 |
the judgment of | 85 |
in the sacristy | 85 |
for the rest | 85 |
be regarded as | 85 |
order of the | 85 |
time in the | 85 |
his life of | 85 |
only a few | 85 |
he wrote to | 85 |
be said that | 85 |
among the most | 85 |
a letter to | 85 |
that we are | 85 |
is in a | 85 |
which are the | 85 |
for the same | 85 |
it is so | 85 |
rays of the | 85 |
school of painting | 85 |
did not know | 85 |
sides of the | 84 |
of the design | 84 |
the schools of | 84 |
of the one | 84 |
eye of the | 84 |
all his life | 84 |
it was his | 84 |
that it has | 84 |
there are two | 84 |
of the spirit | 84 |
even to the | 84 |
when they are | 84 |
in his mind | 84 |
of the society | 84 |
at the close | 84 |
the hall of | 84 |
of the spectator | 84 |
of this class | 84 |
it is certain | 84 |
for a few | 84 |
employed in the | 84 |
after he had | 84 |
picture of s | 84 |
a picture which | 84 |
there is little | 83 |
book of the | 83 |
sight of the | 83 |
the words of | 83 |
made in the | 83 |
and it would | 83 |
the colours of | 83 |
the whole picture | 83 |
there may be | 83 |
return to the | 83 |
to make his | 83 |
in the painting | 83 |
there will be | 83 |
yet it is | 83 |
madonna of the | 83 |
and he has | 83 |
of which it | 83 |
he made a | 83 |
could have been | 83 |
the imitation of | 83 |
just as the | 83 |
corner of the | 83 |
that it would | 83 |
to take the | 83 |
to have the | 83 |
as in a | 83 |
in the fifteenth | 83 |
a picture in | 83 |
and the rest | 83 |
and which is | 82 |
the base of | 82 |
that it may | 82 |
hall of the | 82 |
the ducal palace | 82 |
in the open | 82 |
that may be | 82 |
on a large | 82 |
a place in | 82 |
to this day | 82 |
the kind of | 82 |
in the best | 82 |
madonna with ss | 82 |
we find in | 82 |
the mother of | 82 |
of his school | 82 |
pupil of the | 82 |
life in the | 82 |
we meet with | 82 |
in favour of | 82 |
the young man | 82 |
was obliged to | 82 |
the work was | 82 |
a large number | 82 |
as has been | 82 |
and infant john | 82 |
that she was | 82 |
which there is | 81 |
not one of | 81 |
the people of | 81 |
the company of | 81 |
the motion of | 81 |
to whom the | 81 |
has never been | 81 |
they were not | 81 |
in the east | 81 |
what i have | 81 |
all that was | 81 |
it did not | 81 |
does not appear | 81 |
in the salon | 81 |
his right hand | 81 |
and the picture | 81 |
the completion of | 81 |
it is all | 81 |
of the upper | 81 |
all sorts of | 81 |
in respect of | 81 |
to the best | 81 |
it was at | 81 |
on the opposite | 81 |
of the court | 81 |
he was able | 81 |
to be able | 81 |
it is interesting | 81 |
towards the end | 81 |
at the salon | 81 |
have been made | 81 |
of his paintings | 81 |
kind permission of | 81 |
of the painting | 80 |
the day of | 80 |
of the lower | 80 |
of them are | 80 |
the next day | 80 |
in the library | 80 |
from his own | 80 |
service of the | 80 |
a view of | 80 |
and the great | 80 |
to some extent | 80 |
the details of | 80 |
the shadows of | 80 |
which was to | 80 |
the uffizi gallery | 80 |
by the artist | 80 |
light and shadow | 80 |
the right hand | 80 |
to the study | 80 |
by the sun | 80 |
we have been | 80 |
the splendour of | 80 |
some of these | 80 |
had been a | 80 |
of his native | 80 |
but i have | 80 |
what has been | 80 |
we have a | 80 |
which is to | 80 |
as we are | 79 |
as he could | 79 |
has been the | 79 |
any one who | 79 |
in his later | 79 |
in the place | 79 |
the duchess of | 79 |
in the face | 79 |
well as of | 79 |
the existence of | 79 |
i have just | 79 |
the importance of | 79 |
worthy of the | 79 |
of the divine | 79 |
the united states | 79 |
he had painted | 79 |
or of the | 79 |
a portion of | 79 |
the foundation of | 79 |
of the former | 79 |
with all his | 79 |
all the world | 79 |
portrait of mrs | 79 |
and of his | 79 |
of the child | 79 |
the earl of | 79 |
before his death | 78 |
with so much | 78 |
of his wife | 78 |
while he was | 78 |
only to be | 78 |
this kind of | 78 |
branch of the | 78 |
which the artist | 78 |
he had never | 78 |
and if he | 78 |
in this country | 78 |
by those who | 78 |
in a way | 78 |
and that in | 78 |
as the most | 78 |
the year of | 78 |
of the trees | 78 |
after his return | 78 |
in which we | 78 |
more than one | 78 |
course of the | 78 |
exhibited in the | 78 |
him from the | 78 |
the proportions of | 78 |
it is with | 78 |
is perhaps the | 78 |
a couple of | 78 |
the madonna of | 78 |
in the lower | 78 |
the features of | 78 |
the majority of | 78 |
the conception of | 78 |
of art is | 78 |
is the best | 78 |
the masters of | 78 |
the qualities of | 78 |
so much of | 78 |
the assistance of | 78 |
and in some | 78 |
to be considered | 78 |
of the chief | 78 |
first of the | 77 |
that they have | 77 |
was destined to | 77 |
is on the | 77 |
as those of | 77 |
the old man | 77 |
the addition of | 77 |
of the colours | 77 |
is probable that | 77 |
you will be | 77 |
the coronation of | 77 |
in our own | 77 |
in the museum | 77 |
of the greeks | 77 |
which was the | 77 |
it was an | 77 |
much of his | 77 |
of our own | 77 |
at once to | 77 |
back of the | 77 |
it is this | 77 |
more than once | 77 |
and to have | 77 |
figure in the | 77 |
likely to be | 77 |
in the autumn | 77 |
study of nature | 77 |
ought to have | 77 |
it in a | 77 |
to take a | 77 |
copy of the | 77 |
several of his | 77 |
the subjects of | 77 |
effects of light | 77 |
a great painter | 77 |
to prove that | 77 |
eye and the | 77 |
a pair of | 77 |
that i had | 76 |
of santa maria | 76 |
in the days | 76 |
to have had | 76 |
on the back | 76 |
piece of the | 76 |
is a good | 76 |
the ceiling of | 76 |
by one of | 76 |
will be a | 76 |
it is easy | 76 |
as i am | 76 |
of the hand | 76 |
of the many | 76 |
rather than the | 76 |
the years eighteen | 76 |
was in his | 76 |
the length of | 76 |
it is also | 76 |
for the last | 76 |
as it may | 76 |
but he had | 76 |
much the same | 76 |
if you have | 76 |
edge of the | 76 |
of the earlier | 76 |
the level of | 76 |
attached to the | 76 |
he was very | 76 |
his father was | 76 |
by the hand | 76 |
son of the | 76 |
was on the | 76 |
all the more | 76 |
of a more | 76 |
the life and | 76 |
quality of the | 76 |
several of the | 76 |
it will not | 76 |
we must not | 76 |
proportion as the | 76 |
him for the | 76 |
sense of beauty | 75 |
of nature and | 75 |
may be considered | 75 |
the origin of | 75 |
nothing more than | 75 |
appearance of the | 75 |
because he was | 75 |
figure of a | 75 |
presented to the | 75 |
in the right | 75 |
madonna and infant | 75 |
his work is | 75 |
of the tree | 75 |
portrait of lady | 75 |
we see the | 75 |
is proved by | 75 |
the help of | 75 |
taste of the | 75 |
the arms of | 75 |
we find that | 75 |
the men who | 75 |
of the objects | 75 |
up by the | 75 |
sketch of the | 75 |
is no doubt | 75 |
to the mind | 75 |
shadow of the | 75 |
assumption of the | 75 |
his return to | 75 |
to which i | 75 |
of the beauty | 75 |
was not to | 75 |
two of the | 75 |
and as a | 75 |
for the great | 75 |
means of the | 74 |
the first who | 74 |
the theory of | 74 |
the law of | 74 |
made use of | 74 |
the tate gallery | 74 |
the scholar of | 74 |
the question of | 74 |
i have said | 74 |
the invention of | 74 |
the excellence of | 74 |
of a tree | 74 |
the painter is | 74 |
to the first | 74 |
which seems to | 74 |
of the men | 74 |
that is not | 74 |
of the state | 74 |
his own country | 74 |
a bit of | 74 |
by the great | 74 |
is that which | 74 |
the grace of | 74 |
there is much | 74 |
the movement of | 74 |
that the whole | 74 |
in the third | 74 |
was the only | 74 |
his pictures were | 74 |
the arts of | 74 |
for his own | 74 |
pier francesco fiorentino | 74 |
of his mother | 74 |
the reader will | 74 |
on one of | 74 |
he appears to | 74 |
a state of | 74 |
man with the | 74 |
the colour is | 74 |
of the mountain | 74 |
i know that | 74 |
on which he | 74 |
not of the | 74 |
was that of | 74 |
but as a | 74 |
but on the | 74 |
branch of art | 74 |
from the beginning | 74 |
but there are | 73 |
of a few | 73 |
the tone of | 73 |
to study the | 73 |
at the first | 73 |
what he had | 73 |
of the heads | 73 |
in other places | 73 |
the result is | 73 |
it was that | 73 |
the van eycks | 73 |
and may be | 73 |
and a little | 73 |
in the sixteenth | 73 |
like those of | 73 |
do not think | 73 |
which will be | 73 |
the fine art | 73 |
catalogue of the | 73 |
had been the | 73 |
his love of | 73 |
for he was | 73 |
the sale of | 73 |
is the more | 73 |
where he had | 73 |
christ and the | 73 |
of the true | 73 |
devoted to the | 73 |
whom he was | 73 |
the harmony of | 73 |
has already been | 73 |
of any kind | 73 |
in some cases | 73 |
in the south | 73 |
proportions of the | 73 |
see in the | 73 |
the opening of | 73 |
his pictures of | 73 |
the expense of | 73 |
the joy of | 73 |
the matter of | 73 |
to the artist | 73 |
of our lord | 73 |
light on the | 73 |
of a good | 73 |
he had made | 73 |
in the summer | 73 |
the attitude of | 73 |
in competition with | 73 |
an expression of | 73 |
though he was | 72 |
to see that | 72 |
in the churches | 72 |
movement of the | 72 |
it seemed to | 72 |
the open air | 72 |
for all the | 72 |
seemed to me | 72 |
of modern art | 72 |
there must be | 72 |
born in the | 72 |
you want to | 72 |
is possible to | 72 |
to the general | 72 |
the return of | 72 |
to the time | 72 |
which are not | 72 |
to express the | 72 |
you wish to | 72 |
according to his | 72 |
the merit of | 72 |
to point out | 72 |
the productions of | 72 |
of san marco | 72 |
by this time | 72 |
of the series | 72 |
in like manner | 72 |
he died in | 72 |
presence of the | 72 |
may be made | 72 |
it in his | 72 |
the composition is | 72 |
were in the | 72 |
south kensington museum | 72 |
is no longer | 72 |
the opposite side | 72 |
all the great | 72 |
of the night | 72 |
last of the | 72 |
and beauty of | 72 |
which in the | 72 |
when he came | 71 |
at the side | 71 |
tells us that | 71 |
a master of | 71 |
we have no | 71 |
the weight of | 71 |
few of the | 71 |
development of the | 71 |
it could not | 71 |
this picture was | 71 |
the sun and | 71 |
the members of | 71 |
at that period | 71 |
and did not | 71 |
to the court | 71 |
and if we | 71 |
of the drapery | 71 |
way to the | 71 |
martyrdom of st | 71 |
the queen of | 71 |
in so far | 71 |
we are not | 71 |
the means of | 71 |
the discovery of | 71 |
period of the | 71 |
and it has | 71 |
a collection of | 71 |
that had been | 71 |
we see in | 71 |
may be called | 71 |
such is the | 71 |
in the two | 71 |
and to be | 71 |
they are all | 71 |
to an end | 71 |
i will not | 71 |
to the royal | 71 |
can hardly be | 71 |
and as he | 71 |
the science of | 70 |
but if the | 70 |
that you are | 70 |
most of them | 70 |
mentioned in the | 70 |
in relation to | 70 |
to become a | 70 |
of the venetians | 70 |
of the canvas | 70 |
i had not | 70 |
to his mother | 70 |
but at the | 70 |
it from the | 70 |
to the studio | 70 |
in the sense | 70 |
of the moon | 70 |
number of the | 70 |
seemed to be | 70 |
of men and | 70 |
the air of | 70 |
what is the | 70 |
on the floor | 70 |
caused by the | 70 |
in the opinion | 70 |
fact that he | 70 |
i should be | 70 |
was a good | 70 |
other parts of | 70 |
as we see | 70 |
cause of the | 70 |
des beaux arts | 70 |
the original picture | 70 |
time when the | 70 |
as regards the | 70 |
particularly in the | 70 |
to see how | 70 |
number of his | 70 |
was the son | 70 |
the color of | 70 |
out in the | 70 |
which i am | 70 |
the young artist | 70 |
it is by | 70 |
in the use | 70 |
are not to | 70 |
his pictures in | 70 |
of which was | 70 |
and what is | 70 |
was an artist | 70 |
any more than | 70 |
artist of the | 70 |
and not the | 70 |
for the painter | 69 |
that they may | 69 |
in the pontificate | 69 |
the summit of | 69 |
it would not | 69 |
the left hand | 69 |
because it was | 69 |
the great painter | 69 |
in the mind | 69 |
and even the | 69 |
to the fact | 69 |
as the first | 69 |
and the eye | 69 |
on the surface | 69 |
over and over | 69 |
of the cross | 69 |
portrait of miss | 69 |
a mass of | 69 |
was a pupil | 69 |
of this is | 69 |
in the seventeenth | 69 |
of his great | 69 |
of the general | 69 |
owners of the | 69 |
his life and | 69 |
as for the | 69 |
to the very | 69 |
of the fact | 69 |
a large scale | 69 |
of the river | 69 |
with all its | 69 |
that they should | 69 |
descent from the | 69 |
in the spring | 69 |
which are to | 69 |
are the most | 69 |
beauty in the | 69 |
of the few | 69 |
to the school | 69 |
of beauty in | 69 |
is interesting to | 69 |
was not so | 69 |
in his picture | 69 |
in the eyes | 69 |
has been made | 69 |
two of his | 69 |
from his hand | 69 |
the upper part | 69 |
can never be | 69 |
of the place | 68 |
the reader to | 68 |
it is still | 68 |
he was employed | 68 |
school of the | 68 |
the fact is | 68 |
at the court | 68 |
the folds of | 68 |
they will be | 68 |
known to have | 68 |
one side of | 68 |
which they were | 68 |
pictures of this | 68 |
period of his | 68 |
the whole is | 68 |
to the point | 68 |
and the light | 68 |
nor is it | 68 |
was full of | 68 |
is well known | 68 |
the most remarkable | 68 |
the occasion of | 68 |
heads of the | 68 |
the background of | 68 |
man of the | 68 |
the sky is | 68 |
the fame of | 68 |
a friend of | 68 |
little of the | 68 |
from the old | 68 |
in her hand | 68 |
are of the | 68 |
he has left | 68 |
at the expense | 68 |
in which his | 68 |
devoted himself to | 68 |
in the berlin | 68 |
of what he | 68 |
and i was | 68 |
so to speak | 68 |
glory of the | 68 |
with reference to | 68 |
derived from the | 68 |
appeared in the | 68 |
to produce a | 68 |
in later years | 68 |
he was called | 68 |
they are in | 68 |
the pursuit of | 68 |
is easy to | 68 |
in the former | 68 |
masterpieces in colour | 68 |
that he may | 68 |
in which i | 67 |
is only a | 67 |
a period of | 67 |
full of the | 67 |
at his best | 67 |
a visit to | 67 |
to his father | 67 |
each other in | 67 |
is known to | 67 |
of the four | 67 |
the price of | 67 |
method of painting | 67 |
him to have | 67 |
features of the | 67 |
examples of the | 67 |
only by the | 67 |
the artist is | 67 |
he was more | 67 |
may be the | 67 |
the source of | 67 |
opposed to the | 67 |
he would be | 67 |
time he was | 67 |
than the other | 67 |
as an example | 67 |
the man of | 67 |
the right of | 67 |
knew how to | 67 |
on the table | 67 |
motion of the | 67 |
form and colour | 67 |
of the ancients | 67 |
of his country | 67 |
was also a | 67 |
where they are | 67 |
he was always | 67 |
type of the | 67 |
the results of | 67 |
the most interesting | 67 |
to find a | 67 |
if you will | 67 |
the owners of | 67 |
on this subject | 67 |
she was a | 67 |
see that the | 67 |
at first sight | 67 |
to the year | 67 |
the rays of | 67 |
seen by the | 67 |
that has been | 67 |
the colouring of | 67 |
it is always | 67 |
the wife of | 67 |
led to the | 67 |
was sent to | 66 |
of the saint | 66 |
after the death | 66 |
length of the | 66 |
the metropolitan museum | 66 |
of the british | 66 |
the dresden gallery | 66 |
but they were | 66 |
the banks of | 66 |
to the subject | 66 |
and those of | 66 |
in other words | 66 |
in the direction | 66 |
it would appear | 66 |
with which they | 66 |
even in his | 66 |
of these pictures | 66 |
represented in the | 66 |
to a great | 66 |
a very beautiful | 66 |
eyes of the | 66 |
in all probability | 66 |
he has painted | 66 |
with which it | 66 |
the process of | 66 |
have not been | 66 |
appeal to the | 66 |
the depth of | 66 |
progress of the | 66 |
a drawing of | 66 |
of the way | 66 |
in place of | 66 |
bacchus and ariadne | 66 |
of his early | 66 |
of the central | 66 |
with a little | 66 |
surrounded by a | 66 |
which is so | 66 |
nearly all the | 66 |
of the preceding | 66 |
of the noble | 65 |
him by the | 65 |
to which they | 65 |
if they are | 65 |
as i was | 65 |
in a little | 65 |
in the wallace | 65 |
of the convent | 65 |
flight into egypt | 65 |
his native city | 65 |
the first is | 65 |
martyrdom of s | 65 |
as it has | 65 |
such a way | 65 |
of the innocents | 65 |
to which it | 65 |
the variety of | 65 |
strength of the | 65 |
as he did | 65 |
house of the | 65 |
he was never | 65 |
the success of | 65 |
and not to | 65 |
at the moment | 65 |
for one of | 65 |
in which a | 65 |
colours of the | 65 |
of his friends | 65 |
in those of | 65 |
was of the | 65 |
and many other | 65 |
for me to | 65 |
in the upper | 65 |
the figure is | 65 |
work on the | 65 |
director of the | 65 |
of the german | 65 |
the first and | 65 |
while in the | 65 |
of the group | 65 |
if we are | 65 |
be one of | 64 |
of the nude | 64 |
so that they | 64 |
i think that | 64 |
in the palazzo | 64 |
with the best | 64 |
from the other | 64 |
if it had | 64 |
the same place | 64 |
the paintings of | 64 |
good deal of | 64 |
i believe that | 64 |
all of which | 64 |
in the dresden | 64 |
i think it | 64 |
but i am | 64 |
permission of messrs | 64 |
when the sun | 64 |
manuscript of the | 64 |
at south kensington | 64 |
the same in | 64 |
between him and | 64 |
of them in | 64 |
if i had | 64 |
so many of | 64 |
reason of the | 64 |
the interest of | 64 |
do with the | 64 |
find in the | 64 |
influence on the | 64 |
of his picture | 64 |
of fine arts | 64 |
the men of | 64 |
to the ground | 64 |
man in the | 64 |
the gift of | 64 |
the outlines of | 64 |
to the works | 64 |
which the painter | 64 |
is equal to | 64 |
with the great | 64 |
to the picture | 64 |
of the lord | 64 |
the vision of | 64 |
had come to | 63 |
the churches of | 63 |
a follower of | 63 |
of his powers | 63 |
and in all | 63 |
in the sun | 63 |
this was a | 63 |
such as we | 63 |
that one of | 63 |
of the east | 63 |
so that i | 63 |
set to work | 63 |
he lived in | 63 |
it was then | 63 |
the faces of | 63 |
church of santa | 63 |
appears to me | 63 |
still to be | 63 |
in the water | 63 |
i shall have | 63 |
colour in the | 63 |
the scene of | 63 |
contrast to the | 63 |
of the chapel | 63 |
when they were | 63 |
it has not | 63 |
and i think | 63 |
for it was | 63 |
a history of | 63 |
the fashion of | 63 |
each side of | 63 |
his art was | 63 |
respect to the | 63 |
as compared with | 63 |
with him in | 63 |
in the catalogue | 63 |
the other in | 63 |
the amount of | 63 |
with a certain | 63 |
his wife and | 63 |
be difficult to | 63 |