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	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