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 church of s	373
by the hand of	332
in the church of	292
to the end that	225
the chapel of the	214
for the reason that	203
in such a manner	174
in the house of	163
in the chapel of	160
the church of the	149
in the form of	149
as has been related	148
at the age of	128
as may be seen	128
at the same time	123
at the present day	114
on account of the	106
of the church of	101
and in the other	99
the house of the	99
the palace of the	98
the form of a	96
is now in the	95
with his own hand	94
on the right hand	93
in the possession of	91
at the foot of	91
on either side of	87
for the church of	86
may be seen in	86
on the other side	85
by reason of the	85
from the life of	84
in the life of	84
but to return to	79
and on the other	79
child in her arms	77
in the same city	77
was held to be	75
after the manner of	74
he painted in fresco	74
after the death of	74
the door of the	74
in the service of	73
of the house of	73
the child in her	72
the chapel of s	72
up to that time	72
it is said that	71
in the time of	71
the foot of the	71
such a manner that	70
with the child in	69
the centre of the	69
the head of the	69
he painted a panel	68
picture of our lady	68
after the painting by	68
was the reason that	68
the art of painting	67
the company of the	67
in the centre of	66
set his hand to	66
as will be related	66
in the palace of	66
the end that he	65
in the same place	65
the story of the	65
in the middle of	64
in a short time	64
is held to be	64
antonio da san gallo	63
end that he might	62
in addition to the	62
a vast number of	61
as has been told	61
to be seen in	61
was not able to	61
after the fresco by	61
the rest of the	61
one of the most	61
for the chapel of	60
in the act of	60
of the fifteenth century	60
after the panel by	60
in the midst of	59
on the left hand	59
the end of the	58
for the most part	58
the hand of the	58
as has been said	58
the size of life	57
held to be a	57
at the end of	55
the adoration of the	55
over the door of	55
may be seen from	55
the men of the	54
be seen in the	54
which is in the	54
that are in the	54
the work of the	53
the altar of the	52
for the sake of	52
at the head of	52
made a portrait of	51
on the other hand	51
which is now in	51
the reason that he	51
the manner of a	51
the middle of the	49
the emperor charles v	49
in order to make	49
there is no need	49
the nuns of s	49
in the manner of	48
as i have said	48
not to mention that	48
adoration of the magi	48
in such a way	48
the service of the	47
the greater part of	47
is no need to	47
in the proper place	47
in the hands of	46
under the direction of	46
a great number of	45
the piazza di s	45
one on either side	45
which was to be	45
in order not to	45
on the outer side	44
his hand to the	44
the principal chapel of	44
of the chapel of	44
at the commission of	44
in the same church	44
to be very beautiful	44
the end that the	43
for the company of	43
hand of the same	43
one and the same	43
of the size of	43
at the time when	42
by a great measure	42
of the palace of	42
the whole of the	42
held to be very	42
are to be seen	41
about the same time	41
is one of the	41
a young man of	41
for the nuns of	41
to be able to	40
the building of the	40
the chapel of st	40
made his way to	40
one of the best	39
that it was a	39
he set himself to	39
the works that he	39
it is true that	39
a good number of	38
an infinite number of	38
on account of his	38
of the order of	38
in the presence of	38
to return to the	38
in his native city	38
by the same hand	38
the life of st	38
braccia and a half	37
acquitted himself very well	37
deposition from the cross	37
died at the age	37
the hall of the	37
a picture of our	37
scenes from the life	37
much the friend of	36
by the hands of	36
either side of the	36
bartolommeo di san marco	36
madonna with the child	36
to the study of	36
such a way that	36
at this same time	36
the family of the	36
a very beautiful work	36
he was not able	36
of the middle ages	36
has been related in	35
it may be said	35
him that he should	35
the lord duke cosimo	35
of the life of	35
one and the other	35
was a man of	35
of the monks of	35
in the matter of	35
the reason that the	35
will be related in	34
in the history of	34
that he was not	34
the nativity of christ	34
borgo a san sepolcro	34
of the company of	34
the company of s	34
in the duomo of	34
is to be seen	34
that is in the	34
that he did not	34
in one of the	34
now in the possession	34
hand to the work	33
painted in fresco the	33
of the works of	33
which is held to	33
of the same size	33
the vaulting of the	33
in the art of	33
of the most illustrious	33
caused him to paint	33
that it should be	33
it would have been	33
on the piazza di	33
in the same manner	33
the altar of s	33
there may be seen	33
of which there is	32
of raffaello da urbino	32
the death of the	32
it would not be	32
as will be told	32
which there is no	32
executed many works in	32
the life of the	32
that it may be	32
and a half in	32
not being able to	32
is said to have	32
the first of these	31
to be found in	31
in one of which	31
monks of monte oliveto	31
to say nothing of	31
which was a very	31
a seat of the	31
at the beginning of	31
hand as one enters	31
the arms of the	31
he made a portrait	31
that it is a	31
the beginning of the	31
on the altar of	31
the manner of the	31
the building of s	31
and all the other	30
he had not been	30
for the altar of	30
of the sixteenth century	30
in fresco in the	30
of so great a	30
that it would be	30
that he had made	30
to make use of	30
and in the same	30
a great part of	30
by order of the	30
greater part of the	30
for a long time	30
the house of medici	30
to be the best	30
which was held to	30
in our own day	30
fra bartolommeo di san	30
by means of the	29
as well as the	29
it is not possible	29
made a beginning with	29
he painted for the	29
the walls of the	29
his native city of	29
that he could not	29
the possession of the	29
one of which is	29
the course of his	29
by his hand that	29
a god the father	29
still to be seen	29
that were to be	29
gave his attention to	29
the office of works	29
a chapel in the	29
which was much extolled	29
if he had not	29
the works of the	28
no long time passed	28
at the request of	28
may still be seen	28
of the death of	28
the time of the	28
the monks of monte	28
was to be placed	28
in one of these	28
he was commissioned to	28
no need to make	28
the one and the	28
was one of the	28
not been able to	28
with regard to the	28
an endless number of	28
the siege of florence	28
andrea dal monte sansovino	27
giuliano da san gallo	27
the level of the	27
into the hands of	27
in front of the	27
he painted a picture	27
was placed in the	27
but he did not	27
the principal door of	27
that is to say	27
which are in the	27
thrown to the ground	27
the age of sixty	27
a part of the	27
in the hall of	27
long time passed before	27
brought it about that	27
that he had been	27
both within and without	27
course of his life	27
which is very beautiful	27
assumption of our lady	27
the men of that	27
the beauty of the	26
the statue of the	26
as long as he	26
to be a very	26
from the old testament	26
was much his friend	26
which is on the	26
the picture of the	26
the tomb of the	26
in the guardaroba of	26
to be placed in	26
both the one and	26
of which we have	26
who was much his	26
which are very beautiful	26
the end that it	26
as far as the	26
which was very beautiful	26
even as in the	26
and in the centre	25
a madonna with the	25
related in the life	25
the age of fifty	25
our lady with the	25
in the way of	25
held to be the	25
at the time of	25
with the exception of	25
have been able to	25
any of the others	25
that he had in	25
the hands of the	25
that is to be	25
by his own hand	25
the sacristy of s	25
the age of seventy	25
of the principal chapel	24
be related in the	24
fra giovanni da fiesole	24
he was forced to	24
at the feet of	24
the panel of the	24
and to the end	24
which is a very	24
in the lap of	24
be said to have	24
fra sebastiano viniziano del	24
story of the magi	24
of the same man	24
the life of s	24
were held to be	24
in the work of	24
the wardens of works	24
in the pieve of	24
that it might be	24
in order to be	24
in the course of	24
the high altar of	24
the convent of the	24
was a very beautiful	24
that he would not	24
to the best of	24
to the age of	24
in order to learn	24
sebastiano viniziano del piombo	24
to the art of	24
in a few days	24
of the same master	23
would not be possible	23
up to the present	23
a chapel in s	23
that was to be	23
of the art of	23
without the porta a	23
in the principal chapel	23
works that he executed	23
in the company of	23
on the th of	23
need to make mention	23
as one enters the	23
in a chapel of	23
in the case of	23
see note on p	23
on one side and	23
made a most beautiful	23
with a most beautiful	23
works by his hand	23
is a very beautiful	23
after the design of	23
in the other a	23
madonna and child with	23
he caused to be	23
he also painted a	23
to tell the truth	23
he painted a s	23
say nothing of the	23
on one of the	23
the wall of the	23
and other suchlike things	22
the assumption of our	22
the right hand as	22
such a manner as	22
of our lady in	22
is not possible to	22
one enters the church	22
lady with the child	22
in order to see	22
be seen from the	22
great part of the	22
and in order to	22
of the nuns of	22
the age of forty	22
the friars of s	22
of the lord duke	22
the portrait of the	22
executed with much diligence	22
in so far as	22
not be possible to	22
of the holy spirit	22
right hand as one	22
that it is not	22
for the first time	22
the passion of christ	22
the side of the	22
made a very beautiful	22
to him that he	22
that are to be	22
principal chapel of the	21
filippo di ser brunellesco	21
long as he lived	21
had caused to be	21
it may be seen	21
very much his friend	21
he set his hand	21
might be able to	21
a half in height	21
a man of great	21
in the sacristy of	21
at the instance of	21
the direction of the	21
in the manner that	21
the entrance of the	21
it is clear that	21
the scene of the	21
with the intention of	21
of whom we have	21
it appeared to him	21
with the greatest diligence	21
in the works of	21
in the houses of	21
in the figure of	21
said to have been	21
of the passion of	21
was buried in s	21
may be said to	21
the figure of the	21
use of him in	21
and other things of	21
portrait from life of	21
painted a picture of	21
on one side of	21
a manner that it	21
in the city of	21
the house of messer	21
and at the same	21
the first of the	20
a portrait of the	20
the head of a	20
a portrait from life	20
door of the church	20
the spirit of the	20
for the monks of	20
he also made a	20
the palace of s	20
of the high altar	20
on which account he	20
on the inner side	20
in the following manner	20
beautiful to a marvel	20
fra giovanni agnolo montorsoli	20
of the madonna in	20
i know not what	20
he was able to	20
with the help of	20
in the refectory of	20
to our own day	20
the steps of the	20
on the side towards	20
to return to florence	20
the martyrdom of s	20
a panel for the	20
the madonna and child	20
on the way to	20
in the office of	20
the art of the	20
so went to work	20
in which is the	20
and in the church	20
foot of the cross	20
of the duomo of	20
it is possible to	20
painted in fresco a	20
of the emperor charles	20
so beautiful and so	20
a picture of the	20
the court of the	20
of pope clement vii	20
his hand that are	20
that he wished to	20
the summit of the	20
commissioned him to paint	20
down from the cross	20
the history of the	20
a deposition from the	20
not to speak of	20
and at the foot	20
of the heirs of	20
him to paint a	20
give his attention to	20
a beginning with the	20
if he had been	20
and was buried in	20
in company with the	20
of works of s	20
from the hands of	20
the king of france	20
taken down from the	19
caused to be built	19
the fabric of s	19
end that it might	19
in which he was	19
and that of the	19
related in the proper	19
all the rest of	19
the same time he	19
the end of his	19
may be seen a	19
the end that they	19
the design of the	19
the ceiling of the	19
which is beside the	19
of no great size	19
he painted the panel	19
who was very much	19
he was commissioned by	19
as if he had	19
the appearance of a	19
in the campo santo	19
is the portrait of	19
the door of s	19
to be the most	19
in memory of the	19
the life of that	19
the habit of a	19
reached the age of	19
than any of the	19
have not been able	19
house of the medici	19
the city of florence	19
in addition to his	19
it seems to me	19
mention has been made	19
of such a kind	19
which was in the	19
in the convent of	19
in the cloister of	19
caused him to make	19
he would have been	19
the corner of the	19
on account of its	19
painted the panel of	19
to him by the	19
the best of his	19
to the house of	19
which he had made	19
it seemed to him	19
that the work was	19
it is certain that	19
be placed in the	18
was much the friend	18
by reason of his	18
the outer side of	18
principal chapel of s	18
the porta a s	18
don bartolommeo della gatta	18
pier francesco di jacopo	18
to those of the	18
it is impossible to	18
in fresco on the	18
of pope paul iii	18
the library of s	18
he made a very	18
i do not know	18
to be seen by	18
the arts of design	18
there was to be	18
was commissioned to make	18
a very rare work	18
the time when he	18
portraits from life of	18
a portrait of himself	18
in the composition of	18
the choir of the	18
in order to show	18
he made his way	18
the stories of the	18
him to make a	18
painted the chapel of	18
the form of the	18
in the habit of	18
that he should have	18
with a vast number	18
in the study of	18
at the top of	18
that he would never	18
the commission for the	18
the order of the	18
died in the year	18
and in the third	18
to paint a panel	18
the manner in which	18
in this work he	18
to the lord duke	18
he painted in the	18
so it is said	18
been related in the	18
i have not been	18
under the discipline of	18
coronation of our lady	18
placed in the church	18
which may be seen	18
into the service of	18
the feet of the	18
in which he had	18
francesco da san gallo	17
a manner as to	17
at that time to	17
a choir of angels	17
as a young man	17
are held to be	17
no long time after	17
after the designs of	17
florence in the year	17
of the hospital of	17
in a very beautiful	17
after the likeness of	17
there are to be	17
he returned to his	17
the great hall of	17
chapel of the high	17
was allotted to him	17
in the territory of	17
he might be able	17
the painters of the	17
which he made a	17
works that he had	17
it is no marvel	17
better to be seen	17
of our lady with	17
nativity of jesus christ	17
is by the hand	17
end of his life	17
with a very beautiful	17
in the same way	17
at one and the	17
coronation of the virgin	17
did not wish to	17
the garden of the	17
he painted a madonna	17
make use of him	17
when he was a	17
may be seen to	17
the age of eighty	17
francesco di jacopo di	17
the master of the	17
where there is the	17
the monastery of the	17
was to be a	17
the hand of raffaello	17
is a portrait of	17
chapel in the church	17
he returned to florence	17
that he would have	17
that nothing better could	17
nothing better could be	17
giovanni da castel bolognese	17
the excellence of the	17
to the men of	17
of the most beautiful	17
massacre of the innocents	17
to be made in	17
was commissioned by the	17
he died at the	17
the expressions of the	17
it is now in	17
himself in such a	17
that there is no	17
the same master painted	17
the face of the	17
i shall say nothing	17
finished the course of	17
the charge of the	17
it is evident that	17
setting his hand to	17
palace of the medici	16
that he should make	16
the time of pope	16
in the monastery of	16
marriage of the virgin	16
will be told in	16
a picture of a	16
men of the company	16
part of the work	16
at the very moment	16
piece of the high	16
with such diligence and	16
may be seen the	16
in the other the	16
a short time he	16
executed with such diligence	16
principal door of the	16
then a young man	16
to the end of	16
was buried in the	16
to the present day	16
the whole of that	16
of the work of	16
has executed many works	16
could not be more	16
with a good number	16
were the reason that	16
his way to rome	16
the light of the	16
the body of the	16
to speak of the	16
the possession of his	16
of marble in the	16
of the same church	16
be a very beautiful	16
in which he made	16
by means of a	16
the massacre of the	16
in keeping with the	16
was very much his	16
on the wall of	16
the rest of his	16
to be seen at	16
the doors of the	16
of pope leo x	16
at the death of	16
vincenzio da san gimignano	16
the reason that in	16
nanni di baccio bigio	16
he executed many works	16
if it had been	16
passion of jesus christ	16
which was the reason	16
in a certain sense	16
he made a beginning	16
appeared to him that	16
are still to be	16
is a most beautiful	16
together with many other	16
in the end he	16
christ taken down from	16
it came to pass	16
was a disciple of	16
to be built in	16
one of the two	16
the same master has	16
the most illustrious lord	16
the form of an	16
in place of the	16
of the duke of	16
the very moment when	16
and particularly in the	16
that there is nothing	16
in the byzantine style	16
of our lady and	16
of the friars of	16
to that of the	16
was commissioned to paint	16
the marriage of the	15
the sack of rome	15
a picture in oils	15
the convent of s	15
of the men of	15
in the year he	15
painted a panel for	15
either side of it	15
the house of m	15
the descent of the	15
is said to be	15
the age of thirty	15
and in particular the	15
that it would not	15
in the other is	15
director of the hospital	15
to a better life	15
the hall of kings	15
in the right hand	15
to be executed in	15
by reason of which	15
caused to be made	15
according to the custom	15
to finish the work	15
whom we have spoken	15
the nuns of the	15
the name of a	15
on the summit of	15
office of works of	15
altar of the church	15
the eyes of the	15
and in the end	15
age of the despots	15
on the side of	15
the conversion of s	15
it was a marvel	15
st john the baptist	15
a very rich and	15
may be said that	15
the style of the	15
now in the house	15
in accordance with the	15
one of the first	15
painted a very beautiful	15
that he executed in	15
the world of art	15
picture in oils of	15
as well as in	15
at the entrance of	15
with much diligence and	15
and of the other	15
antonio di marco di	15
the apartments of the	15
descent of the holy	15
the heads of the	15
hand that are in	15
the name of the	15
now to be seen	15
at the corner of	15
seen at the present	15
he went off to	15
in the person of	15
at that time in	15
in his youth he	15
chapel of the sacrament	15
in the hand a	15
the nativity of jesus	15
and with the other	15
of the city of	15
he was buried in	15
be seen at the	15
is still to be	15
a figure of s	15
picture by the hand	15
in the round and	15
to be made for	15
in the abbey of	15
who was then a	15
acquitted himself so well	15
the loggia of the	15
that is on the	15
the side towards the	15
the castello di s	15
wardens of works of	15
and it is now	15
which he executed in	15
with the head of	15
to the custom of	15
to the work of	15
is now to be	15
it is enough to	15
with the greatest possible	15
that he was a	15
church of the servi	15
the design for the	15
by the men of	14
to the king of	14
in the space of	14
of the family of	14
the monastery of s	14
he would have liked	14
to paint the chapel	14
in a beautiful manner	14
the service of his	14
for the benefit of	14
from time to time	14
may have been the	14
order to be able	14
for the palace of	14
he painted an altar	14
in the same year	14
the coronation of our	14
have the appearance of	14
in our book of	14
of the same city	14
is in the possession	14
he left behind him	14
pictures of our lady	14
with the aid of	14
a very beautiful picture	14
in fresco for the	14
the works of others	14
to be seen there	14
in the great hall	14
the work that he	14
works that he has	14
as he still does	14
the predella of the	14
he caused him to	14
in the tramezzo of	14
be seen in our	14
a very beautiful thing	14
painted a most beautiful	14
seemed to him that	14
he did the same	14
are in our book	14
it would be a	14
which we have spoken	14
of a very beautiful	14
seen in our book	14
the death of pope	14
for the friars of	14
which is opposite to	14
was a young man	14
the top of the	14
he was the first	14
the work was finished	14
the cloister of s	14
who at that time	14
to the height of	14
in company with other	14
worthy of the highest	14
da castel della pieve	14
rest of his life	14
for the tomb of	14
in a chapel in	14
are now in the	14
the houses of citizens	14
in an attitude of	14
as if they were	14
i do not believe	14
that he had executed	14
the houses of the	14
in marble and in	14
better than any other	14
he made for the	14
the order of camaldoli	14
end that they might	14
was by the hand	14
painted a panel with	14
of a young man	14
the reason that it	14
king francis of france	14
and for this reason	14
to say that he	14
is a marvellous thing	14
in the building of	14
with a view to	14
his most illustrious excellency	14
similar to that of	14
a number of figures	14
time passed before he	14
christ on the cross	14
in the fifteenth century	14
the campanile of s	14
of andrea del sarto	14
in order to finish	14
and it is a	14
he painted the chapel	14
panel of the high	14
john the baptist and	14
the art of design	14
to set his hand	14
is in our book	14
saying that he had	14
and in the predella	14
the best of all	14
with an infinite number	14
when the work was	14
is the story of	14
the right hand of	14
work that he had	14
when it was finished	14
that he has executed	14
the tramezzo of the	14
pietro da castel della	14
which was placed in	14
in the first of	14
must not omit to	14
to him in the	14
that he was able	14
i must not omit	14
the midst of the	14
painted the story of	14
that he had not	14
that there should be	14
of one of the	14
in which he painted	14
with a number of	14
the best works that	14
the excellence of his	14
he did not succeed	13
the miracle of the	13
scourged at the column	13
of the ducal palace	13
he would have done	13
have been the reason	13
was the son of	13
the mother of the	13
being a man who	13
in order that he	13
over the principal door	13
life of our lady	13
was at that time	13
to be given to	13
shall say nothing more	13
as one of the	13
the left hand as	13
the fury of the	13
to go to rome	13
has the appearance of	13
it was necessary to	13
that he was to	13
he used to say	13
to be sent to	13
of the thirteenth century	13
has been said above	13
many portraits from life	13
that he might be	13
that he had received	13
would take too long	13
nothing better to be	13
other works that he	13
there is nothing better	13
as it still is	13
with the assistance of	13
order that he might	13
may also be seen	13
the hand of michelagnolo	13
for the nuptials of	13
in the guise of	13
the request of the	13
the via di s	13
a portrait of pope	13
son in her arms	13
by the death of	13
and no long time	13
in a few years	13
the execution of the	13
that it seems to	13
the favour of the	13
so that it was	13
men of that company	13
put his hand to	13
a most beautiful picture	13
the madonna with the	13
the duke of urbino	13
and in like manner	13
stories of the life	13
in a most beautiful	13
the hand of a	13
having come to the	13
the height of the	13
that he executed for	13
the abbey of s	13
entrance into the church	13
both male and female	13
by means of his	13
to him that the	13
so well and with	13
of the highest praise	13
of the siege of	13
which is at the	13
to be placed on	13
the most holy sacrament	13
and one of the	13
the sides of the	13
of the school of	13
and worthy of praise	13
he executed in fresco	13
that he made in	13
who had charge of	13
his hand to it	13
that had ever been	13
that he ever made	13
being a man of	13
some scenes from the	13
her son in her	13
that is over the	13
the guardaroba of the	13
they seem to be	13
the porta di s	13
in the other scene	13
placed in the chapel	13
visitation of our lady	13
the son of the	13
that this is true	13
beautiful and so well	13
a panel in distemper	13
that there was no	13
the best and most	13
it is difficult to	13
the love that he	13
the resurrection of christ	13
whatever may have been	13
of the magnificent lorenzo	13
to be one of	13
receiving the annunciation from	13
a portrait of him	13
the badia of florence	13
that he should be	13
dal borgo a san	13
on the part of	13
be made in the	13
in the sistine chapel	13
for a chapel in	13
the arch of the	13
in his native place	13
the duomo of pisa	13
i do not think	13
to give his attention	13
our lady in the	13
of which he had	13
be numbered among the	13
there is also a	13
life of that saint	13
a nativity of christ	13
this may be seen	13
what he had done	13
from the design of	13
is in the house	13
be one of the	13
painted a panel in	13
much better than the	13
the matters of art	13
he had made a	13
even as he had	13
of the building of	13
the study of the	13
and the other of	13
was placed on the	13
it is a marvel	13
the same church he	13
the time when the	13
by whom he was	13
and in other places	13
of the nativity of	13
the art of sculpture	13
by his hand in	13
one side of the	13
having then returned to	13
in one of his	13
a short time before	13
in the works that	13
left hand as one	13
to be held in	13
to paint in the	13
on account of their	13
it is necessary to	13
the base of the	12
the place where the	12
by raffaello da urbino	12
on a gold ground	12
it was not possible	12
of the cardinal of	12
that they should be	12
the palace of messer	12
this was the reason	12
there is a little	12
that he had a	12
in addition to this	12
the service of that	12
the first work that	12
on the hill of	12
figures of the size	12
has been said in	12
a panel in the	12
in the workshop of	12
the death of that	12
the life of our	12
related in another place	12
had charge of the	12
the head of holofernes	12
and of all the	12
other parts of the	12
by antonio da san	12
omit to say that	12
in his every action	12
of st john the	12
for the purpose of	12
tramezzo of the church	12
of the most excellent	12
he made a most	12
scenes with little figures	12
the commission of the	12
the roof of the	12
all the appearance of	12
palace of the signoria	12
which is much extolled	12
of the actions of	12
and if he had	12
for the first of	12
the mouth of the	12
of the dead christ	12
and in the middle	12
the hand of this	12
has been able to	12
a man who was	12
our book of drawings	12
the head of that	12
the death of his	12
vaulting of the chapel	12
related in his life	12
with those of the	12
with the story of	12
for the adornment of	12
who is in the	12
set up in the	12
the very time when	12
parts of the world	12
went to work with	12
in the ducal palace	12
had the appearance of	12
the completion of this	12
of those who are	12
so great a man	12
a madonna in the	12
in a large picture	12
the masters of the	12
with a great number	12
the whole of this	12
on the death of	12
commissioned to paint the	12
the tabernacle of the	12
well and with such	12
some stories of the	12
the nature of the	12
in the national gallery	12
at the very time	12
or for some other	12
do not believe that	12
with a garland of	12
that it is possible	12
of the history of	12
one of these is	12
and placed in the	12
as is proved by	12
the temple of s	12
the annunciation from the	12
with the arms of	12
madonna in the sky	12
in matters of architecture	12
on his way to	12
the director of the	12
about the year of	12
of alexander the great	12
which were held to	12
is said that the	12
the hospital of the	12
set himself to make	12
with andrea del sarto	12
annunciation from the angel	12
years of his life	12
the hand of andrea	12
church of the servites	12
of the duomo at	12
to be painted by	12
by andrea del sarto	12
things of that kind	12
the weight of the	12
the passion of jesus	12
works that he made	12
to the studies of	12
in a few months	12
the lower church of	12
angels in the air	12
the same time the	12
new sacristy of s	12
in the expressions of	12
be told in the	12
foot of the car	12
for some other reason	12
giorgio vasari of arezzo	12
the matter of the	12
that it was not	12
of christ in the	12
as soon as he	12
on the vaulting of	12
in fresco the chapel	12
was given to the	12
in the face of	12
could not have been	12
full of grace and	12
the last part of	12
held in great veneration	12
in the direction of	12
the likeness of the	12
as well as of	12
that part of the	12
be found in the	12
which are held to	12
portrayed from the life	12
is no marvel that	12
in the arms of	12
of the sistine chapel	12
the perfection of the	12
of all those who	12
of the best works	12
was a most beautiful	12
the baptism of christ	12
by one of the	12
for this reason he	12
in the likeness of	12
one of which was	12
the vision of s	12
was the first who	12
be seen from a	12
to the works of	12
he painted a large	12
that is called the	12
to the other life	12
a chapel of the	12
in the matters of	12
as if it had	12
in a line with	12
of the most holy	12
him the name of	11
it appears to me	11
which could not be	11
the office of the	11
in the court of	11
possession of the heirs	11
which he executed with	11
the appearance of life	11
it is a marvellous	11
fresco the chapel of	11
set himself to work	11
there is no doubt	11
of the young men	11
to the church of	11
be seen in s	11
the deposition from the	11
in the year of	11
the life of christ	11
in order to do	11
is proved by the	11
that he bore to	11
in the first cloister	11
good sum of money	11
executed by him in	11
from one day to	11
the festive preparations for	11
to the monks of	11
all the works that	11
a work in fresco	11
giovan battista della palla	11
francesco di girolamo dal	11
or pietro da castel	11
the cornice of the	11
that had been made	11
of the magi in	11
steps of the temple	11
came into the hands	11
in the execution of	11
of him in the	11
the works of this	11
jan van der straet	11
on the ceiling of	11
outer side of the	11
the presence of the	11
of light and shade	11
which is to be	11
with such diligence that	11
and the other a	11
similar to those of	11
the corners of the	11
the upper part of	11
and the whole work	11
of pope julius ii	11
which are now in	11
and all the more	11
would not have been	11
the ponte alla carraia	11
we have spoken above	11
received the commission for	11
that he has made	11
caused it to be	11
the other in the	11
in which is a	11
that they might be	11
which were to be	11
to the memory of	11
in consequence of the	11
the painting of the	11
he painted the story	11
set to work on	11
the refectory of the	11
in each of the	11
a marble tomb for	11
and on one side	11
the gate of the	11
the most beautiful and	11
the visitation of our	11
him to paint the	11
should be given to	11
at that time the	11
painted a picture in	11
and with such diligence	11
of which he was	11
in the left hand	11
there are also some	11
for the rest of	11
of which he made	11
the lap of his	11
and the same time	11
of the fourteenth century	11
not only in the	11
the hospital of s	11
high altar of the	11
the ornamentation of the	11
to the eyes of	11
are some very beautiful	11
very much the friend	11
some of which are	11
in the name of	11
the same city of	11
in the garden of	11
which were sent to	11
in order to give	11
which was sent to	11
that he painted in	11
he was summoned to	11
of the great hall	11
it would take too	11
the scuola of s	11
more than any other	11
be seen in a	11
company of the misericordia	11
picture of the high	11
he has made a	11
that he had no	11
was a very good	11
young men who were	11
but i do not	11
there is a picture	11
at the command of	11
to mention that he	11
in which he represented	11
the entrance into the	11
a dead christ with	11
figures in the round	11
in the hope of	11
besought him that he	11
stories of the madonna	11
in order to avoid	11
painted in an altar	11
he wished to have	11
would have liked to	11
in order that the	11
di jacopo di sandro	11
rest of the work	11
he gave his attention	11
the same may be	11
by jacopo da pontormo	11
his attention to architecture	11
that in a short	11
him to paint in	11
the festival of s	11
be the most beautiful	11
the studies of art	11
a scene of the	11
reason of the death	11
of christ and the	11
has been an account	11
that may be seen	11
caused him to be	11
in the predella of	11
other side of the	11
there has been an	11
after he had been	11
from the waist upwards	11
it would be well	11
seat of the monks	11
he did not wish	11
the centre of which	11
in the via di	11
for which reason he	11
the creation of adam	11
a line with the	11
high altar of s	11
and child with s	11
it in such a	11
a painter of florence	11
he executed many pictures	11
the while that he	11
to the duke that	11
the other side of	11
a good sum of	11
he executed a panel	11
and as it were	11
one day to another	11
on the walls of	11
friar of the piombo	11
all those who had	11
the lives of the	11
to his own country	11
of sculpture and painting	11
two braccia and a	11
di marco di giano	11
in oils on the	11
the same place he	11
one braccio and a	11
as is the custom	11
the beheading of s	11
the monks of the	11
the model of the	11
the completion of the	11
for the same church	11
it may have been	11
and child with saints	11
a piece of marble	11
that are in that	11
in the corinthian order	11
the charge of this	11
but in the end	11
of adam and eve	11
to return to rome	11
on the other wall	11
he painted a very	11
if he had lived	11
painted a dead christ	11
on the one hand	11
so as not to	11
or andrea dal monte	11
to the ground in	11
the cloister of the	11
of god the father	11
and that he was	11
in matters of art	11
with one of the	11
made use of him	11
nor is it possible	11
in imitation of the	11
that it could not	11
where there are the	11
to be by the	11
of the earlier renaissance	11
to the labours of	10
of works of the	10
were to be placed	10
although it is true	10
summoned to rome by	10
the death of s	10
commissioned to make a	10
the best work that	10
number of other works	10
during the lifetime of	10
was born in the	10
having returned to florence	10
and those of the	10
in those who are	10
right hand of the	10
of a triumphal arch	10
there is a panel	10
of great beauty and	10
be seen in that	10
with a desire to	10
of his life at	10
and on the inner	10
he painted in a	10
is now in s	10
was to be seen	10
to paint a picture	10
the signoria of florence	10
is not able to	10
and on account of	10
that it appears to	10
to be in the	10
for many years in	10
chapel of the madonna	10
all that he had	10
great hall of the	10
made up his mind	10
on the opposite side	10
a manner that the	10
he acquitted himself so	10
very rich and beautiful	10
order not to be	10
by the company of	10
that i do not	10
now in the guardaroba	10
and in the last	10
is opposite to the	10
he went to rome	10
even if he had	10
took him into his	10
it proved to be	10
doors of the organ	10
in our book are	10
say nothing more of	10
he painted in oils	10
this as it may	10
he has painted the	10
for the time being	10
of the same s	10
and let this be	10
were thrown to the	10
came to pass that	10
i have been able	10
it was to be	10
fell sick of a	10
by him in the	10
a work of great	10
of his life in	10
very beautiful picture of	10
for a period of	10
in the month of	10
which were much extolled	10
marriage of our lady	10
in memory of his	10
the way to the	10
with her son in	10
the nativity of our	10
well deserved to be	10
to his native city	10
the affairs of the	10
to be set up	10
to pass the time	10
on one side the	10
a little picture of	10
the present day in	10
worthy to be praised	10
that in the end	10
man that he was	10
that has ever been	10
in company with his	10
john the baptist in	10
in any other place	10
lap of his mother	10
in silk and gold	10
in imitation of bronze	10
besides many other things	10
of whom mention has	10
the hand of fra	10
the exterior of the	10
the figure of s	10
with a piece of	10
has caused to be	10
of some of the	10
was never able to	10
he made the design	10
stories of our lady	10
pellegrino da san daniele	10
either side of her	10
no less than the	10
of the fine arts	10
to be a good	10
as a man of	10
has been related above	10
that he might make	10
the colour of bronze	10
and a number of	10
in the loggia of	10
scenes from the old	10
the exception of the	10
large and very beautiful	10
the portrait of a	10
he has executed many	10
said to him that	10
wherefore it is no	10
door of the sacristy	10
all who knew him	10
and the other maries	10
something of the good	10
he is said to	10
the first rudiments of	10
given to him by	10
to the most illustrious	10
was given to him	10
all the other things	10
the madonna in the	10
a great quantity of	10
but for all that	10
is nothing better to	10
he would have become	10
tabernacle of the sacrament	10
of the monastery of	10
when he was in	10
that he had begun	10
of the whole work	10
of the same kind	10
caused him to execute	10
works in that city	10
the most beautiful of	10
first of these was	10
globe of the world	10
the work of his	10
of the council of	10
of borgo a san	10
are one on either	10
expressions of the heads	10
at the sight of	10
a tomb of marble	10
the men of our	10
which is above the	10
of the fabric of	10
a picture of s	10
not be able to	10
that could be desired	10
of the king of	10
come to the age	10
with our lady and	10
it had not been	10
in oils for the	10
in the temple of	10
with great credit to	10
is said that he	10
he fell sick of	10
in the library of	10
said that he had	10
allotted to him by	10
beginning was made with	10
which proved to be	10
he was a man	10
no need to speak	10
on the piazza of	10
in addition to many	10
and when he had	10
is evident that he	10
be by the hand	10
been an account in	10
in place of a	10
the campo santo at	10
that they seem to	10
would be able to	10
portraits from the life	10
the curve of the	10
be this as it	10
christ bearing the cross	10
to paint in fresco	10
at that time was	10
whom mention has been	10
by reason of their	10
of the palace and	10
it is believed that	10
take too long to	10
he painted in chiaroscuro	10
in the first place	10
such as that of	10
the service of duke	10
he would have made	10
he was like to	10
is it possible to	10
is to be found	10
and went off to	10
the church and convent	10
raffaello da urbino had	10
which he acquitted himself	10
better could be done	10
so beautiful a manner	10
the work of that	10
to show that he	10
he acquitted himself very	10
beautiful picture of our	10
reverend don vincenzio borghini	10
and made his way	10
the house of signor	10
of the hall of	10
are in the possession	10
what has been said	10
which was placed on	10
that in the year	10
of the sacrament in	10
queen joanna of austria	10
in oils and in	10
and so it was	10
it was not long	10
to be a marvellous	10
and every other thing	10
paint the chapel of	10
florence at that time	10
the pieve of arezzo	10
passed to a better	10
the tomb of julius	10
the madonna in s	10
said that he was	10
executed with great diligence	10
a picture in tempera	10
some of the most	10
to give to the	10
was made with the	10
in order to execute	10
the fresco by giovanni	10
made the model of	10
which is most beautiful	10
in one and the	10
subjects from the life	10
piero dal borgo a	10
as well as he	10
monastery of the angeli	10
of the abbey of	10
and on the left	10
on the completion of	10
middle of the church	10
to work on the	10
in the fourteenth century	10
and he made a	10
are on either side	10
hall of the palace	10
the foundations of the	10
a beginning was made	10
having reached the age	10
made the design for	10
the designs for the	10
is a picture of	10
to an evil end	10
that are on the	10
the same man made	10
to florence in the	10
the space of the	10
that he could do	10
by his hand is	10
the principal church of	10
chapel of the palace	10
the thickness of the	10
when he had finished	10
while he was living	10
of his native city	10
that he was the	10
in the vulgar tongue	10
as will be described	10
last part of the	10
as he was able	10
and likewise that of	10
carried into execution by	9
in each of these	9
as it has been	9
that are in our	9
figures larger than life	9
may be able to	9
the subject of the	9
four braccia and a	9
the manner that he	9
the arches of the	9
in the colour of	9
is no doubt that	9
in order to have	9
is a very good	9
formed a friendship with	9
so that it is	9
account of the death	9
the decorations of the	9
as is shown by	9
and that he should	9
he did in the	9
by way of the	9
the oratory of s	9
to devote himself to	9
in one hand and	9
the council of ten	9
at a distance of	9
in all his works	9
be seen from many	9
had a very good	9
date about the year	9
house in the via	9
in order to paint	9
both ancient and modern	9
in the choir of	9
a very beautiful figure	9
for the student of	9
which are to be	9
to make himself known	9
from the time when	9
he had made for	9
there is to be	9
the marriage of our	9
up his mind to	9
doctors of the church	9
for the use of	9
the coronation of the	9
that he made for	9
of our lady for	9
of names of the	9
the best that he	9
he had a very	9
in order to leave	9
and at the sides	9
vast number of other	9
truly worthy to be	9
sistine chapel michelagnolo buonarroti	9
all the stories of	9
from day to day	9
campo santo at pisa	9
francis receiving the stigmata	9
although he did not	9
to be seeking to	9
that they did not	9
and in this he	9
that is at the	9
he was a young	9
by the wardens of	9
that no one could	9
the hand of francesco	9
in design and in	9
it seemed as if	9
which is said to	9
it does not seem	9
in which there is	9
he then returned to	9
and the other with	9
the friend of the	9
on a panel in	9
executed some works in	9
but he was not	9
architects by giorgio vasari	9
because he was a	9
the decoration of the	9
of leonardo da vinci	9
made many works in	9
of the campo santo	9
to the duke of	9
all the more because	9
as he had done	9
he finished the course	9
in the apartment of	9
giving his attention to	9
told in the proper	9
executed by him with	9
he was living in	9
he painted a dead	9
it seems to be	9
and the other in	9
on the back of	9
for the duke of	9
assumption of the virgin	9
on his own account	9
the painting by tiziano	9
his soul to god	9
to which he had	9
to make a portrait	9
the front of the	9
to the manner of	9
it appears to be	9
that most noble city	9
the chapel of that	9
of the last judgment	9
with much judgment and	9
of the pope and	9
the people of siena	9
the temple of the	9
ascending the steps of	9
the invention of the	9
the construction of the	9
braccio and a half	9
that it has been	9
the same time that	9
your most illustrious excellency	9
which is full of	9
account in another place	9
appears to me that	9
and the most beautiful	9
with much grace and	9
sent to the king	9
the madonna of the	9
where there is a	9
be built in the	9
be the best of	9
the walls of that	9
with figures of the	9
while he was working	9
the mind of the	9
and not long afterwards	9
he painted a scene	9
church of the nuns	9
let this be the	9
were executed by him	9
there was no one	9
many works that he	9
is the most beautiful	9
in connection with the	9
good number of figures	9
love that he bore	9
and in particular that	9
by the advice of	9
it is one of	9
of the most noble	9
the labours of art	9
on the condition that	9
not long afterwards he	9
i do not wish	9
with the rest of	9
with some very beautiful	9
passed to the other	9
christ with the maries	9
although he was a	9
life at the age	9
over the altar of	9
being scourged at the	9
in that kind of	9
the best of my	9
that could possibly be	9
on the other the	9
at a time when	9
church and convent of	9
of the three kings	9
the battle of the	9
for the coming of	9
a most beautiful work	9
he painted a most	9
was in the year	9
and the other on	9
the black friars of	9
had been able to	9
has been told in	9
in which they were	9
set to work to	9
of the servite friars	9
having arrived in rome	9
of the marriage of	9
in the shape of	9
was to be sent	9
he painted our lady	9
the part of the	9
in competition with him	9
for the building of	9
the year of the	9
the portrait of pope	9
lower church of s	9
the birth of the	9
palms and a half	9
in the same picture	9
scenes of the passion	9
of the craftsmen mentioned	9
the vast number of	9
in which he acquitted	9
the greatness of his	9
this same time he	9
the lines of the	9
in the chamber of	9
the shape of a	9
as it were in	9
who was much the	9
went to rome to	9
to do honour to	9
in the ancient manner	9
and he did the	9
which may still be	9
at the desire of	9
besides many other works	9
an account in another	9
dead christ with the	9
altar of the madonna	9
he had finished it	9
executed in the same	9
the gate of s	9
been related in another	9
he was for ever	9
above the door of	9
that there may be	9
the study of art	9
he had done in	9
to give completion to	9
there is a large	9
when he went to	9
the porta a pinti	9
and a half high	9
at the foot and	9
he executed for the	9
he made a s	9
in the other picture	9
not to mention the	9
christ in the lap	9
the designs of the	9
portrait of a man	9
which he had been	9
proved to be a	9
for the cardinal of	9
no less beautiful than	9
under the care of	9
in which there are	9
with a motto that	9
determined that he would	9
or sandro di botticello	9
nativity of our lady	9
of the black friars	9
at that very time	9
of christ with the	9
he would not have	9
in the district of	9
of poggio a caiano	9
than that of the	9
the last of the	9
said that he would	9
as a symbol of	9
of monte oliveto at	9
wall of the church	9
mary magdalene in the	9
of the best that	9
on the day of	9
that leads into the	9
and in the year	9
on the front of	9
in competition with the	9
and the other the	9
which he painted in	9
saying that it was	9
same may be said	9
under the supervision of	9
in the modern manner	9
be the end of	9
the meaning of the	9
was to be painted	9
at all costs to	9
men of the fifteenth	9
a work of such	9
of fra giovanni agnolo	9
was a pupil of	9
as that of the	9
the whole work is	9
the custom of those	9
it about that the	9
he was to be	9
the certosa of pavia	9
and caused him to	9
one braccio in height	9
the door that leads	9
for one of the	9
devoted himself to the	9
the same time to	9
of the nunziata in	9
adoration of the shepherds	9
the sacristy of the	9
that if he had	9
that there might be	9
with the portrait of	9
florence in order to	9
account of the siege	9
picture of the annunciation	9
seen by his hand	9
at that time a	9
the castle of s	9
the composition of the	9
of pope julius iii	9
a young man who	9
a very great name	9
the hands of various	9
that it could be	9
stories of the actions	9
in oils of the	9
the young men of	9
was not long before	9
down to our own	9
he would not fail	9
the adornment of the	9
which is a rare	9
of those who have	9
st john the evangelist	9
for the love of	9
but the most beautiful	9
one by the hand	9
the fortifications of the	9
giovan battista san marino	9
he wished to be	9
he was held in	9
index of names of	9
that has been described	9
this be the end	9
was seen in the	9
it is related that	9
both on account of	9
which was a rare	9
from the level of	9
the duomo of that	9
the craftsmen mentioned in	9
he executed in the	9
and in the chapel	9
in the old duomo	9
was placed in s	9
the very reverend cardinal	9
it could not be	9
by his hand of	9
that he should paint	9
of no great importance	9
at the entreaty of	9
drawings by his hand	9
the drawing of the	9
that he had to	9
his way back to	9
names of the craftsmen	9
by henry stone and	8
by pope paul iii	8
surpassed by a great	8
from life of the	8
the ornament of the	8
who was a disciple	8
and the work was	8
that he might have	8
this is true is	8
who was in the	8
a picture for the	8
lives of the most	8
with his own hands	8
to enable him to	8
form of a gardener	8
in the third was	8
at the height of	8
in a little picture	8
the first works that	8
of all the works	8
he was not only	8
under the influence of	8
in the painting of	8
painted a portrait of	8
as was said in	8
been one of the	8
in the garb of	8
christ in the garden	8
marble and in bronze	8
who afterwards became a	8
with the madonna and	8
cross on his shoulder	8
may be seen by	8
to the extent of	8
gave the charge of	8
a scene in fresco	8
it would be impossible	8
and a man of	8
a short time to	8
made his own portrait	8
this was given to	8
many of his works	8
at the close of	8
are by the hand	8
and by his hand	8
in ten volumes illustration	8
andrea di cosimo feltrini	8
and in every other	8
the holy spirit upon	8
the opening of the	8
it is not necessary	8
the midst of a	8
his relatives and friends	8
to give him the	8
as if it were	8
for so many years	8
was not possible to	8
the distribution of the	8
he made a figure	8
with a branch of	8
the organ in the	8
from the centre of	8
he was an excellent	8
the chamber of the	8
he painted a little	8
the death of andrea	8
with the following epitaph	8
sculptors architects by giorgio	8
that he would do	8
the point of the	8
most eminent painters sculptors	8
by leonardo da vinci	8
in the year to	8
order to make use	8
reproductions engraved and printed	8
afterwards carried into execution	8
marble in the round	8
like a man of	8
both public and private	8
and by means of	8
in addition to those	8
his attention to design	8
jan stephanus van calcker	8
him in order to	8
the fresco by michelagnolo	8
in the school of	8
to the medici society	8
in the first is	8
the chapel in s	8
in which he has	8
which is a most	8
the raising of lazarus	8
all the time that	8
of the farnese family	8
with five hundred illustrations	8
the porta al prato	8
the campanile of the	8
a large and very	8
to the palace of	8
that he had done	8
after his own fancy	8
a chapel of s	8
imitated the manner of	8
be seen by his	8
the centre of that	8
a most beautiful and	8
great number of figures	8
still be seen in	8
there will be an	8
and many other works	8
of the same order	8
was the first to	8
a very beautiful madonna	8
with the cross on	8
which had been begun	8
as the saying goes	8
in which are the	8
and when he was	8
to whom he gave	8
printed by henry stone	8
in the lower church	8
had been given to	8
the works which he	8
the commune of florence	8
it appears as if	8
the work of s	8
be seen from some	8
to go to the	8
as we have seen	8
number of figures in	8
if it had not	8
was seen the same	8
the possession of messer	8
it was the reason	8
to work with the	8
from the designs of	8
henry stone and son	8
a number of other	8
beside the principal chapel	8
he was working at	8
that the art of	8
those of the other	8
in the forms of	8
in a place where	8
did not fail to	8
in this work are	8
be set up in	8
last years of his	8
the whole work was	8
for the abbey of	8
works of the duomo	8
he had been in	8
stories from the life	8
time of pope paul	8
in the obsequies of	8
the school of athens	8
him to be a	8
will be an account	8
of the doric order	8
up his soul to	8
he applied himself to	8
the said lord duke	8
publisher to the medici	8
christ with the cross	8
a great measure to	8
the painting by jacopo	8
is a picture by	8
is in the chapel	8
that he had ever	8
his own hand in	8
work of that kind	8
the way in which	8
all who see it	8
nothing more was done	8
to make a model	8
as will be said	8
of the greatest importance	8
at the present time	8
that they would not	8
a design for the	8
entered the service of	8
by the liberality of	8
fresco in the chapel	8
in the style of	8
in every part of	8
was struck with astonishment	8
it is probable that	8
work by his hand	8
to the service of	8
the annunciation to the	8
had ever been made	8
as has been described	8
and that it was	8
our own day by	8
his house in the	8
giovanni antonio licinio of	8
in the place of	8
the people of that	8
the legend of s	8
than any other painter	8
and in particular a	8
of painting and sculpture	8
opposite to the principal	8
the manner of his	8
of the sacristy of	8
that they have been	8
the statue of pope	8
i will not omit	8
jacobi of the chiswick	8
king henry of france	8
the use of the	8
and that he had	8
it is held to	8
of the chiswick press	8
engraved and printed by	8
made a picture of	8
together with the other	8
it into his head	8
with an endless number	8
the sculpture of the	8
the figure of a	8
of such a man	8
to attain to the	8
the power of the	8
rome at that time	8
the monks of vallombrosa	8
in any other way	8
reason that he was	8
the sala del papa	8
bear witness to the	8
the reason that they	8
and the rather as	8
in the cathedral of	8
in imitation of marble	8
been able to find	8
by the side of	8
to give him a	8
of which is the	8
that could be found	8
of the early renaissance	8
most beautiful picture of	8
in relation to the	8
and he would have	8
made a number of	8
these and many other	8
there was allotted to	8
the chariot of the	8
for a few minutes	8
he executed a picture	8
the most part by	8
birth of the virgin	8
that there were in	8
he made many works	8
he rendered up his	8
of christ from the	8
it was found that	8
craftsmen mentioned in volume	8
learned the first rudiments	8
so much art and	8
the stories of s	8
that they have the	8
the duomo of milan	8
in the distribution of	8
not omit to say	8
his attention to the	8
the guardaroba of duke	8
he gave orders that	8
that it did not	8
the assumption of the	8
numbered among the best	8
for the same man	8
hand of raffaello da	8
that nothing more could	8