quadgram

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

quadgram	frequency
the end of the	350
in the form of	278
of the eighteenth century	276
the middle of the	264
victoria and albert museum	240
one of the most	223
of the seventeenth century	223
of the sixteenth century	211
in the british museum	202
at the same time	184
in the case of	184
of the fifteenth century	177
the beginning of the	169
the form of a	167
the work of the	164
on the other hand	163
is one of the	160
the victoria and albert	152
in the collection of	145
as well as the	140
to be found in	139
the rest of the	138
o o o o	137
the top of the	137
at the end of	131
the south kensington museum	128
seems to have been	127
of the thirteenth century	125
in the sixteenth century	124
in the possession of	120
the time of the	118
be found in the	117
a part of the	115
of the fourteenth century	115
the use of the	113
of the middle ages	113
of the nineteenth century	109
be seen in the	107
the centre of the	107
for the most part	102
it will be seen	101
in the eighteenth century	101
that is to say	100
in the south kensington	98
to be seen in	98
the surface of the	97
the fact that the	96
in the seventeenth century	95
said to have been	95
is said to have	95
in the time of	93
in the reign of	91
in the middle of	89
of gold and silver	89
as well as in	89
in the middle ages	89
in the fifteenth century	88
in the victoria and	86
the art of the	86
it is difficult to	84
appears to have been	84
the back of the	83
in the centre of	82
by the use of	82
the character of the	79
it is to be	79
at the time of	79
are to be found	79
the beauty of the	79
the style of the	78
of the primary mass	77
the close of the	76
may be said to	76
in the hands of	76
the arts and crafts	75
may be seen in	75
the design of the	74
it is impossible to	73
in some of the	73
it is well to	73
in the style of	71
a great deal of	71
of the time of	71
the name of the	71
in the days of	70
as early as the	70
in the way of	69
of the art of	69
the history of the	69
by means of a	68
at the present day	68
a good deal of	68
at the beginning of	68
the sides of the	68
in the thirteenth century	68
in addition to the	68
as a matter of	67
first half of the	66
for the purpose of	66
of some of the	66
of william and mary	66
the whole of the	66
on the part of	65
the first half of	65
it is necessary to	64
the body of the	64
in the shape of	64
in the history of	64
the head of the	64
appear to have been	64
is to be found	63
towards the end of	63
in one of the	63
the walls of the	63
the size of the	62
the greater part of	62
it is interesting to	62
will be seen that	61
the early part of	60
the influence of the	60
on account of the	59
of one of the	59
the edge of the	59
the lines of the	59
the latter part of	57
by the courtesy of	57
early part of the	57
seem to have been	57
for the use of	57
in the same way	56
the second half of	56
to the use of	56
with gold and silver	56
in the use of	55
on each side of	55
to have been the	55
the part of the	55
are to be seen	55
the life of the	55
of the present day	54
the effect of the	54
latter part of the	54
second half of the	54
to have been a	54
at the top of	54
the decoration of the	54
but it is not	54
the colour of the	53
the hands of the	53
in spite of the	53
for the sake of	53
during the reign of	53
it was not until	53
it is true that	53
the point of concentration	52
of the th century	52
in the united states	52
in the midst of	52
each side of the	52
with the exception of	51
the way in which	51
in the fourteenth century	51
the use of a	50
of the reign of	50
the collection of mr	50
the case of the	50
the period of the	49
be said to have	49
the upper part of	49
it is said that	49
of the same period	49
seventeenth and eighteenth centuries	49
with a view to	49
the form of the	48
some of the most	48
in the first place	48
is shown in the	48
in regard to the	48
the time of louis	48
the furniture of the	48
the shape of the	48
the arms of the	47
it must be remembered	47
from the life of	47
as well as of	47
to have been made	47
is by no means	47
in the church of	47
to the fact that	47
in the decoration of	46
about the middle of	46
it is easy to	46
was one of the	46
in the manner of	46
the spirit of the	46
from the fact that	46
the seventeenth and eighteenth	46
in the inventory of	46
under the name of	45
the place of the	45
in connection with the	45
metropolitan museum of art	45
in white and stain	45
the latter half of	45
for the first time	45
and at the same	45
a large number of	45
in the course of	44
a matter of fact	44
the bottom of the	44
the quality of the	44
the nature of the	44
latter half of the	44
the sixteenth and seventeenth	44
the introduction of the	44
sixteenth and seventeenth centuries	44
it is possible to	44
it is in the	44
by the fact that	43
in the direction of	43
a great variety of	43
of the last century	43
it may be said	43
there is no doubt	43
as in the case	43
end of the fifteenth	43
on either side of	43
as well as a	43
of the arts and	43
in the same manner	43
under the direction of	42
and some of the	42
in the museum of	42
the reign of louis	42
end of the seventeenth	42
or it may be	41
is now in the	41
of the house of	41
in accordance with the	41
in the production of	41
the courtesy of messrs	41
of the work of	41
is said to be	41
with regard to the	41
in the art of	41
is not to be	40
it is probable that	40
the edges of the	40
the possession of the	40
in the province of	40
as may be seen	40
of the united states	40
a certain amount of	40
upper part of the	40
into the hands of	40
the church of st	40
the days of the	39
the reign of henry	39
is to be seen	39
the top and bottom	39
end of the century	39
on account of its	39
from time to time	39
the length of the	39
the manner in which	39
middle of the eighteenth	39
as one of the	39
on the other side	39
one of the finest	38
of the most beautiful	38
the side of the	38
the width of the	38
fourteenth and fifteenth centuries	38
the foot of the	38
one above the other	38
the height of the	38
in harmony with the	38
one side of the	37
be seen that the	37
what is known as	37
as that of the	37
may be found in	37
middle of the century	37
from the time of	37
end of the eighteenth	37
the inside of the	37
division of political history	37
to that of the	37
gold and silver lace	36
the value of the	36
at the foot of	36
it is certain that	36
come down to us	36
as we have seen	36
it seems to me	36
the treatment of the	36
half of the sixteenth	36
it is one of	36
of the twelfth century	36
in the nature of	36
with the arms of	36
be said to be	36
is no doubt that	35
by permission of messrs	35
it will be noticed	35
of the use of	35
the work of a	35
the story of the	34
greater part of the	34
is seen in the	34
is known as the	34
in the manufacture of	34
there is no reason	34
must be remembered that	34
the evolution of the	34
that there is a	34
the figure of a	34
to do with the	34
at the present time	34
to be used in	34
from the collection of	34
a few years ago	34
a great number of	34
and there is a	33
for a long time	33
by permission of the	33
will be found in	33
it will be found	33
one of the first	33
one of the best	33
it is obvious that	33
in order that the	33
side by side with	33
the possession of mr	33
the subject of the	32
a piece of furniture	32
the ends of the	32
there can be no	32
the date of the	32
the base of the	32
it is better to	32
at the victoria and	32
scenes from the life	32
the direction of the	32
as well as to	32
under the influence of	32
in the matter of	32
to the end of	32
is that of a	32
a work of art	32
as far as the	32
on the north side	31
in the twelfth century	31
of the city of	31
in front of the	31
the early years of	31
either side of the	31
in the chapel of	31
william and mary period	31
on the walls of	31
at a time when	31
other parts of the	31
the fourteenth and fifteenth	31
on a ground of	31
the jewellery of the	31
middle of the seventeenth	31
in the nineteenth century	31
the proprietors of the	31
but it must be	31
on the back of	31
of the furniture of	31
the same manner as	31
of the duke of	30
valencia de don juan	30
a good example of	30
in the chapter on	30
the drawing of the	30
well as in the	30
the property of the	30
as late as the	30
on the side of	30
there is also a	30
have been found in	30
in many of the	30
there should be a	30
arts and crafts exhibition	30
was not until the	30
is that of the	30
of a series of	30
the manner of the	30
in the treatment of	30
at the top and	30
is interesting to note	30
in the work of	30
the appearance of the	29
in various parts of	29
it must not be	29
are not to be	29
at the head of	29
the collection of the	29
parts of the country	29
on the one hand	29
may be said that	29
the arrangement of the	29
as i have said	29
of a piece of	29
is an example of	29
for the decoration of	29
be used as a	29
in the early part	29
as a means of	29
with a piece of	29
one of the chief	29
formed part of the	29
the development of the	29
it is not necessary	29
towards the middle of	29
a few of the	29
to have belonged to	29
as much as possible	29
of light and shade	29
of the history of	28
a considerable number of	28
of the proprietors of	28
by the addition of	28
by means of the	28
in the kingdom of	28
the names of the	28
in the th century	28
the period of louis	28
but it is a	28
the chapel of the	28
of the church of	28
be borne in mind	28
are preserved in the	28
at the back of	28
it is not a	28
to the production of	28
th and th centuries	28
it was in the	28
some of the best	28
that it is not	28
the queen anne period	27
in gold and silver	27
in which it is	27
as shown in the	27
in the early days	27
in the cathedral at	27
it will be observed	27
it would have been	27
last quarter of the	27
towards the close of	27
the head of a	27
was made in the	27
the hall of the	27
as well as for	27
of valencia de don	27
count of valencia de	27
the twelfth and thirteenth	27
the walls of a	27
the last quarter of	27
which are to be	27
in the making of	27
of the same colour	27
a fine example of	27
half of the century	27
by the name of	27
take the form of	27
proprietors of the connoisseur	27
an example of the	27
the metropolitan museum of	27
it is not so	27
was given to the	27
have been made in	27
the british museum is	27
one of the earliest	27
the details of the	27
by the introduction of	27
early years of the	27
the early days of	26
not only in the	26
of ferdinand and isabella	26
as part of the	26
the windows of the	26
after the manner of	26
of the seventeenth and	26
the reign of james	26
of the italian renaissance	26
in relation to the	26
as will be seen	26
is a matter of	26
on the occasion of	26
of the queen anne	26
a portion of the	26
way in which the	26
and one of the	26
end of the sixteenth	26
to be met with	26
the case of a	26
the designs of the	26
the houses of the	26
the front of the	26
be the work of	26
have come down to	26
in the museum at	26
it must be admitted	26
set with precious stones	26
took the place of	26
and crafts exhibition society	26
of the same material	26
this part of the	26
in which they are	26
is no reason why	26
in the city of	26
there is a great	25
first quarter of the	25
of copper and brass	25
twelfth and thirteenth centuries	25
this is one of	25
of this class of	25
gold and silver thread	25
and it is not	25
but there is no	25
of the most interesting	25
the interior of the	25
the shape of a	25
the architecture of the	25
in the neighbourhood of	25
it is not easy	25
in the habit of	25
on the top of	25
on one side of	25
the taste of the	25
be one of the	25
the outlines of the	25
the idea of the	25
the fact that it	25
they are to be	25
said to be the	25
in place of the	25
still to be seen	25
the lower part of	25
of which it is	25
the decoration of a	25
the commencement of the	25
the reign of charles	25
of the sixteenth and	25
the level of the	25
take the place of	25
the face of the	25
the time of henry	25
the city of london	25
the first quarter of	25
of one of these	24
the sixteenth century the	24
in the same collection	24
in which there is	24
supposed to have been	24
the time of charles	24
of the same kind	24
with the view of	24
it must have been	24
the fashion of the	24
at the battle of	24
in the design of	24
the same kind of	24
beginning of the sixteenth	24
and that of the	24
the east end of	24
some of the finest	24
part of the century	24
is shown by the	24
the church of s	24
to the work of	24
by the kindness of	24
will be noticed that	24
to the present day	24
of the fact that	24
the life of christ	24
for the production of	24
of the earl of	24
as a general rule	24
the thickness of the	23
of the british museum	23
is covered with a	23
the william and mary	23
the most important of	23
in the cathedral of	23
on the inside of	23
one of the few	23
it was not till	23
in such a manner	23
the outline of the	23
middle of the sixteenth	23
the presence of the	23
in the upper part	23
to a great extent	23
is found in the	23
in the center of	23
and on the other	23
from one of the	23
the effect of a	23
has been made to	23
of the most important	23
of the dukes of	23
to have been used	23
that some of the	23
the museum of the	23
of about the same	23
on the subject of	23
a tree of jesse	23
in keeping with the	23
at the east end	23
we do not know	23
of the cathedral of	23
in other parts of	23
the first of these	23
be used in the	23
it is quite possible	23
at the court of	23
the origin of the	23
the opening of the	23
half of the seventeenth	23
that it is a	23
nothing could be more	23
to the beauty of	22
and it is a	22
is the result of	22
will be observed that	22
as a part of	22
the inventory of the	22
of this kind of	22
tribal marks over each	22
that it may be	22
about the end of	22
one end of the	22
cottage and farmhouse furniture	22
for the benefit of	22
time of louis xiv	22
the productions of the	22
in france and england	22
as far back as	22
various parts of the	22
at the close of	22
as soon as the	22
the other side of	22
it is possible that	22
different parts of the	22
united states national museum	22
believed to have been	22
the order of the	22
in proportion to the	22
there is a good	22
half of the eighteenth	22
to be able to	22
museum of fine arts	22
the kingdom of valencia	22
is not easy to	22
the reign of queen	22
with which it is	22
in the same year	22
than that of the	22
the upper portion of	22
marks over each eye	22
the right of the	21
the outside of the	21
the study of the	21
the hands of a	21
is due to the	21
he seems to have	21
of the same date	21
it is evident that	21
must have been a	21
in so far as	21
the reign of george	21
of which they are	21
from left to right	21
at the expense of	21
it may be well	21
in the national museum	21
borne in mind that	21
are still to be	21
in the present day	21
as time went on	21
it is by no	21
the costume of the	21
in course of time	21
as if it were	21
the clerestory of the	21
it is to the	21
in the kensington museum	21
to be seen at	21
it will be necessary	21
the dress of the	21
in the wallace collection	21
but as a rule	21
in which it was	21
at the hands of	21
beginning of the eighteenth	21
to the value of	21
in most of the	21
an account of the	21
to one of the	21
of this kind is	21
of the chapel of	21
to have been in	21
to be made in	21
half of the fifteenth	21
the count of valencia	21
may be used in	21
is to be used	21
the grain of the	21
to say that the	21
in the last century	21
of which we have	21
in this case the	21
the end of this	21
from that of the	21
of the period of	21
are now in the	21
on a white ground	20
the age of the	20
from the end of	20
it is a very	20
is believed to have	20
for the display of	20
to the right of	20
during the sixteenth century	20
in the sixteenth and	20
must be admitted that	20
in the latter part	20
the hand of the	20
as an example of	20
are a number of	20
the art of making	20
will be necessary to	20
the gold and silver	20
in the life of	20
out of place in	20
the members of the	20
on the surface of	20
if it were not	20
the fifteenth and sixteenth	20
it is best to	20
arts and crafts of	20
in conjunction with the	20
shown in the illustration	20
in the royal armoury	20
to be used as	20
it is a good	20
a quarter of a	20
with the addition of	20
there are so many	20
it seems to have	20
the composition of the	20
that it should be	20
the tree of life	20
is not necessary to	20
is one of a	20
known to have been	20
appears to be a	20
are shown in the	20
but it was not	20
now in the british	20
be noticed that the	20
with the rest of	20
the material of which	20
with that of the	20
this kind of work	20
is a fine example	20
the proportions of the	20
be said that the	20
will be found to	20
have been in the	20
end of the fourteenth	20
to the sixteenth century	20
fifteenth and sixteenth centuries	20
on a large scale	20
the ladies of the	20
and a pair of	20
the exception of the	20
in the library of	20
it was necessary to	20
colonial national historical park	20
lower part of the	20
the forms of the	20
beginning of the nineteenth	20
may be well to	20
to be the work	19
reign of louis xiv	19
the edict of nantes	19
the skill of the	19
the windows in the	19
on the same page	19
as well as by	19
it is of the	19
with the use of	19
during the seventeenth century	19
in the inventories of	19
there is a very	19
the artists of the	19
the choir of the	19
at right angles to	19
in south kensington museum	19
on account of their	19
one of which is	19
the making of a	19
of most of the	19
i do not think	19
the course of the	19
a knowledge of the	19
some of the old	19
it is not the	19
so far as the	19
is the work of	19
the time of william	19
for the purposes of	19
one of the great	19
reign of james i	19
in the centre is	19
upper portion of the	19
was used as a	19
and a half inches	19
said to have belonged	19
under the head of	19
about the same time	19
took the form of	19
that many of the	19
and now in the	19
surface enrichment of small	19
there are a few	19
here and there a	19
of which is a	19
of many of the	19
there is in the	19
the works of the	19
the position of the	19
an important part in	19
one of the greatest	19
an examination of the	19
the figures of the	19
in the south transept	19
a matter of course	19
it was the custom	19
the construction of the	19
similar to that of	19
pearls and precious stones	19
one of the many	19
the pupils of the	19
after the death of	19
the last of the	19
on a small scale	19
it is the same	19
work of the same	19
the figures in the	19
is likely to be	18
the prince of wales	18
is a good example	18
of charles the fifth	18
which seems to have	18
the banks of the	18
in the palace of	18
is ornamented with a	18
in the hall of	18
are said to be	18
it has already been	18
on the south side	18
and the use of	18
in the first half	18
the action of the	18
at the age of	18
and it is only	18
it is said to	18
in the presence of	18
the north side of	18
the remainder of the	18
in the choir of	18
grain of the wood	18
it would appear that	18
is supposed to have	18
it is almost impossible	18
pupils of the eyes	18
to say nothing of	18
in such a way	18
in the days when	18
in the national gallery	18
and there is no	18
to the decoration of	18
the invention of the	18
part of the design	18
and in the other	18
in england during the	18
of the human figure	18
of the beauty of	18
furniture of this period	18
in the construction of	18
of red and blue	18
the south side of	18
talavera de la reina	18
as it is called	18
the figure of the	18
to the amount of	18
in black and white	18
the room in which	18
it is made of	18
to the time of	18
the corners of the	18
so as to form	18
the charm of the	18
in the north transept	18
the fifteenth century the	18
the service of the	18
the art of lace	18
the best work of	18
three tribal marks over	18
it was made in	18
there is a fine	18
we find that the	18
time of charles ii	18
years of the eighteenth	18
which is said to	18
are by no means	18
the eighteenth century the	18
in the seventeenth and	18
on some of the	18
may be divided into	18
is preserved in the	18
the eye of the	18
it was to be	18
in form of a	18
that the art of	18
and it is to	18
the palace of the	18
in the north of	18
the ornaments of the	18
may still be seen	18
until the middle of	18
a more or less	17
of the twelfth and	17
in the opinion of	17
interesting to note that	17
the early eighteenth century	17
to harmonize with the	17
about the same date	17
so that it is	17
the virgin and child	17
the south kensington collection	17
many of them are	17
is easy to see	17
part of the eighteenth	17
as far as possible	17
seems to be a	17
the collection of miss	17
to the duke of	17
are found in the	17
of the fine arts	17
of a later date	17
in the arrangement of	17
in the act of	17
the line of the	17
of a number of	17
the golden age of	17
chats on old furniture	17
so as to be	17
so that it may	17
point of view of	17
the scene of the	17
at top and bottom	17
is of the same	17
to the surface of	17
it would be a	17
is in the form	17
which may be seen	17
to the church of	17
of the style of	17
other side of the	17
so that they may	17
limb of the letter	17
the attention of the	17
with those of the	17
in the metropolitan museum	17
is supposed to be	17
quarter of the eighteenth	17
a picture of the	17
we are able to	17
during the middle ages	17
it is safe to	17
and it may be	17
in order to make	17
the color of the	17
it should not be	17
to those of the	17
from the earliest times	17
to the number of	17
it would be difficult	17
of which there is	17
in the lady chapel	17
be of the same	17
were made in the	17
is shown in figure	17
on one of the	17
the sign of the	17
and it was not	17
to the fifteenth century	17
so many of the	17
the property of mr	17
in a series of	17
the thirteenth and fourteenth	17
the inventories of the	17
the death of the	17
in the latter half	17
of two or three	17
by order of the	17
for the same purpose	17
all parts of the	17
the result of this	17
part of the decoration	17
far back as the	17
in which they were	17
in england and france	17
the top of a	17
at the bottom of	17
for the exercise of	17
thirteenth and fourteenth centuries	17
the revival of the	17
is a sort of	17
permission of the proprietors	17
at hampton court palace	17
in imitation of the	17
in the list of	17
the building of the	17
of edward the confessor	16
the colours of the	16
for the manufacture of	16
of the decoration of	16
in our own country	16
it is clear that	16
sense of the word	16
in the fact that	16
it is not to	16
to have been of	16
found their way into	16
with precious stones and	16
of the room and	16
the point of the	16
so much of the	16
in the north aisle	16
part of the fifteenth	16
there was a great	16
it would seem that	16
an idea of the	16
and one or two	16
to be regarded as	16
or one of the	16
on a background of	16
to be one of	16
from the reign of	16
in the beginning of	16
the feet of the	16
the contour of the	16
more often than not	16
in the name of	16
south side of the	16
so far as it	16
to such an extent	16
may be regarded as	16
the women of the	16
manner in which the	16
some of which are	16
about the time of	16
base and precious metals	16
it is not always	16
referred to in the	16
of the nature of	16
the early nineteenth century	16
part of the seventeenth	16
by the duke of	16
under the patronage of	16
which is to be	16
of the work is	16
one or two of	16
and is now in	16
was used in the	16
beginning of the seventeenth	16
the delicacy of the	16
early in the nineteenth	16
the center of the	16
boston museum of fine	16
room in the house	16
is shown in fig	16
in an inventory of	16
in view of the	16
the time of james	16
the finest examples of	16
straight line diaper pattern	16
primary masses in wood	16
by the end of	16
of the fourteenth and	16
the excellence of the	16
the hair of the	16
there is not a	16
is to be hoped	16
the result of the	16
of this period are	16
it is stated that	16
the effect of this	16
the eyes of the	16
be placed in the	16
with which we are	16
to the seventeenth century	16
like that of the	16
of the most elaborate	16
the upper and lower	16
not seem to have	16
of the life of	16
in the process of	16
in the light of	16
the best examples of	16
may or may not	16
surface of the glass	16
well as of the	16
of the glass painter	16
by reason of the	16
the midst of the	16
that the use of	16
a certain number of	16
does not seem to	16
found their way to	16
the advent of the	16
there is nothing to	16
there is a certain	16
to the influence of	16
of art in the	16
by one of the	16
some of them are	16
be in harmony with	16
the purpose for which	16
upon the surface of	16
about the same period	16
would seem to be	16
of the glass is	16
up to the present	16
in the absence of	16
the panels of the	16
the greater number of	16
in any of the	16
important part of the	16
it to have been	16
the tone of the	16
until the end of	16
the products of the	16
the difference between the	16
the first part of	16
as the case may	15
to have been worn	15
into the possession of	15
for which they were	15
the seventeenth century the	15
are said to have	15
the best of the	15
at a later date	15
eighteenth and early nineteenth	15
as is shown in	15
in the jones collection	15
that the manufacture of	15
in order to give	15
nothing can be more	15
an example of this	15
one of the two	15
the dimensions of the	15
similar to those of	15
on a piece of	15
by the hand of	15
of the present century	15
the case may be	15
period of louis xv	15
of the edict of	15
in the drawing of	15
as a sort of	15
but there is a	15
cannot do better than	15
the ornamentation of the	15
decoration of the room	15
the use of this	15
a piece of glass	15
de la duchesse de	15
during the eighteenth century	15
the early seventeenth century	15
have the appearance of	15
like those of the	15
with the idea of	15
during the time of	15
can be no doubt	15
both sides of the	15
came into general use	15
middle of the fourteenth	15
so long as the	15
and the result is	15
in the second half	15
to be hoped that	15
will be found that	15
upon a ground of	15
two and a half	15
furniture of the time	15
not appear to have	15
the border of the	15
any one who has	15
of small primary masses	15
one of these is	15
the international exhibition of	15
of the early period	15
surface of the wood	15
to the making of	15
has been made in	15
the revocation of the	15
the centre of each	15
against a background of	15
was formerly in the	15
is a good deal	15
of the order of	15
side of the room	15
on the outside of	15
small primary masses in	15
the decorations of the	15
of the window is	15
as if they were	15
be out of place	15
from the twelfth century	15
of the days of	15
enrichment of small primary	15
in addition to this	15
the technique of the	15
the master of the	15
and it will be	15
the reign of the	15
not by any means	15
the corner of the	15
the spaces between the	15
takes the place of	15
revocation of the edict	15
that one of the	15
the last few years	15
but at the same	15
it is intended to	15
some idea of the	15
in many parts of	15
and beauty of the	15
takes the form of	15
it has not been	15
preserved in the british	15
to the study of	15
an example of a	15
was at its height	15
in the houses of	15
but they do not	15
the mark of the	15
to a large extent	15
in the eyes of	15
the folds of the	15
of the manufacture of	15
of the decorated period	15
it belongs to the	15
as a rule the	15
collection of miss feilden	15
of which have been	15
at the british museum	15
a copy of the	15
at the time when	15
be seen at the	15
with which they are	15
the days of queen	15
the date of this	15
as is the case	15
by the aid of	15
by the same hand	15
important part in the	15
to be of the	15
is a part of	15
may be used for	14
in the clerestory of	14
be related to the	14
engraved designs for jewellery	14
to the art of	14
is true that the	14
that is to be	14
in front of it	14
in the guildhall museum	14
the back of a	14
as we know it	14
a small quantity of	14
with the aid of	14
at the point of	14
be met with in	14
designed and manufactured by	14
the king and queen	14
and surmounted by a	14
the duke of burgundy	14
hundred and fifty years	14
met with in the	14
the material in which	14
of the most remarkable	14
time of louis xv	14
part of the window	14
and a number of	14
they must have been	14
east end of the	14
with the history of	14
in a variety of	14
the absence of the	14
must be borne in	14
we are told that	14
large primary masses in	14
the simplicity of the	14
we come to the	14
by far the most	14
a survival of the	14
the production of a	14
which may have been	14
in connection with this	14
in favour of the	14
the foundation of the	14
form part of the	14
the richness of the	14
of an inch in	14
the first time in	14
it may be a	14
beginning of the fourteenth	14
be taken into account	14
should not be used	14
the adoration of the	14
i have said that	14
from the point of	14
there should be no	14
the last years of	14
by side with the	14
of the kings of	14
at the base of	14
is made up of	14
the centre of gravity	14
most of them are	14
choir of the cathedral	14
the sacristy of the	14
in the south aisle	14
but it does not	14
part of the house	14
much of the furniture	14
in the east window	14
there is nothing more	14
the furniture of a	14
it may be that	14
with the result that	14
that they do not	14
the earlier part of	14
from the beginning of	14
chats on english china	14
half of sixteenth century	14
the jewels of the	14
within the limits of	14
side of the choir	14
came to the throne	14
first part of the	14
one of a pair	14
a study of the	14
acts of the apostles	14
which is one of	14
as to make it	14
the addition of a	14
mention is made of	14
of the school of	14
the primary mass is	14
in division of political	14
is made in the	14
to be found on	14
to be found at	14
it may have been	14
the first of the	14
the majority of the	14
of this period is	14
is almost impossible to	14
to a certain extent	14
members of the family	14
the illustration of the	14
the author of the	14
of the fifteenth and	14
beginning of the fifteenth	14
as though it were	14
could not have been	14
to the middle of	14
the same time that	14
in consequence of the	14
it is in a	14
part of the sixteenth	14
from the fifteenth century	14
the importance of the	14
to which it is	14
it has been suggested	14
summary of design steps	14
the point of view	14
an inventory of the	14
to the size of	14
a time when the	14
the first thing to	14
on the banks of	14
and it is the	14
on a larger scale	14
nothing to do with	14
north side of the	14
it appears to have	14
of which there are	14
of the king and	14
which must have been	14
the application of the	14
that it does not	14
the dawn of the	14
the time when the	14
of the black prince	14
the form of an	14
in the majority of	14
we give an illustration	14
time of james i	14
by the application of	14
the same as that	14
the manufacture of the	14
from the top of	14
same manner as the	14
of white and stain	14
is decorated with a	14
to the effect that	14
and a half in	14
end of the last	14
to see that the	14
of the palace of	14
to the period of	14
seems to be the	14
of the king of	14
of the room is	14
early in the eighteenth	14
that it would be	14
the sense of beauty	14
the heads of the	14
end of the thirteenth	14
the renaissance in italy	14
of the virgin and	14
the patronage of the	14
would be difficult to	14
from the thirteenth century	14
two hundred and fifty	14
as the result of	14
surface enrichment of large	14
the choir of s	14
with the figure of	14
period of the renaissance	14
does not appear to	14
of the most famous	14
the lady of the	13
of the length of	13
similar to the one	13
the cost of the	13
half of the th	13
in the collections of	13
over and over again	13
it has been said	13
the end of a	13
the making of the	13
we have seen that	13
parts of the design	13
in a state of	13
time of henry viii	13
the reign of william	13
of men and women	13
so far as to	13
the sixteenth century and	13
is said that the	13
for which it was	13
the points of concentration	13
the possession of lord	13
the same period as	13
if the primary mass	13
and that is the	13
it consists of a	13
the interest of the	13
the case with the	13
within the reach of	13
the former of these	13
on one side and	13
will be found a	13
a member of the	13
gold and precious stones	13
of it in the	13
that there is no	13
of the rest of	13
middle of the nineteenth	13
be a part of	13
no doubt that the	13
it is supposed to	13
sacristy of the cathedral	13
reign of louis xv	13
in design and workmanship	13
the style of louis	13
is apt to be	13
to date from the	13
is mentioned in the	13
there are a number	13
it is not possible	13
days of queen anne	13
in the development of	13
when we come to	13
be found in a	13
every part of the	13
the centre of a	13
form derived from a	13
for the rest of	13
the colour of a	13
part of the work	13
it is not surprising	13
the best period of	13
to be considered in	13
to those who are	13
the growth of the	13
part of the room	13
of the wood and	13
the same as the	13
it is worth while	13
the characteristics of the	13
was known as the	13
what appears to be	13
may be described as	13
with reference to the	13
and some of them	13
cut and drawn work	13
said to be of	13
an instance of the	13
have been made to	13
the nature of a	13
it will be noted	13
the tops of the	13
of the works of	13
that they may be	13
middle of the fifteenth	13
it may be mentioned	13
the illustration of a	13
in the eleventh century	13
the great east window	13
in his history of	13
the execution of the	13
to the primary mass	13
many of the old	13
that they should be	13
in a few years	13
it must be borne	13
to the introduction of	13
the glazing of the	13
of point de france	13
the fact that they	13
of interest in the	13
is formed of a	13
with the introduction of	13
are more or less	13
the use of enamel	13
such a manner that	13
next step is to	13
collection of the author	13
and those of the	13
the design of a	13
however this may be	13
in the accounts of	13
fine examples of the	13
the pattern of the	13
the general effect of	13
the one on the	13
the rooms of the	13
will be seen in	13
this is a very	13
the west end of	13
the doors of the	13
they should not be	13
some of the more	13
the appearance of a	13
to return to the	13
surface enrichment of clay	13
as though they were	13
the benefit of the	13
in the works of	13
is the case with	13
the chinese and japanese	13
by means of which	13
it is curious to	13
the ornament of the	13
the production of the	13
an important part of	13
it is more than	13
the furniture of this	13
are of the same	13
now in the possession	13
a fine specimen of	13
the placing of the	13
of the hall of	13
a large part of	13
any part of the	13
of the middle of	13
to show that the	13
and it is in	13
it was found in	13
the society of arts	13
the work of one	13
have been discovered in	13
of two or more	13
wars of the roses	13
at the commencement of	13
of the cathedral at	13
and most of the	13
museum of history and	13
in the proportion of	13
in the museums of	13
the united states national	13
right angles to the	13
in the illustration of	13
of the second half	13
the collection of mrs	13
the nineteenth century the	13
be remembered that the	13
of history and technology	13
work of this period	13
to be carried out	13
at the cost of	13
was made for the	13
that it is the	13
it would not be	13
and the rest of	13
from generation to generation	13
by courtesy of messrs	13
reign of queen anne	13
de madame du barry	12
from the sixteenth century	12
it is only in	12
would not have been	12
tells us that the	12
years of the seventeenth	12
at the rate of	12
is used for the	12
of the same size	12
the scope of this	12
a room in which	12
is known to have	12
what is called the	12
of the eleventh century	12
the purpose of the	12
an imitation of the	12
figure of the virgin	12
mass is divided into	12
the power of the	12
of large primary masses	12
a glance at the	12
walls of the room	12
dates from about the	12
it is only the	12
put an end to	12
which there is a	12
of the south transept	12
of a pair of	12
the next step is	12
it has to be	12
a number of small	12
and part of the	12
les singuliers et nouveaux	12
than those of the	12
in the walter harding	12
part of the wall	12
it is only necessary	12
time of william and	12
from the days of	12
from the centre of	12
is quite possible to	12
the success of the	12
there seems to be	12
in recognition of his	12
early in the seventeenth	12
can hardly be said	12
were to be found	12
work of this kind	12
and also in the	12
the same may be	12
in the windows of	12
and in order to	12
it is a matter	12
figures of the virgin	12
both in england and	12
may be used with	12
up and down the	12
which there is no	12
certain it is that	12
should be made of	12
the east in the	12
in the low countries	12
will be able to	12
a comparison of the	12
as to be almost	12
by the city of	12
it is curious that	12
this is the only	12
window in the north	12
they are in the	12
a feature of the	12
to the point of	12
the fancy of the	12
was a man of	12
the primary mass and	12
the north of england	12
and early nineteenth centuries	12
george and the dragon	12
of madame du barry	12
if the room is	12
time of louis xvi	12
the heart of the	12
walls of a room	12
may be obtained by	12
as the thirteenth century	12
in the costume of	12
it is desirable to	12
the main lines of	12
reign of charles ii	12
of black and white	12
a hundred years ago	12
in order that it	12
that in which the	12
the introduction of a	12
rooms of the house	12
so as not to	12
a stained glass window	12
an illustration of a	12
of which we give	12
the area of the	12
an integral part of	12
characteristic of the period	12
may be made to	12
mary queen of scots	12
work is to be	12
is surmounted by a	12
on the ground floor	12
is made of the	12
with more or less	12
the middle ages the	12
with the advent of	12
the unity of the	12
the breadth of the	12
the eighteenth century was	12
fra giovanni da verona	12
have said that the	12
and much of the	12
the marriage of the	12
earlier part of the	12
we find in the	12
the history of tapestry	12
the primary mass in	12
one hundred and fifty	12
on the face of	12
of the bronze age	12
in the service of	12
the library of the	12
it is here that	12
from place to place	12
in the fashion of	12
in the house of	12
on the left is	12
much in the same	12
it would be better	12
end of the room	12
out of the question	12
be regarded as a	12
are those of the	12
on the site of	12
rules a and b	12
and other parts of	12
of which are to	12
half of the nineteenth	12
very much the same	12
by no means a	12
of the house and	12
that it was not	12
under the title of	12
of colour in the	12
pleasing to the eye	12
that it was made	12
the walter harding collection	12
gold and silver work	12
are the work of	12
but it will be	12
was at this time	12
to the character of	12
it is only by	12
the beginning of a	12
on behalf of the	12
this class of work	12
will do well to	12
decoration of a room	12
in the first instance	12
it may be of	12
in white upon a	12
of the choir of	12
the problem of the	12
as we have already	12
the most beautiful of	12
rest of the room	12
the homes of the	12
as those of the	12
but i do not	12
the mind of the	12
if there is a	12
as has already been	12
all of the same	12
to do is to	12
in the homes of	12
the same time the	12
to which we have	12
the space between the	12
is not so much	12
one or other of	12
to the beginning of	12
at the period of	12
once the property of	12
have been handed down	12
is the use of	12
as well as that	12
may be seen at	12
the fact that he	12
is evident from the	12
say nothing of the	12
an illustration of this	12
scheme of the room	12
a great part of	12
must not be forgotten	12
by the count of	12
of which we are	12
more or less in	12
period of louis xiv	12
have been brought to	12
of the life and	12
a corner of the	12
but it is to	12
the records of the	12
to the days of	12
by the middle of	12
a few years later	12
of coral or agate	12
seventeenth and early eighteenth	12
in the one case	12
to the order of	12
the weight of the	12
it is desired to	12
as some of the	12
into the form of	12
of the first half	12
it is seen that	12
of the countess of	12
in the new york	12
the formation of a	12
of the low countries	12
many of which are	12
the seventeenth century and	12
more than any other	12
form a part of	12
for a time the	12
are mentioned in the	12
about the beginning of	12
with gold or silver	12
fine example of the	12
the archives of the	12
on a smaller scale	12
the lower half of	12
far removed from the	12
the decoration of their	12
has come down to	12
in england in the	12
primary mass is divided	12
in the centre a	12
to serve as a	12
of this type of	12
the genius of the	12
be no doubt that	12
west end of the	12
been made in the	12
the home of the	12
it is not until	12
in the north wall	12
a hundred and fifty	12
british museum is a	12
the occasion of the	12
such as that of	12
a model of the	12
of the same year	11
the conditions of the	11
the idea of a	11
is only necessary to	11
from the tomb of	11
it is a mistake	11
is used as a	11
to the style of	11
and in some of	11
i have spoken of	11
a considerable quantity of	11
the angle of the	11
may also be used	11
from the fourteenth century	11
that they were not	11
was made by the	11
the result is a	11
at the west end	11
it should be noted	11
in the treasury of	11
the early middle ages	11
the finest specimens of	11
from the primary mass	11
care should be taken	11
on the left side	11
it can hardly be	11
of the first empire	11
the king of france	11
was that of the	11
museum there is a	11
to be the most	11
the texture of the	11
there would be a	11
from their useful monthly	11
of berkey and gay	11
may be taken as	11
the court of the	11
the house of the	11
the site of the	11
this is to be	11
of fruit and flowers	11
the armour of the	11
it is amusing to	11
the collection of col	11
the parish church of	11
and the beginning of	11
is part of the	11
to the requirements of	11
may be made of	11
at south kensington museum	11
there must have been	11
where there is a	11
been made to the	11
that i have seen	11
the strength of the	11
windows of the nave	11
it will be well	11
can be seen in	11
the chest of drawers	11
the art of embroidery	11
the judgment of paris	11
the work of his	11
it is very difficult	11
so as to give	11
the more or less	11
there is not much	11
many of the best	11
from the sacristy of	11
at a cost of	11
the difference in the	11
much to do with	11
to interfere with the	11
it is quite impossible	11
of white and colour	11
there seems to have	11
their useful monthly publication	11
since the days of	11
with the point of	11
it is of a	11
to be seen from	11
is reported to have	11
be as well to	11
handed down to us	11
avec privilege du roy	11
of the colour of	11
all of which are	11
the history of this	11
the work of this	11
on the death of	11
of the civil war	11
one hundred and twenty	11
a large quantity of	11
and that it is	11
formerly in the collection	11
the design of furniture	11
should be allowed to	11
from the middle of	11
it may be noted	11
be observed that the	11
the price of the	11
it will be remembered	11
was not confined to	11
of the early renaissance	11
in such a case	11
years of the nineteenth	11
style of louis xv	11
into a series of	11
fashion of the day	11
it is related that	11
part of the country	11
and the other a	11
the late eighteenth century	11
lower half of the	11
side of the nave	11
for study of glass	11
in this case it	11
is an instance of	11
has come to be	11
the field of the	11
continued to be made	11
within the scope of	11
berkey and gay figure	11
this is not the	11
in the international exhibition	11
are to be used	11
the limitations of the	11
may be said of	11
furniture of this time	11
from the standpoint of	11
of the tenth century	11
with the assistance of	11
on a red ground	11
the founder of the	11
as compared with the	11
collection of major farquharson	11
be made in the	11
not only for the	11
from the church of	11
now in the museum	11
of the room in	11
at the bottom and	11
as it was called	11
to the eye and	11
but this is not	11
late th century madrid	11
once upon a time	11
of design and handicraft	11
the same time as	11
may have been the	11
a small amount of	11
he appears to have	11
the object of the	11
of the old english	11
the early fifteenth century	11
the name of a	11
to the square inch	11
was the work of	11
the manner of a	11
is in the centre	11
in use in the	11
bear in mind that	11
and many of the	11
in a few instances	11
it is needless to	11
is not difficult to	11
the limits of the	11
toward the end of	11
is divided into three	11
are known to have	11
were used in the	11
of the end of	11
it would be impossible	11
the threads of the	11
the needs of the	11
in figure is shown	11
the church of the	11
maker of pieces for	11
for the fact that	11
as the reign of	11
in the mind of	11
an old house in	11
in this country is	11
the emperor charles v	11
of the industrial arts	11
there is such a	11
without the aid of	11
the adornment of the	11
it is hard to	11
as has been said	11
to the cathedral of	11
was done in the	11
a single piece of	11
not only is the	11
the patron saint of	11
the best of all	11
carved in english oak	11
for the reception of	11
says that in the	11
is difficult to say	11
there are in the	11
the church of san	11
be given to the	11
singuliers et nouveaux pourtraicts	11
the remains of the	11
that it was a	11
in his left hand	11
to the united states	11
have come to us	11
for the beauty of	11
with the name of	11
the reja of the	11
of the east window	11
museum at south kensington	11
on the lines of	11
is quite impossible to	11
with the object of	11
of the designs of	11
the dukes of burgundy	11
on the top is	11
so as to get	11
which is in the	11
the ceiling of the	11
courtesy of berkey and	11
may be used as	11
the earl of warwick	11
from the east in	11
it is not only	11
in the same city	11
and early eighteenth centuries	11
the north choir aisle	11
the creation of the	11
from the effigy of	11
the left of the	11
xv and louis xvi	11
first half of sixteenth	11
with pearls and precious	11
summary of rules rule	11
the glass in the	11
the one in the	11
the result of a	11
the scope of the	11
of the kingdom of	11
at a very early	11
were the work of	11
in the churches of	11
the reason for this	11
it was made by	11
until the time of	11
there is a large	11
which had to be	11
by the character of	11
top and bottom of	11
was not to be	11
and in the centre	11
as much as the	11
the glory of the	11
is the figure of	11
in the upper portion	11
the east window of	11
points of concentration in	11
with a band of	11
integral part of the	11
louis xv and louis	11
life of the virgin	11
time of charles i	11
as time goes on	11
of the old and	11
to us from the	11
as nearly as possible	11
and gold and silver	11
the addition of the	11
in silver and enamel	11
it was the fashion	11
of the jewellery of	11
the opinion of the	11
at the bernal sale	11
the early sixteenth century	11
is a question of	11
in some cases the	11
in the precious metals	11
all over the country	11
it is recorded that	11
used in connection with	11
to the present time	11
of some of these	11
in silk and gold	11
of the value of	11
of the society of	11
of the same style	11
is a mistake to	11
a case in point	11
of the cabriole leg	11
for the reason that	11
date from about the	11
in vogue in the	11
by a series of	11
parts of the world	11
as if it had	10
to have come from	10
must have been the	10
errors have been corrected	10
the seat of the	10
quarter of the nineteenth	10
to believe that the	10
the kindness of the	10
not be forgotten that	10
from the clerestory of	10
of antony and cleopatra	10
was a time when	10
in the year the	10
to those who have	10
the time of elizabeth	10
can be done in	10
glass of this period	10
the initials of the	10
the colouring of the	10
of a set of	10
and it is well	10
with the art of	10
chippendale and his contemporaries	10
a beautiful example of	10
part of the nineteenth	10
there is a window	10
at home and abroad	10
to the student of	10
lines of the design	10
same may be said	10
the great period of	10
of furniture of the	10
in the arts of	10
in which case the	10
and is decorated with	10
of a later period	10
are in the south	10
in spite of its	10
the memory of the	10
would have to be	10
the th and th	10
of the french revolution	10
as to form a	10
were in the habit	10
a quarter of an	10
of the finest examples	10
examples of the work	10
to be observed in	10
on cottage and farmhouse	10
what may be called	10
adoration of the magi	10
it is seldom that	10
they seem to have	10
in the sacristy of	10
room in which the	10
one or the other	10
a century and a	10
the collections of the	10
and even in the	10
of the spanish moors	10
is the same as	10
the requirements of the	10
the fact that a	10
to the edge of	10
in charge of the	10
of the victoria and	10
the right and left	10
city of new york	10
close of the eighteenth	10
works of art in	10
the tree of jesse	10
in the same style	10
of these is the	10
a thing to be	10
is attached to the	10
not to be found	10
studded with precious stones	10
early as the thirteenth	10
the extent to which	10
do not appear to	10
it were not for	10
as a piece of	10
the depth of the	10
was presented to the	10
i should like to	10
very similar to the	10
attempt is made to	10
in the archives of	10
the efforts of the	10
the north aisle of	10
prices realised at auction	10
and chests of drawers	10
the art of tapestry	10
and otherwise prepare the	10
may be made by	10
the south choir aisle	10
must be related to	10
well to remember that	10
there are many other	10
if you have a	10
made in the same	10
set with pearls and	10
the styles of the	10
figure intarsia from the	10
a great quantity of	10
kindness of the proprietors	10
in england and america	10
it is believed that	10
in the fifteenth and	10
of concentration in the	10
years of the reign	10
in the fourteenth and	10
interesting to note the	10
comptes de madame du	10
the interior of a	10
to be made of	10
to belong to the	10
a sheet of glass	10
well as for the	10
is safe to say	10
habits of the people	10
may be seen by	10
in the next century	10
gold and silver threads	10
for some of the	10
the treasury of the	10
the perfection of the	10
in such a position	10
which it is intended	10
the courtesy of the	10
the floor of the	10
if it is to	10
it may be observed	10
the proportion of the	10
it is formed of	10
period of louis xvi	10
and in the middle	10
the aims of the	10
the back of this	10
a typical example of	10
is given to the	10
the number of lace	10
one of the principal	10
the most famous of	10
the royal spanish academy	10
in common with the	10
was a kind of	10
the contents of the	10
as an illustration of	10
it should be mentioned	10
or two of the	10
of the north transept	10
the national museum of	10
of what is called	10
knots to the square	10
above the level of	10
the disposition of the	10
has been replaced by	10
the surface enrichment of	10
now the property of	10
is the symbol of	10
the change in the	10
the value of these	10
be seen by the	10
of pottery and porcelain	10
the fact that in	10
that there should be	10
of the best period	10
went out of fashion	10
of the lady chapel	10
a place in the	10
of the louis xvi	10
are for the most	10
the woodwork of the	10
to the rest of	10
is divided into two	10
for the king of	10
of which it was	10
may be made from	10
in use among the	10
the same way as	10
of those in the	10
in the ninth century	10
oak chest of drawers	10
of the monastery of	10
is that in the	10
of one or two	10
the preparation of the	10
rugs are made in	10
of the kind of	10
a tour de force	10
is well to have	10
by baron de cosson	10
is given on page	10
companion volume to chats	10
the queen of sheba	10
of the design of	10
the most interesting of	10
in the nave of	10
the arrival of the	10
quarter of a century	10
to get rid of	10
the eighteenth century in	10
not be able to	10
the carving on the	10
the design should be	10
size of the room	10
so placed as to	10
small pieces of glass	10
the city of new	10
is described in the	10
la duchesse de bourbon	10
as seen in the	10
is derived from the	10
the decorative treatment of	10
we have only to	10
due to the fact	10
that it has been	10
by the hands of	10
have been worn by	10
in spite of all	10
in the wardrobe accounts	10
the middle ages was	10
with the same material	10
the thirteenth to the	10
there is an old	10
point of concentration in	10
but it is quite	10
the surface of a	10
in the ashmolean museum	10
in the right hand	10
but they are not	10
the entrance to the	10
and the number of	10
in a room of	10
the geometric center of	10
in which he was	10
the reign of ferdinand	10
centre for study of	10
in the left hand	10
the cloth of gold	10
the early history of	10
have been made by	10
in the sixth century	10
to the time when	10
is out of the	10
i have never seen	10
probably the work of	10
one of the old	10
chairs of the time	10
to the thirteenth century	10
the centre is a	10
in a small room	10
the curve of the	10
to be used for	10
in and out of	10
in one of these	10
made of the same	10
it is convenient to	10
carved in low relief	10
that it will be	10
the life of st	10
in one or two	10
to the king of	10
in the old days	10
the reign of elizabeth	10
has been given to	10
to have had a	10
two or three years	10
are supposed to be	10
as they are in	10
to the extent of	10
in that of the	10
is sure to be	10
not be used in	10
seems to have had	10
with a mixture of	10
as the work of	10
inventories of the exchequer	10
is not possible to	10
that it is possible	10
the same style of	10
can be made to	10
some of these are	10
the earliest form of	10
in the study of	10
there has been a	10
the effect is not	10
have been derived from	10
a fair amount of	10
to the laws of	10
the glass of the	10
of the roman empire	10
an inch and a	10
the sixteenth and the	10
at an early period	10
but it may be	10
the other in the	10
in much the same	10
the first mention of	10
throughout the middle ages	10
be done by the	10
of which may be	10
are one of the	10
is characteristic of the	10
in this class of	10
is to be retained	10
is the only one	10
for the adornment of	10
is occupied by a	10
a representation of the	10
of this form of	10
which belongs to the	10
in the north choir	10