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
a history of ornament	352
of the th century	322
at the same time	186
in the case of	173
the church of st	172
as shown in fig	170
in the british museum	166
on the other hand	163
theory and analysis of	149
and analysis of ornament	147
may be seen in	144
from the church of	140
in the form of	135
of the middle ages	132
in the th century	128
the end of the	127
and development of ornament	124
be seen in the	119
ornament and its application	119
one of the most	118
that is to say	114
the use of the	113
birth and development of	108
in ornament and dress	107
art in ornament and	106
the birth and development	105
the centre of the	104
in the church of	101
is one of the	97
to be found in	93
the character of the	93
the middle of the	91
the art of the	87
the form of a	85
th and th centuries	84
the height of the	83
the form of the	81
the philosophy of ornament	81
the top of the	81
of the sixteenth century	79
as well as the	79
the lines of the	77
the th and th	76
the anatomy of pattern	75
the south kensington museum	74
it will be seen	73
from the temple of	72
from the church at	72
the decoration of the	68
in the south kensington	67
the width of the	66
be found in the	66
are to be found	64
in the middle ages	64
in the same way	63
the case of the	63
the surface of the	63
the work of the	61
the principles of ornament	61
at the end of	61
the beginning of the	61
of light and shade	61
for the most part	60
of the church of	59
of the university of	59
ornament in european silks	58
in the direction of	58
the point of distance	58
in the museum at	58
the style of the	58
of the temple of	58
in the decoration of	57
is shown in fig	57
as may be seen	55
to the point of	55
the planning of ornament	55
in the use of	54
the point of sight	54
in the way of	54
is seen in the	54
the base of the	54
from the th century	53
the evolution of architectural	53
the close of the	52
the time of the	52
as well as in	52
evolution of architectural ornament	52
in order that the	51
it will be observed	51
on each side of	51
the upper part of	51
it is necessary to	51
as in the case	51
in the centre of	50
during the reign of	50
end of the th	49
from the time of	49
of the church at	48
each side of the	48
in the cathedral of	48
the sides of the	48
the influence of the	48
and at the same	48
the whole of the	47
library of the university	47
it is to be	47
will be found in	47
for the purpose of	46
the application of ornament	46
the fact that the	46
in design by john	46
of one of the	45
a part of the	45
the period of the	45
it is impossible to	45
be borne in mind	44
to the present day	44
after the manner of	44
as a matter of	44
the shape of the	44
with the exception of	44
the outline of the	44
by means of a	43
capital from the church	43
the length of the	43
the development of the	43
by the use of	43
a portion of the	43
in the hands of	43
middle of the th	42
to be seen in	42
is by no means	42
will be seen that	42
of a number of	42
is to be found	42
the arrangement of the	41
from the cathedral at	41
the center of the	41
the middle ages and	41
the rest of the	41
for the sake of	41
appears to have been	40
the lower part of	40
at the present day	39
the design of the	39
the introduction of the	39
seems to have been	39
of the th and	39
in the art of	39
the size of the	39
early renaissance in italy	39
the works of the	39
to the th century	38
the nature of the	38
the university of california	38
may be considered as	38
to a certain extent	37
in the same manner	37
of the fifteenth century	37
design based on the	37
may be said to	37
at right angles to	37
in the reign of	37
the teaching of the	36
borne in mind that	36
the ornament of the	36
of a series of	36
the forms of the	35
in which it is	35
upper part of the	35
the construction of the	35
x x x x	35
to be met with	35
the hands of the	35
the town hall at	35
in accordance with the	34
to the fact that	34
from time to time	34
in the shape of	34
the reign of louis	34
appear to have been	34
teaching of the tool	34
the architecture of the	34
is given in fig	34
the body of the	34
the greater part of	34
doorway of the church	33
from that of the	33
to that of the	33
will be observed that	33
of which it is	33
half of the th	33
in the cathedral at	33
to the decoration of	33
a b c d	33
the leaves of the	33
by the point of	33
the walls of the	33
as shown by the	33
a great variety of	32
is that of the	32
the bottom of the	32
the name of the	32
the enrichment of the	32
the treatment of the	32
of the cathedral of	32
of the cathedral at	32
front and side view	31
the plane of the	31
the details of the	31
in proportion to the	31
beginning of the th	31
in some of the	31
middle ages and the	31
will be found to	31
may be divided into	30
of the time of	30
on the one hand	30
the direction of the	30
of the italian renaissance	30
seem to have been	30
of the human figure	30
o o o o	30
the church of san	30
a matter of fact	30
in the latter case	30
in the time of	30
is found in the	30
the face of the	30
on account of the	30
dates from the year	30
the architect of the	29
at the time of	29
there can be no	29
and instructions for application	29
in front of the	29
in the palace of	29
in the temple of	29
the church of s	29
in the th and	29
from the tomb of	29
the beauty of the	29
the latter part of	29
the way in which	29
to the present time	29
for the use of	28
the same manner as	28
it is evident that	28
on either side of	28
the artists of the	28
of the present day	28
on the lines of	28
explanation and instructions for	28
i i i i	28
that it is not	28
the seat of the	28
lower part of the	28
of the art of	28
in many of the	28
by the side of	28
be observed that the	28
in the hotel cluny	28
the capitals of the	28
the manner in which	28
in this case the	28
in the works of	28
for application on page	28
in the course of	28
it is one of	28
a great deal of	27
the exception of the	27
the line a b	27
for the decoration of	27
by the introduction of	27
character which comes of	27
it may be said	27
in one of the	27
the colour of the	27
the ends of the	27
by john leight on	27
in such a way	27
of the most beautiful	27
the effect of the	27
in the church at	27
the side of the	27
th and th century	26
th or th century	26
by means of the	26
in the design of	26
the case of a	26
from the point of	26
latter part of the	26
at present in the	26
as a symbol of	26
as we have seen	26
the door of the	26
the head of the	26
instructions for application on	26
it is difficult to	26
of the renaissance in	25
from the earliest times	25
before the christian era	25
in the development of	25
the part of the	25
the place of the	25
it is easy to	25
ornament in the netherlands	25
in the united states	25
plane of the picture	25
seventeenth and eighteenth centuries	25
the interior of the	25
and that of the	25
by the aid of	25
in the first place	25
in addition to the	25
the edge of the	25
was one of the	25
it will be found	25
to have been the	25
under the influence of	25
is due to the	25
a more or less	25
the palace of the	24
in the cluny museum	24
is an example of	24
the tower of the	24
of some of the	24
from the palace of	24
of the gothic style	24
in the possession of	24
the facade of the	24
it will be noticed	24
the plan of the	24
chaldean and assyrian art	24
design by john leight	24
with that of the	24
of the thirteenth century	24
an example of the	24
of the nature of	24
the depth of the	24
is based on the	24
on the part of	24
and it will be	24
we find in the	24
may be found in	24
it is in the	24
suggestions in design by	24
vertical and horizontal lines	24
the same may be	24
the church of santa	24
come down to us	24
the early part of	24
furnished for interior plaster	24
on account of its	24
the church of the	24
have been found in	24
from the cathedral of	23
italian renaissance italian renaissance	23
to the development of	23
now in the british	23
brackets listed under the	23
to the use of	23
but it is not	23
be found to be	23
on oak or birch	23
in the construction of	23
some of the most	23
one of the earliest	23
the use of a	23
have come down to	23
the greeks and romans	23
the quality of the	23
with the addition of	23
and brackets listed under	23
the ornamentation of the	23
end of th century	23
a portion of a	23
of the use of	23
louis xv louis xv	23
english later renaissance ornament	23
by the addition of	23
essay on ornamental art	23
the th century the	23
in which they are	22
is illustrated in fig	22
is said to be	22
which comes of treatment	22
as well as of	22
of the work of	22
about the middle of	22
ages and the renascence	22
the thickness of the	22
in the museum of	22
so as to form	22
church of santa maria	22
are to be seen	22
the general laws of	22
in this plate are	22
general laws of ornament	22
with regard to the	22
into two equal parts	22
or it may be	22
way in which the	22
in the first instance	22
of the town hall	22
a design for a	22
be met with in	22
the origin of the	22
in the style of	22
the various forms of	22
with a view to	22
in the fifteenth century	22
based on oak or	21
same may be said	21
tower of the winds	21
that it should be	21
towards the close of	21
and side view of	21
capitals and brackets listed	21
in the midst of	21
a good example of	21
at the present time	21
the second half of	21
is known as the	21
as that of the	21
may be regarded as	21
the eye of the	21
the back of the	21
in the upper part	21
is derived from the	21
towards the end of	21
in the present day	21
the proportions of the	21
early part of the	21
renaissance ornament in spain	21
is not to be	21
louis xvi louis xvi	21
from the same church	21
the commencement of the	21
it was not until	21
what is known as	21
of the seventeenth century	21
a certain amount of	21
in the year b	21
of the design is	20
one side of the	20
at the top of	20
in spite of the	20
on a black ground	20
from one of the	20
later renaissance ornament in	20
in the middle of	20
not by any means	20
as well as to	20
the corners of the	20
a few of the	20
also be furnished for	20
is the same as	20
to a great extent	20
at the base of	20
be furnished for interior	20
that shown in fig	20
of the roman empire	20
be seen that the	20
in the center of	20
by f edward hulme	20
point of sight s	20
it is not so	20
of the eighteenth century	20
the finest examples of	20
of the palace of	20
th and early th	20
the best periods of	20
said to have been	20
to have been a	20
in harmony with the	20
as will be seen	19
a large number of	19
of the mosque of	19
for the purposes of	19
from a tomb in	19
the arms of the	19
the choragic monument of	19
above prices based on	19
may be taken as	19
it is interesting to	19
may be said of	19
in the ornament of	19
into a number of	19
during the middle ages	19
the history of the	19
the leaf of the	19
to the right and	19
que tem o n	19
in the north of	19
prices subject to discount	19
german later renaissance ornament	19
in such a manner	19
in the thirteenth century	19
capital and base from	19
that the art of	19
it is the same	19
the curve of the	19
is the symbol of	19
at a later period	19
naturalgrowth and ornamental treatment	19
the th to the	19
history of ornament the	19
the right and left	19
second half of the	19
the effect of this	19
capital of a column	19
to a depth of	19
of architecture and ornament	19
in the manufacture of	19
at the beginning of	19
the representation of the	19
the characteristics of the	19
the design is to	19
in the arrangement of	19
prices based on oak	19
in the history of	19
the first half of	19
the point of view	19
french later renaissance ornament	19
their naturalgrowth and ornamental	19
in the nature of	19
supposed to have been	19
that there is no	19
on which it is	18
of many of the	18
the capital of the	18
for a long time	18
the taste of the	18
the stem of the	18
can also be furnished	18
state return or thickness	18
which the design is	18
down to the present	18
due to the fact	18
in the application of	18
in the architecture of	18
in connection with the	18
the appearance of the	18
in the treatment of	18
circumference of a circle	18
is supposed to be	18
in the choir of	18
and base from the	18
the application of the	18
it will be necessary	18
a combination of the	18
the hand of the	18
are found in the	18
academia de bellas artes	18
the scale of the	18
the expression of the	18
at an angle of	18
of the ornament is	18
of the works of	18
with which we are	18
english th century ornament	18
by james akerman london	18
of the nineteenth century	18
the front of the	18
the basis of the	18
the study of the	18
upper part of a	18
from a house in	18
be said to have	18
right and left of	18
the addition of a	18
from the house of	18
in mind that the	18
the museum of the	18
it would be difficult	18
description of the plates	18
use of the border	18
as those of the	18
it is only by	18
a good deal of	18
of the early renaissance	18
victoria and albert museum	18
the hall of the	18
on the other side	18
such a manner that	18
but there is no	18
exterior can also be	18
and on the other	18
the manner of the	18
on the walls of	18
to the left of	17
the extent to which	17
you have only to	17
an important part in	17
met with in the	17
greek greek greek greek	17
all capitals and brackets	17
of this kind of	17
so long as the	17
of the various styles	17
in the fact that	17
it is a very	17
a view of the	17
the frieze of the	17
the mind of the	17
of the doric order	17
empire ornament in france	17
would be difficult to	17
in the forms of	17
of the most important	17
capital from the cathedral	17
than that of the	17
base from the church	17
of the acanthus leaf	17
and the addition of	17
of the same period	17
as shown in the	17
part of the th	17
it is not a	17
first half of the	17
the first of these	17
for interior plaster finish	17
as much as possible	17
in the sixteenth century	17
the space between the	17
and it is not	17
it is not necessary	17
the angles of the	17
to the end of	17
other parts of the	17
and th century patterns	17
one or the other	17
from the ruins of	17
interior plaster finish at	17
it is possible to	17
published by chapman hall	17
from the castle of	17
a depth of no	17
the th century b	17
from the th to	17
examples may be seen	17
and there is no	17
about the year b	17
years of the th	17
of the character of	17
books published by chapman	17
the greek and roman	17
by the fact that	17
it is necessary that	17
as we have already	17
return or thickness of	17
the decorative art of	17
is characteristic of the	17
such a way that	17
renaissance architecture and ornament	17
of the fourteenth century	17
from the middle kingdom	17
be said to be	17
the names of the	17
may be seen on	16
an example of this	16
listed under the heading	16
be seen in fig	16
dating from the middle	16
may be said that	16
the reign of henry	16
must be borne in	16
the same as that	16
than those of the	16
the points of distance	16
the best examples of	16
capital from the temple	16
xv louis xv louis	16
will be seen in	16
one of the greatest	16
the a history of	16
temple of minerva polias	16
a high state of	16
be regarded as a	16
to one of the	16
of the later renaissance	16
will be noticed that	16
character of the design	16
what has been done	16
the symbol of the	16
during the th century	16
the decorations of the	16
is said to have	16
the various styles of	16
the shape of a	16
the perspective representation of	16
that it may be	16
point of distance d	16
by the juxtaposition of	16
as one of the	16
the turning over of	16
of this style of	16
the intersection of the	16
the seventeenth and eighteenth	16
part of the design	16
with those of the	16
like those of the	16
ornament in great britain	16
the general effect of	16
of the ornament of	16
books of ornamental design	16
the name given to	16
is obtained by the	16
the erechtheum at athens	16
to the nature of	16
and many of the	16
width of the stroke	16
work of the th	16
on a gold ground	16
under the name of	16
important part in the	16
temple of diana at	16
illustrations in the text	16
of the forms of	16
of the same form	16
to the work of	16
the cloister of st	16
it is true that	16
in the matter of	16
for natvral wood finish	16
the development of a	16
the ceiling of the	16
a great number of	16
and early th century	16
in the lower part	16
th to the th	16
roman roman roman roman	16
the court of the	16
and it is the	16
the value of the	16
of which we have	16
on the ground line	16
of the twelfth century	16
whatever it may be	16
different from that of	16
in the gothic style	16
out of the solid	16
which are to be	16
not only in the	16
it may be seen	15
in the composition of	15
of the renaissance period	15
or thickness of pilaster	15
in the character of	15
empire empire empire empire	15
the fifteenth and sixteenth	15
a p t e	15
the centre of each	15
of the history of	15
the circumference of a	15
the heads of the	15
by which it is	15
the banks of the	15
and left of the	15
would appear to be	15
with the arms of	15
is that of a	15
the history of ornament	15
each of which is	15
as well as a	15
c h a p	15
the general character of	15
as a general rule	15
of the corinthian capital	15
california library of the	15
the work of a	15
it is clear that	15
the shaft of the	15
as early as the	15
the temple of minerva	15
see page immediately following	15
text books of ornamental	15
draw to the point	15
immediately following the title	15
turning over of the	15
of cloth of gold	15
of the decoration of	15
schools of gothic ornament	15
of the early english	15
following the title page	15
the study of nature	15
and it may be	15
p t e r	15
are more or less	15
a new style of	15
as seen in the	15
of the reign of	15
in the national museum	15
of california library of	15
is a kind of	15
the figure is a	15
the course of the	15
on a ground of	15
be divided into two	15
is the case with	15
at the point of	15
but at the same	15
from the mosque of	15
for notice of the	15
page immediately following the	15
the material in which	15
as shewn by the	15
as in the example	15
the church of sta	15
on both sides of	15
a very early period	15
the idea of the	15
up to the present	15
as a means of	15
the lines on which	15
h a p t	15
under the direction of	15
have been suggested by	15
of the elements of	15
the formation of the	15
the same time the	15
for the reception of	15
this may be seen	15
greater part of the	15
of the bronze age	15
it is of the	15
be considered as a	15
in the tomb of	15
of diana at ephesus	15
town hall at augsburg	15
the house of the	15
would appear to have	15
the addition of cross	15
the difference between the	15
as well as for	15
in the work of	15
notice of the copyright	15
one with the other	15
may be seen at	15
in so far as	15
the elements of the	14
one from the other	14
half the width of	14
more or less in	14
silk and gold thread	14
of each of these	14
arc of a circle	14
pleasing to the eye	14
su ggestions in design	14
the arch of titus	14
the level of the	14
is to be seen	14
fifteenth and sixteenth centuries	14
be said of the	14
play of light and	14
of the style of	14
of gold and silver	14
the roof of the	14
at a very early	14
ground line g g	14
the heading exterior can	14
there is always a	14
from the facade of	14
from the parent stem	14
the head of a	14
the decoration of a	14
to us from the	14
is a sort of	14
the temple of the	14
finish at same price	14
form shown in fig	14
of it may be	14
in which there is	14
the design of a	14
at the head of	14
so that it is	14
so far as the	14
in the national gallery	14
is produced by the	14
in some cases the	14
of the leaves of	14
of the most interesting	14
in the interior of	14
under the heading exterior	14
each side of a	14
tinted to a depth	14
it will be remembered	14
point of view of	14
window from the church	14
the power of the	14
for the first time	14
always be borne in	14
the spirit of the	14
in the open air	14
the limits of the	14
a work of art	14
of column from the	14
any other woods extra	14
the doorway of the	14
takes the form of	14
the position of the	14
plaster finish at same	14
to which it is	14
design is to be	14
doorway from the church	14
there is a great	14
intersecting each other at	14
an example of a	14
the points of the	14
of the same kind	14
heading exterior can also	14
in the place of	14
loggie of the vatican	14
of the greeks and	14
may be seen by	14
of the pointed arch	14
from the end of	14
it should always be	14
from which it is	14
had its origin in	14
years before the christian	14
of the characteristics of	14
out of the question	14
to the study of	14
science and art department	14
a line drawn from	14
was not until the	14
to the effect of	14
capitals of the columns	14
the ruins of the	14
one or other of	14
in order to give	14
with the use of	14
in the formation of	14
the upper and lower	14
as far as possible	14
the type of the	14
an angle of degrees	14
of the principles of	14
be considered as the	14
to such an extent	13
as a result of	13
examples of gothic architecture	13
of war and hunting	13
in the minor arts	13
of the same character	13
the warp and weft	13
as a center and	13
one of the oldest	13
the temple of apollo	13
in the national library	13
will be found that	13
it must not be	13
of the tower of	13
number of equal parts	13
during the period of	13
is the same with	13
in the field of	13
the growth of the	13
of which is shown	13
the appearance of a	13
it is only a	13
the capital of a	13
in the accompanying plate	13
the temple of jupiter	13
by john lei ght	13
care must be taken	13
is formed by the	13
in all its parts	13
the lotus and papyrus	13
its intersection with the	13
r e n a	13
the outlines of the	13
the rendering of the	13
nature of the material	13
the centre of a	13
on one side of	13
in the library of	13
the library of the	13
is made up of	13
it is by no	13
the cathedral of st	13
it would be impossible	13
height of the body	13
in the chapel of	13
of the house of	13
at the period of	13
took the place of	13
of which may be	13
the same time as	13
renaissance italian renaissance italian	13
the arts of design	13
that is to be	13
of minerva polias at	13
at the bottom of	13
to be derived from	13
the th century in	13
in place of the	13
in the ruins of	13
of the leaves and	13
side by side with	13
from the study of	13
character of the ornament	13
will be found on	13
there is in the	13
the centres of the	13
similar to that of	13
rei o senhor d	13
a greater number of	13
as to form a	13
the case with the	13
with the idea of	13
the line of the	13
in consequence of the	13
on the subject of	13
the parts of the	13
to the right of	13
sugges ions in design	13
john lei ght on	13
seen in the british	13
may have been the	13
the idea of order	13
during the reigns of	13
in spite of its	13
a symbol of the	13
one and the same	13
is supposed to have	13
a small portion of	13
the same number of	13
in the one case	13
the transition from the	13
in the court of	13
the more or less	13
the science and art	13
the valley of the	13
of the late th	13
in the manner of	13
the distribution of the	13
the later years of	13
robert and james adam	13
takes the place of	13
are shown in fig	13
the consideration of the	13
on which they are	13
to the time of	13
and some of the	13
by the dotted lines	13
as it may be	13
the history of art	13
the origin of this	13
university of california library	13
of one of these	13
from the cloister of	13
to those of the	13
of the duke of	13
with which it is	13
the point of the	13
juan de los reyes	13
in the majority of	13
the case in the	13
to some of the	13
from the chapel of	13
so characteristic of the	13
it must be borne	13
it would have been	13
may be called the	13
its origin in the	12
shown by the dotted	12
an integral part of	12
in order to make	12
it is probable that	12
of the italian renascence	12
th century ornament in	12
in regard to the	12
the design may be	12
the renaissance in england	12
the simplest and most	12
in which it was	12
as shewn in the	12
at the commencement of	12
architecture of the renaissance	12
and a history of	12
when it comes to	12
to the conditions of	12
seen in the south	12
the arts of the	12
the side of a	12
that they should be	12
so as to give	12
beyond the scope of	12
the th century and	12
to the purposes of	12
of vertical and horizontal	12
the baths of titus	12
the choir of the	12
the effect of a	12
the majority of the	12
the base of a	12
in the former case	12
we have an example	12
the inside of the	12
as it would be	12
this style of decoration	12
draw lines parallel to	12
descriptive list of illustrations	12
the flower of the	12
it was in the	12
which it may be	12
will show that the	12
are seen in the	12
in a similar manner	12
that it will be	12
in the first case	12
the ground line g	12
in the second half	12
in the south of	12
a high degree of	12
this plate are given	12
with a foliage basis	12
there is no such	12
into three equal parts	12
as a principle in	12
a development of the	12
natural growth of the	12
the chapel of the	12
da academia de bellas	12
be regarded as the	12
the purpose of the	12
saracenic architecture and ornament	12
it is with the	12
with respect to the	12
the eyes of the	12
the palaces of the	12
the museum at naples	12
will be sufficient to	12
the point at which	12
the edges of the	12
the dome of the	12
by means of which	12
is the name given	12
the ground of the	12
begun in the year	12
it is curious to	12
is shown in the	12
the site of the	12
so far as it	12
is produced by a	12
by a series of	12
as shown in figs	12
it is well to	12
and in some cases	12
of a straight line	12
that there is a	12
the end of a	12
is the work of	12
from the copious material	12
the antique and the	12
the ionic and corinthian	12
in gold and silver	12
the figure of a	12
of the louis xiv	12
as though it were	12
of this class of	12
hall of the ambassadors	12
from the collection of	12
well as in the	12
the productions of the	12
in the study of	12
the story of the	12
of the principle of	12
in the early part	12
are intended to be	12
as it is in	12
a certain number of	12
the form of an	12
at the close of	12
any part of the	12
as far back as	12
principles of ornamental art	12
a stall in the	12
the chapel of st	12
in the ornamentation of	12
of this period are	12
we may see in	12
on a larger scale	12
dos fins do seculo	12
drawings by the author	12
of form and colour	12
to the plane of	12
the tomb of the	12
of the pattern is	12
during the th and	12
in order that it	12
at the back of	12
the top and bottom	12
of our readers who	12
in the example fig	12
is that which is	12
design by john lei	12
capital from the same	12
sense of the word	12
colonial ornament in america	12
be reduced to a	12
it may not be	12
the most important of	12
paintings from the th	12
those in which the	12
the foot of the	12
in a great measure	12
the material of which	12
part of the plate	12
now in the louvre	12
fig u r e	12
with a radius equal	12
as in the previous	12
the th century a	12
manuscript paintings from the	12
of this period is	12
is no reason why	12
is more or less	12
eye of the spectator	12
was used in the	12
the symbolism of the	12
is a combination of	12
the purpose for which	12
the proportion of the	12
from a stall in	12
of a piece of	12
in the details of	12
used by the greeks	12
they are to be	12
the reign of elizabeth	12
which have come down	11
the traditions of the	11
in the production of	11
bear in mind the	11
reign of louis xiv	11
a radius equal to	11
by the middle of	11
the greater number of	11
of all kinds of	11
on this plate are	11
to the ground line	11
are not to be	11
from a drawing in	11
ggestions in design by	11
on the surface of	11
in favour of the	11
history of ornament and	11
the invention of the	11
have been brought to	11
of the ionic capital	11
the form shown at	11
the first part of	11
this style of ornament	11
so as to leave	11
with a series of	11
examples of which are	11
on a smaller scale	11
one over the other	11
of the details of	11
the period of its	11
the pattern on the	11
of the human form	11
illustrations of architecture and	11
the same time to	11
be derived from the	11
and other parts of	11
as the symbol of	11
on a blue ground	11
in the churches of	11
in many cases the	11
as we see in	11
is now in the	11
the temple of diana	11
the union of the	11
the doors of the	11
what has been said	11
but it may be	11
the arabs and moors	11
the vanishing points for	11
a center and a	11
in alcala de henares	11
of this class are	11
the lower end of	11
parallel to the picture	11
one of which is	11
from the beginning of	11
the outside of the	11
is not so much	11
in the practice of	11
one of the finest	11
of robert and james	11
to which they are	11
a number of small	11
as far as the	11
it is not only	11
the pattern of the	11
in form and colour	11
of the british museum	11
general character of the	11
of the ancient world	11
into eight equal parts	11
a manner that the	11
italian later renaissance ornament	11
which it is to	11
from the crypt of	11
elementary principles of ornament	11
part of the wall	11
the reign of james	11
at an early period	11
in the hall of	11
best periods of art	11
but it is only	11
the arabian and moresque	11
to stop in ornament	11
without the aid of	11
there is not much	11
a design based on	11
in south kensington museum	11
the same way the	11
the principle of the	11
the cathedral at monreale	11
one to the other	11
more especially in the	11
from the door of	11
we have only to	11
in the year a	11
is referred to the	11
the west front of	11
as we may see	11
an idea of the	11
be drawn by hand	11
so far as to	11
has been made to	11
the vertical and horizontal	11
in keeping with the	11
is not at all	11
the time of louis	11
both sides of the	11
from a piece of	11
when we come to	11
there is no occasion	11
into four equal parts	11
from right to left	11
of the school of	11
in the cloister of	11
some alternatives in design	11
so as to make	11
within the limits of	11
should be borne in	11
the tendency of the	11
the italians of the	11
from the fact that	11
may or may not	11
reese library university california	11
of the figure is	11
the wall of a	11
on the side of	11
or whatever it may	11
which may be seen	11
the key to the	11
the decoration of these	11
the repeat of the	11
will be necessary to	11
in the castle of	11
a result of the	11
in the munich museum	11
th or early th	11
the whole range of	11
until they intersect the	11
the works of nature	11
found in the ruins	11
in various parts of	11
in the collection of	11
of the same material	11
it is not the	11
effect is produced by	11
classic classic classic classic	11
use is made of	11
the same as the	11
the details of this	11
the nature of a	11
we shall find that	11
we have in fig	11
in black and white	11
is found on the	11
of the material in	11
at the time when	11
art in ancient persia	11
side view of the	11
the scope of this	11
there would be no	11
is the most important	11
instrvctions and explanation page	11
we find that the	11
as we shall see	11
which we have already	11
from a th century	11
within the scope of	11
in the eyes of	11
refer the reader to	11
on the top of	11
a manuscript in the	11
to the art of	11
that it is a	11
the chinese and japanese	11
have an example of	11
base of the column	11
this class of work	11
with the art of	11
is the same in	11
be given to the	11
the use of this	11
may be obtained by	11
and it would be	11
or early th century	11
would seem to have	11
of the center line	11
which draw to the	11
romanesque architecture and ornament	11
have been taken from	11
the styles of the	11
later years of the	11
hall of the two	11
the meaning of the	11
the aim of the	11
of illustrations in the	11
the exterior of the	11
was followed by the	11
of a later period	11
the fundamental form of	11
of the erechtheum at	11
under the title of	11
the question of the	10
close of the th	10
in the neighbourhood of	10
by far the most	10
on the north side	10
it belongs to the	10
list of illustrations in	10
is to be observed	10
carved in low relief	10
the most beautiful and	10
integral part of the	10
the junction of the	10
a copy of the	10
of the greek and	10
history of ornament of	10
are found on the	10
the employment of the	10
are those in which	10
on the island of	10
of a group of	10
as an example of	10
to account for the	10
art dans les pays	10
of the decorative arts	10
on the drawing plate	10
and entablatures from the	10
etruscan and roman ornament	10
the british museum and	10
are said to be	10
with the same radius	10
supposed to be the	10
the character of a	10
to the form of	10
of the gothic period	10
we are indebted for	10
didot freres fils c	10
by alexander the great	10
from the house no	10
is a portion of	10
los reyes in toledo	10
there is no doubt	10
a representation of the	10
the detail of the	10
a drawing in the	10
the decoration of their	10
this part of the	10
should always be borne	10
is distinguished from the	10
so as to produce	10
of the ionic order	10
there is no reason	10
may be used in	10
an illustration of this	10
of the byzantine style	10
and filled in with	10
the th century there	10
of the antique and	10
ornamental details of the	10
the projection of the	10
a matter of course	10
the fact that they	10
the basis of all	10
of these may be	10
rather than to the	10
in use in the	10
or point of sight	10
and it is from	10
the same with the	10
of the court of	10
there is a certain	10
tomb of louis xii	10
which is to be	10
center and a radius	10
either side of the	10
any one of these	10
on which the design	10
into six equal parts	10
in order to secure	10
in the latter part	10
example shown in fig	10
the reign of the	10
the combination of the	10
do not appear to	10
are from drawings by	10
it appears to be	10
right angles to the	10
human and animal forms	10
in each of the	10
from the monument of	10
the decorative use of	10
to bear in mind	10
we have already seen	10
as well as on	10
of which are given	10
it consists of a	10
and other works of	10
is shown a design	10
of what has been	10
of more or less	10
primitive and savage ornament	10
to a number of	10
either side of a	10
would have to be	10
in the habit of	10
the axis of the	10
a line parallel to	10
by john lel ght	10
a study of the	10
the tree of life	10
and it is in	10
artists of the renaissance	10
the renascence and modern	10
the one to the	10
the section of the	10
on the banks of	10
the under side of	10
choragic monument of lysicrates	10
a picture of the	10
on the same plate	10
describe two arcs intersecting	10
the subject of the	10
to the requirements of	10
relation to one another	10
to do with the	10
which the pattern is	10
the collection of the	10
as if it were	10
it was not till	10
da madre de deus	10
be used in the	10
the gothic style in	10
and it is to	10
at the expense of	10
the frequent use of	10
forms for various purposes	10
in which case it	10
but also in the	10
on the back of	10
somewhat as shown in	10
until the th century	10
the space to be	10
in all the arts	10
may be described as	10
the unit of the	10
the same way as	10
capitals from the church	10
in the palace at	10
the floor of the	10
in which they were	10
from the convent church	10
from a mural fresco	10
by benedetto da majano	10
from process to process	10
byzantine ornament in italy	10
of this period were	10
the first and second	10
the action of the	10
to believe that the	10
simplification of natural forms	10
may be used as	10
would be impossible to	10
direct imitation of nature	10
the height of a	10
was begun in the	10
with the form of	10
that part of the	10
the emblem of the	10
are said to have	10
view of the capital	10
might just as well	10
for which it is	10
it is possible that	10
the requirements of the	10
if the design is	10
on the principle of	10
on the horizontal line	10
utensils of war and	10
of the human body	10
top of the column	10
of the same class	10
the coat of arms	10
the use to which	10
in connection with a	10
the orders of architecture	10
an emblem of the	10
late th or early	10
it is only in	10
we may be sure	10
on the site of	10
it should be borne	10
played an important part	10
about the same time	10
of the monument of	10
the angle of the	10
the great variety of	10
the capitals of columns	10
the invention of printing	10
as the emblem of	10
de los reyes in	10
what is called the	10
good example of the	10
bear in mind that	10
side of the center	10
of some of these	10
is that which has	10
in the building of	10
as is the case	10
the transition to the	10
and there is a	10
the figure of the	10
dating from the time	10
com a forma de	10
of a history of	10
of the column is	10
as is shown in	10
at the intersection of	10
that there should be	10
of frequent occurrence in	10
was developed in the	10
in the mind of	10
to have been suggested	10
which it is composed	10
the course of time	10
to make use of	10
the designs of the	10
appears to be a	10
of the sixth century	10
this is to be	10
the loggia of the	10
of the th cen	10
from the use of	10
john lel ght on	10
of which there are	10
of which is given	10
list of illustrations page	10
we come to the	10
the mausoleum at halicarnassus	10
but it does not	10
and the introduction of	10
the early th century	10
be seen in figs	10
the style of louis	10
baptismal font in the	10
may be very well	10
the design is the	10
is furnished with a	10
in the mosque of	10
a great use of	10
choragic monument of lysikrates	9
of alexander the great	9
which we find in	9
must bear in mind	9
where there is no	9
are derived from the	9
placed at equal distances	9
are taken from the	9
in the sixth century	9
form of the object	9
but this is not	9
of the seventeenth and	9
dos duques de palmella	9
the national museum at	9
of the elizabethan style	9
the service of the	9
xvi louis xvi louis	9
the circumference of the	9
the romanesque style of	9
with the character of	9
the bases of the	9
the representation of a	9
temple of jupiter stator	9
empire ornament in germany	9
history of ornament fig	9
the latter half of	9
die renaissance in belgien	9
as i have said	9
the middle ages the	9
the loggie of the	9
grammar of the lotus	9
in greek and roman	9
greek and roman architecture	9
the western roman empire	9
are supposed to be	9
in the best periods	9
been brought to light	9
firmin didot freres fils	9
museum of the louvre	9
of the louis xv	9
from left to right	9
made use of in	9
in the representation of	9
the rule of the	9
of ornament of the	9
english and scottish wrought	9
of the surface of	9
of the lines of	9
of its use in	9
the theory and analysis	9
of a knowledge of	9
it was reserved for	9
will always be found	9
a sheet of paper	9
in course of time	9
of an egyptian temple	9
the introduction of a	9
of the early gothic	9
is given to the	9
renaissance in belgien und	9
of the human face	9
inasmuch as it is	9
of notre dame at	9
in conjunction with the	9
in the same direction	9
artistic point of view	9
from the hall of	9
filling of the circle	9
to this class of	9
is of the greatest	9
the reader to the	9
are a number of	9
they are intended to	9
reign of james i	9
perspective representation of the	9
and scottish wrought ironwork	9
the remains of the	9
the left of the	9
the distance of the	9
in that of the	9
from the works of	9
on the under side	9
art of the middle	9
from the wall of	9
a greater or less	9
is of the same	9
may be considered to	9
such a way as	9
the light and shade	9
design by john lel	9
the points of division	9
not appear to have	9
but there is a	9
the same manner that	9
works of art were	9
the doric and ionic	9
por sua magestade el	9
renaissance ornament in the	9
the curves of the	9
the form shown in	9
with little or no	9
it would appear that	9
in belgien und holland	9
which there is no	9
the lines of a	9
a house in the	9
from the centre of	9
the minuteness of the	9
was used by the	9
of the design in	9
always more or less	9
the points where the	9
the panels of the	9
from each other by	9
in the distribution of	9
are of frequent occurrence	9
in the present design	9
the two sides of	9
almost entirely to the	9
designs based on the	9
fourteenth and fifteenth centuries	9
of the ornament to	9
after the fashion of	9
tending to the point	9
would need to be	9
the point of junction	9
the majority of cases	9
no limit to the	9
the ornament in the	9
be seen by inspection	9
the filling of the	9
of the finest examples	9
of the equilateral triangle	9
a th century manuscript	9
what is implied by	9
the idea of a	9
the result of the	9
as in the greek	9
it is only the	9
the extremities of the	9
the elaboration of natural	9
de sua magestade el	9
is that in the	9
is at the same	9
effects of light and	9
dating from the th	9
elaboration of natural forms	9
to the influence of	9
are but a few	9
is taken from the	9
ornaments explanation and instructions	9
as shown on plate	9
but it is more	9
that they may be	9
which is one of	9
of two series of	9
the fact of the	9
make the best of	9
in the scale of	9
by reference to fig	9
of the choragic monument	9
handed down to us	9
is applied to the	9
in view of the	9
on the line a	9
elements of the design	9
any of our readers	9
a thorough understanding of	9
the tops of the	9
as nearly as possible	9
the aid of the	9
to the service of	9
by the dotted line	9
said to be the	9
in which case the	9
in those of the	9
the hands of a	9
the time when the	9
set up the height	9
of the development of	9
for the same reason	9
its name from the	9
or in other words	9
are produced by the	9
of the middle renaissance	9
shewn by the dotted	9
the possession of the	9
it may be remarked	9
with more or less	9
on a flat surface	9
it appears to us	9
was carried to the	9
applied to the decoration	9
shall find that the	9
must be taken to	9
vanishing points for the	9
well as of the	9
belonging to the same	9
is likely to be	9
from the interior of	9
which they may be	9
the petals of the	9
referred to in the	9
twelfth and thirteenth centuries	9
with the lines of	9
after the same manner	9
of the new style	9
is evident that the	9
to the surface of	9
brocaded with gold thread	9
seems to be a	9
as they are in	9
space to be filled	9
was the work of	9
we need scarcely say	9
neogrec ornament in germany	9
on the ground plane	9
as was the case	9
to the middle of	9
repetition of the same	9
a line drawn frora	9
which is supposed to	9
is necessary to distinguish	9
from the tower of	9
in this case is	9
the sphere of the	9
on the art of	9
in the book of	9
the background of the	9
a very good example	9
to be taken into	9
about the time of	9
the monument of lysicrates	9
lines on which the	9
which case it is	9
filled in with black	9
is of the highest	9
the arc of a	9
on a white ground	9
latter half of the	9
the inclined sides of	9
and more especially in	9
from the middle of	9
and the character of	9
a work of the	9
in a variety of	9
in the capitals of	9
as can be seen	9
it would be more	9
which appears to have	9
when compared with the	9
in light and shade	9
it can hardly be	9
precisely the same as	9
the subdivision of the	9
it is not at	9
of the beauty of	9
the beauty of their	9
is so characteristic of	9
the shape of an	9
to say that the	9
it is said that	9
but it would be	9
from the same mosque	9
so far as they	9
to make the best	9
to the works of	9
the porch of the	9
is taken from a	9
the renaissance in france	9
next set off the	9
to have been executed	9
parts of the country	9
to the period of	9
at south kensington museum	9
the stems of the	9
above and below the	9
a good idea of	9
of form in the	9
the repetition of a	9
the decorative works of	9
and also in the	9
the composition of the	9
an example of which	9
tomb of the sultan	9
may be met with	9
the fact that it	9
general form of the	9
have been used in	9
the age of louis	9
the fall of the	9
on the same principle	9
the portion of a	9
of which will be	9
the design and the	9
the finest works of	9
on the center line	9
the simplest form of	9
history of ornament in	9
the elements of decoration	9
of the palaces of	9
in the island of	9
and it was not	9
at the top and	9
the general form of	9
small portion of the	9
in any of the	9
the second class of	9
to be divided into	9
as the result of	9
be very well seen	9
is the result of	9
and the rest of	9
as well as from	9
in the spirit of	9
and the spanrail panels	9
diameter of the column	9
by the intersection of	9
the order of the	9
an illustration of the	9
sacristy of the cathedral	9
reached its highest glory	9
architecture and ornament in	9
a considerable number of	9
are by no means	9
under the reign of	9
in the byzantine style	9
from top to bottom	9
in the crystal palace	9
in the previous case	9
the time of pericles	9
the portal of the	9
and the effect of	9
of the architecture of	9
into the hands of	9
is not so easy	9
from drawings by the	9
character of its own	9
with which they are	9
as an article of	9
in the circumference of	9
of the capital is	9
are characteristic of the	9
of the designer is	9
will be seen by	9
in the perspective plan	9
of the two sisters	9
in the description of	8
way it was done	8
decorative works of robert	8
capital seen from below	8
it is not often	8
at equal distances in	8
it appears to have	8
works of robert and	8
high state of development	8
which led to the	8
from the temple in	8
that the idea of	8
the upper part is	8
is given on plate	8
is an illustration of	8
a n c e	8
are lost in the	8
the rays of light	8
though it is not	8
to the construction of	8
to the beauty of	8
the points of intersection	8
been in use from	8
north side of the	8
to the shape of	8
varied according to the	8
of the best period	8
from a manuscript in	8
of any of the	8
in the reigns of	8
from the arch of	8
of the last century	8
as well as those	8
are common in the	8
to the principles of	8
and the art of	8
m m m m	8
and it is only	8
foreign to our present	8
of the spiral line	8
can be traced to	8
the sacristy of the	8
is true of the	8
it is composed of	8
art in primitive greece	8
e n a is	8
the centre of gravity	8
but it is in	8
to be found on	8
from the base of	8
will be found a	8
a typical example of	8
it is no longer	8
in much of the	8
of the human mind	8
the earliest period of	8
the time of its	8
after the decorative works	8
in a less degree	8
are of the same	8
small selection from the	8
the twelfth and thirteenth	8
angles to each other	8
of a greater number	8
as in the doric	8
as belonging to the	8
of the arabs and	8
in the act of	8
by the mixture of	8
in wood and stone	8
of the lotus and	8
to the laws of	8
erected in the years	8
the temple of angkor	8
the visuals drawn frora	8
it is quite possible	8
a few of these	8
of warp and weft	8
where to stop in	8
in proportion to its	8
the regularity of the	8
closed lotus capital from	8
built in the years	8
the mosques of cairo	8
under the rule of	8
are given in figs	8
pouch or alms bag	8
not in any way	8
the best of it	8
is based on a	8
to be made of	8
of the renascence period	8
books of the middle	8
one half of the	8
the last of the	8
the furniture of the	8
of the ancient greeks	8
letters of the greek	8
the period of louis	8
and in the same	8
distances in the circumference	8
given in our plate	8
the figures of the	8
be found that the	8
the colours of the	8
has a way of	8
have a series of	8
hall of the town	8
e f g h	8
very similar to the	8
in such a case	8
of the drawing plate	8
there are a few	8
in exactly the same	8
that there are two	8
by the end of	8
on a small scale	8
with the works of	8
from the bottom of	8
of the arch of	8
in a straight line	8
the letters of the	8
the manner of a	8
in the dress of	8
the early gothic period	8
that it is impossible	8
golden house of nero	8
before the time of	8
for a number of	8
it was necessary to	8
does not appear to	8
it is not always	8
has not yet been	8
in modification of nature	8
to be of the	8
of silk or sarcenet	8
of our own day	8
of the introduction of	8
in the roman style	8
basis of the design	8
in its relation to	8
in most of the	8
of the castle of	8
draw visuals tending to	8
have been preserved to	8
something of the same	8
the fourteenth and fifteenth	8
will find in the	8
it is in this	8
manner in which they	8
has already been said	8
from the museum at	8
their natural growth and	8
as compared with the	8
arts and crafts museum	8
the measure of the	8
and the point of	8
in its simplest form	8
the cathedral at lund	8
in the same church	8
so far as we	8
as shown by fig	8
in the town hall	8
take the place of	8
the straight line and	8
the waves of the	8
perpendicular to a b	8
the upper portion of	8
it may have been	8
by the invention of	8
by no means so	8
that it does not	8
be the work of	8
in the treasury of	8
the four corners of	8
the diameter of the	8
as a sort of	8
at the foot of	8
as it seems to	8
is a good example	8
baukunst der renaissance in	8
the capital seen from	8
been derived from the	8
the character which comes	8
the best period of	8
the fashion of the	8
adjusted to different heights	8
lines of the square	8
and at right angles	8
new style of art	8
in our own country	8
and this is the	8
the date of the	8
figure is a figured	8
be divided into three	8
draw lines tending to	8
made from designs by	8
age of louis xiv	8
renaissance ornament in england	8
the design must be	8
the line e f	8
the entrance to the	8
the temple of fortuna	8
of the period of	8
to which we have	8
a th century french	8
grecian people and mythology	8
with the style of	8
ornament of this period	8
indian architecture and ornament	8
middle of the sixteenth	8
the component parts of	8
a number of such	8
great britain and ireland	8
in the first half	8
in this class of	8
toward the close of	8
is clear that the	8
and crafts museum in	8
to the depth of	8
santa maria del popolo	8
in much the same	8
whatever may be the	8
history of ornament fio	8
fins do seculo xvi	8
from generation to generation	8
have been able to	8
was at one time	8
lower end of the	8
some principles of every	8
temple of angkor vat	8
the north side of	8
for the church of	8
lower part of a	8
the weft threads are	8
meaning of the word	8
the contours of the	8
consistency in modification of	8
the scheme of the	8
or may not be	8
of the bead moulding	8
as the th century	8
in the attempt to	8
after the death of	8
for the enrichment of	8
it would be a	8
in the period of	8
the basis of a	8
in which the design	8
well seen in the	8
the execution of the	8
with which we have	8
the decorative arts of	8
all the decorative arts	8
the object to be	8
in the highest degree	8
it was one of	8
end of the century	8
in the early english	8
was by no means	8
the outline of a	8
be compared with the	8
has been found in	8
in a state of	8
lines on which they	8
column from the church	8
to the hand of	8
the th or th	8
from the same source	8
of the work in	8
the badge of the	8
throughout the middle ages	8
of the hall of	8
the remainder of the	8
would be out of	8
of the western roman	8
a great deal to	8
carving in low relief	8
parallel bands of ornament	8
of the artists of	8
points placed at equal	8
to a greater or	8
in imitation of the	8
from side to side	8
on the one side	8
is no occasion to	8
various styles of ornament	8
on the face of	8
enrichment of the bead	8
a vast number of	8
same manner as the	8
the church at hitterdal	8
the one or the	8
an imitation of the	8
we are able to	8
this is shown in	8
this kind of decoration	8
the profile of the	8
more than any other	8
the practice of the	8
various forms of the	8
ornament in germany and	8
to the style of	8
a a a a	8
of ornament in the	8
of most of the	8
the men of the	8
this church was built	8
natural growth and ornamental	8
some of the finest	8
the head of medusa	8
would seem to be	8
be noticed in the	8
of the present work	8
the size of a	8
of which is the	8
to the longitudinal axis	8
between each pair of	8
of the shaft of	8
this kind of work	8
with the introduction of	8
the columns of the	8
to the top of	8
as denoted by the	8
distance of the picture	8
been taken from the	8
on the filling of	8
the right of the	8
form the basis of	8
they appear to have	8
work from the house	8
has led to the	8
the time of henry	8
not only on the	8
which it has been	8
of the style are	8
the purpose to which	8
made in paris for	8
by referring to fig	8
is composed of a	8
to form the pattern	8
some of the more	8
has been done in	8
we have seen that	8
in the same city	8
industrial and accessory arts	8
ornament with a foliage	8
than in any other	8
was used as a	8
reign of louis xv	8
of the distribution of	8
the arts and crafts	8
each side of it	8
of the french renaissance	8
be of the same	8
shaft of column from	8
in a series of	8
denoted by the letters	8
of each of the	8
it is that the	8
at right angles with	8
at the ends of	8
been found in the	8
in a history of	8
is represented by the	8
for its own sake	8
had their origin in	8
there is but one	8
in order to get	8
of the border and	8
the foundation of the	8
the radius of the	8
which the ornament is	8
the restoration of the	8
equal distances in the	8
of the power of	8
we may mention the	8
the cathedral at siena	8
the forms of nature	8
just as well have	8
if it is to	8
the ornament may be	8
of light and shadow	8
on the upper part	8
in the same museum	8
in the designing of	8
the difference in the	8
its relation to the	8
in the hand of	8
the art of working	8
the charm of the	8
as part of the	8
carved out of the	8
the mural paintings of	8
the points a and	8
it is applied in	8
from the cathedral in	8
such an extent that	8
work of this period	8
half of th century	8
the catacombs of rome	8
is a work of	8
growth of the plant	8
a considerable amount of	8
the renaissance in italy	8
known to have been	8
it would be hard	8
not only to the	8
example of which is	8
are parallel to the	8
placed in front of	8
is to be used	8
thousand years before the	8
during the renaissance period	8
we see it in	8
of the historic styles	8
a knowledge of the	8
a large amount of	8
in order to be	8
the whole surface of	8
about the th century	8
the late th century	8
the pattern in the	8
right angles to each	8
selection from the copious	8
the monogram of christ	8
in the group of	8
from a holy picture	8
are to be met	8
are the work of	8
the elements of ornament	8
the conditions of design	8
the subject of this	8
the use of which	8
it is the most	8
in the chapter house	8
the folds of the	8
those of our readers	8
in the arts and	8
cut out of the	8
the drawing of the	8
leaves of the plant	8
it may also be	8
be considered as an	8
it must be remembered	8
until it cuts the	8
window of a house	8
will give the perspective	8
been given to the	8
various parts of the	8
which it is made	8
early in the th	8
out of the surface	8
all the arts of	8
about the year a	8
it must have been	8
of the countess of	8
the most beautiful examples	8
it is advisable to	8
be out of place	8
and those of the	8
a way as to	8
but it will be	8
can be seen in	8
will be remembered that	8
arcs intersecting each other	8
of which they are	8
of the reese library	8
the attention of the	8
the decoration of surfaces	8