trigram

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

trigram	frequency
and in the	649
in order to	596
the church of	586
that he had	472
in the year	424
church of s	420
that he was	402
the chapel of	388
in the same	384
one of the	384
the hand of	362
of the same	353
by the hand	341
may be seen	333
in the church	323
the house of	308
as has been	302
he painted a	298
the reason that	297
at that time	297
a very beautiful	281
of our lady	275
and the other	272
the life of	268
chapel of the	266
of the church	258
in such a	257
to be seen	252
to the end	247
by his hand	238
the death of	237
he made a	232
on the other	231
the end that	230
and on the	225
a most beautiful	220
held to be	213
on account of	213
the manner of	211
that he should	206
for the reason	206
part of the	203
the age of	200
the works of	199
in the chapel	198
in which he	195
the head of	195
in the other	190
the form of	188
the work of	187
of the most	186
church of the	183
there is a	181
in the centre	179
that of the	179
by means of	178
be seen in	177
the palace of	176
that it was	176
was to be	176
the same time	176
such a manner	175
the art of	173
that he would	173
in that city	171
in the house	170
he painted the	170
at the foot	169
and of the	166
that it is	166
to return to	165
as well as	163
he did not	162
by reason of	160
is in the	158
in addition to	155
he painted in	151
in the form	151
to be a	149
has been related	149
of his own	147
according to the	147
the hands of	146
on the right	145
as may be	145
a man of	144
on either side	144
a young man	143
of all the	143
a portrait of	139
as it were	138
in like manner	137
at the same	136
the present day	135
da san gallo	134
there is no	134
and all the	133
raffaello da urbino	132
of his life	131
and for the	131
is now in	131
from the life	131
at the age	130
the service of	130
he would have	130
of the work	130
painted in fresco	130
which he had	129
the company of	129
now in the	129
on one side	129
of the city	129
that he might	129
it may be	128
account of the	128
the men of	127
the right hand	126
side of the	126
the portrait of	126
his own hand	125
in company with	125
when he was	125
at the present	125
of the madonna	123
in the first	122
the story of	121
in one of	121
as will be	121
which is a	121
he had been	121
if he had	121
a number of	120
and it is	120
with his own	120
it is a	120
in the middle	119
and he was	118
would have been	117
the name of	116
of the world	116
the door of	116
the time of	116
to be the	115
the end of	115
to make a	115
house of the	115
in her arms	114
picture of the	113
john the baptist	113
and at the	113
of the palace	112
door of the	111
a picture of	111
he was not	110
chapel of s	110
on the left	109
it is not	109
palace of the	109
that he has	107
be able to	107
the centre of	107
of the renaissance	107
his hand to	107
and with the	106
in this work	106
are in the	106
that are in	106
in the palace	105
the rest of	105
it is said	105
placed in the	105
of the chapel	104
caused him to	103
of those who	103
by the same	102
the altar of	102
in that place	102
he was a	102
the whole of	102
the tomb of	102
the foot of	101
the most beautiful	101
altar of the	101
to have been	101
of the virgin	100
the same master	100
the son of	100
of the above	100
which was a	99
form of a	99
andrea del sarto	99
the possession of	98
in the air	97
those of the	97
with the greatest	97
maria del fiore	97
of the duke	95
seen in the	95
for the church	95
a short time	95
and by the	95
it would be	95
for the same	94
of the said	94
he made the	94
i do not	93
works that he	93
of the magi	93
to make the	93
in our book	93
to be made	93
that he could	93
out of the	92
which is now	92
the same city	92
with all the	92
and to the	92
in the possession	91
of the high	91
men of the	91
caused to be	91
he had not	91
the building of	91
in the world	91
of the whole	90
in the hand	90
the other side	90
of the pope	90
to see the	89
the study of	89
the whole work	89
and it was	89
the statue of	89
the principal chapel	89
not able to	89
in the life	88
of the great	88
of the house	88
in the manner	88
and a half	88
reason of the	88
on the piazza	88
some of the	87
with the child	87
has been said	87
in the end	87
that in the	87
either side of	87
been able to	86
him in the	86
which is in	86
up to the	85
which had been	85
had not been	85
at the time	85
the fifteenth century	85
it was a	84
painted a panel	84
the lord duke	84
that he made	84
all the other	83
of which he	83
of the medici	83
hand of the	83
of the other	82
work of the	82
but to return	82
the left hand	82
who was then	82
were to be	82
set himself to	81
and in a	81
he wished to	81
was a very	81
the history of	81
as he was	81
and the same	81
of that city	81
of the old	81
that there is	81
as i have	80
of jesus christ	80
the same place	80
many works in	80
opposite to the	80
child in her	80
company of the	79
and in particular	79
the duomo of	79
him to paint	79
of the duomo	79
after he had	79
the middle of	79
one and the	79
the figure of	78
a figure of	78
one of which	78
head of the	78
set his hand	78
after the manner	78
which is the	77
the work was	77
he had a	77
up to that	77
to go to	77
the design of	77
which he was	77
foot of the	76
is to be	76
who was a	76
who had been	76
was held to	76
together with the	76
madonna and child	76
are to be	75
the child in	75
a manner that	75
story of the	75
his native city	75
he had made	75
was the reason	74
end of the	74
the monks of	74
he could not	74
after the death	74
the spirit of	74
in the hands	74
little by little	74
art of painting	74
his attention to	74
in his own	74
and many other	74
painted in the	73
in the service	73
over the door	73
the charge of	73
the nuns of	73
altar of s	73
while he was	73
executed many works	73
of the first	73
the arms of	72
is said that	72
the same church	72
to that time	72
to the work	72
in the time	72
the people of	72
one of these	71
was in the	71
that he executed	71
a painter of	71
after the painting	71
he returned to	71
of the company	70
returned to florence	70
of this work	70
the first of	70
it is true	70
him that he	70
in the duomo	70
vast number of	70
as in the	70
the painting by	70
the works that	69
in the round	69
centre of the	69
that they were	69
not to mention	69
for the most	69
the best of	69
be seen from	69
the body of	69
the appearance of	69
at the head	69
in his youth	69
that he did	69
to be placed	68
to paint a	68
that it would	68
could not be	68
the same man	68
stories of the	68
may be said	68
picture of our	68
to paint the	68
as it is	68
from the cross	68
to say that	67
the nativity of	67
although he was	67
portraits from life	67
with much diligence	67
the time when	67
when he had	67
that had been	67
he executed a	67
which was to	67
the order of	67
the beginning of	67
and other things	67
god the father	67
for the chapel	67
will be related	67
of the two	66
in a short	66
a vast number	66
the hall of	66
to the ground	66
it was not	66
the city of	66
a chapel in	66
as he had	66
the most illustrious	66
the friend of	66
not long afterwards	65
he would not	65
painted for the	65
the beauty of	65
to him that	65
the duke of	65
a work of	65
which he made	65
end that he	65
has been told	65
of the best	65
on the ground	65
for many years	65
jacopo da pontormo	65
to be found	65
the walls of	64
in the second	64
the size of	64
the excellence of	64
in a few	64
he executed in	64
is held to	64
a disciple of	64
and that he	64
addition to the	64
on the wall	63
in his hand	63
antonio da san	63
is a very	63
the act of	63
said to have	63
was not able	63
of which is	62
it has been	62
there was seen	62
in memory of	62
no long time	62
in competition with	62
in front of	62
the fresco by	62
after the panel	62
one of his	62
in the act	62
the panel by	62
with regard to	62
of the fifteenth	62
at the end	62
of the cross	62
those who are	61
rest of the	61
in another place	61
in a very	61
made in the	61
in place of	61
in the midst	61
among other things	61
and that of	61
to the other	61
with such diligence	61
he went to	61
it is the	61
after the fresco	61
at this time	61
the midst of	61
a very good	61
than any other	61
to be very	61
by order of	61
at the sides	60
made a portrait	60
and very beautiful	60
i have said	60
to speak of	60
in his native	60
adoration of the	60
i know not	60
the direction of	60
in the work	60
chapel in the	60
which was the	59
in which the	59
because he was	59
was given to	59
all that he	59
fra giovanni agnolo	59
to have the	59
the other hand	59
so far as	59
scenes from the	59
appeared to be	58
of the vaulting	58
a very great	58
in that work	58
leonardo da vinci	58
the most part	58
of duke cosimo	58
the greater part	58
so great a	58
that the work	57
with the other	57
in fresco in	57
size of life	57
in his house	57
portrait of the	57
in a chapel	57
his way to	57
would not be	57
giovanni da udine	57
and with a	57
the adoration of	57
of his works	57
with most beautiful	57
of the others	56
this work was	56
the high altar	56
is one of	56
our own day	56
the middle ages	56
a long time	56
and so well	56
it had been	56
of such a	56
of the emperor	56
the course of	56
in those days	56
he also painted	56
worthy of praise	56
with the same	55
of the time	55
much his friend	55
made his way	55
to him by	55
of which there	55
in the city	55
works of the	55
and in this	55
the principal door	55
of that church	55
that there was	55
in all the	55
in the matter	54
all the others	54
hall of the	54
that is to	54
painter of florence	54
and most beautiful	54
in the proper	54
made for the	54
in the third	54
and that the	54
that they are	54
in the great	53
for this reason	53
there was no	53
he also made	53
by way of	53
of his art	53
at the beginning	53
in fresco the	53
was much extolled	53
reason that he	53
the emperor charles	53
hand to the	53
a piece of	53
that i have	53
of monte oliveto	53
to be painted	53
he set himself	53
to be in	53
with little figures	53
an old man	53
to those who	52
many other works	52
of michael angelo	52
a great number	52
was placed in	52
emperor charles v	52
where he had	52
for the sake	52
to the duke	52
the genius of	52
it to the	52
the outer side	52
manner of a	52
of the new	52
pope paul iii	52
perino del vaga	52
to the great	52
as far as	52
he painted for	52
those who have	52
a part of	52
christ in the	52
in the garden	52
the houses of	52
the sake of	52
wall of the	52
piazza di s	52
the piazza di	52
of the works	51
he would never	51
to paint in	51
such as the	51
a dead christ	51
of the order	51
he was commissioned	51
number of figures	51
great number of	51
there may be	51
to be built	51
it should be	51
to work in	51
with so much	51
is on the	51
after his death	51
of the principal	51
and executed with	51
and the whole	50
on which account	50
many other things	50
and the most	50
one of those	50
of the greatest	50
nuns of s	50
on the side	50
that is in	50
of the figures	50
where he was	50
the stories of	50
there is the	50
the proper place	50
he did the	50
in a picture	50
order of the	50
order to make	49
the office of	49
nativity of christ	49
service of the	49
so that he	49
middle of the	49
any of the	49
the eyes of	49
with great diligence	49
which there is	49
is no need	49
to mention that	49
which are in	49
life of the	49
which is held	49
him to be	49
return to the	48
and with such	48
worthy to be	48
to his own	48
no need to	48
painted a picture	48
proved to be	48
our lady with	48
men and women	48
such a way	48
related in the	48
so that the	48
on the outer	48
is said to	48
in his life	48
executed for the	48
by a great	48
are very beautiful	48
and in his	48
which he executed	48
when it was	48
executed with such	47
and he made	47
executed in the	47
with many other	47
friars of s	47
that it might	47
he had done	47
the king of	47
at the top	47
family of the	47
greater part of	47
john the evangelist	47
the heads of	47
in all his	47
on the altar	47
the passion of	47
appears to be	47
being able to	47
under the direction	47
years of age	47
was forced to	47
which is very	47
the great hall	47
to that of	47
to the pope	47
of the size	47
he has executed	47
in imitation of	47
to finish the	47
in order that	47
was commissioned to	46
one on either	46
of great beauty	46
of him in	46
a great measure	46
in our own	46
that they have	46
placed on the	46
the presence of	46
that it should	46
set to work	46
is very beautiful	46
and from the	46
by him in	46
building of the	46
the picture of	46
in the last	46
on the walls	46
be very beautiful	46
larger than life	46
for the high	46
for all the	46
not only in	46
so that it	46
the method of	46
which was held	46
that he is	46
about the same	46
chapel in s	46
he used to	46
it was the	46
the marriage of	46
in order not	46
to be able	46
of his father	46
the cardinal of	46
in the art	45
of the dead	45
parts of the	45
him in his	45
which are very	45
the feet of	45
for a time	45
him to make	45
the commission of	45
and he had	45
the vaulting of	45
in their hands	45
order not to	45
of which are	45
of the life	45
the same manner	45
the madonna and	45
as it was	45
this is the	45
one of them	45
of pope clement	45
for the company	45
a most excellent	44
was the first	44
principal chapel of	44
chapel of st	44
he has made	44
of the holy	44
the scene of	44
of which was	44
executed by him	44
he was so	44
for the first	44
in the principal	44
young man of	44
he began to	44
piece of the	44
account of his	44
for he was	44
of pope leo	44
at the commission	44
said that he	44
which was placed	44
that they had	44
could be seen	44
executed with much	44
and other suchlike	44
to him in	44
was buried in	44
who was much	44
was seen the	43
much the friend	43
there are some	43
than that of	43
the family of	43
the most excellent	43
down to the	43
as they were	43
of that place	43
the friars of	43
the painting of	43
end that the	43
the commission for	43
that he painted	43
in which is	43
so as to	43
and many others	43
for it is	43
it to be	43
as much as	43
as long as	42
it would have	42
saying that he	42
it is now	42
i will not	42
the convent of	42
he executed many	42
whole of the	42
this was the	42
the memory of	42
in the via	42
and a s	42
which he painted	42
in spite of	42
not to be	42
work that he	42
of the picture	42
portrait of a	42
to have a	42
of that saint	42
with a very	42
the style of	42
tiziano da cadore	42
he painted two	42
come to the	42
as soon as	42
charge of the	42
that of s	42
would not have	42
of the middle	42
for the nuns	42
of the cardinal	42
whom he had	42
given to the	42
with a great	42
picture in oils	42
a man who	42
may have been	42
i have not	42
he was very	42
in the most	42
the execution of	42
he was much	42
it might be	42
the matter of	42
front of the	42
a good number	42
made a beginning	41
the perfection of	41
said to him	41
to such a	41
to which he	41
madonna with the	41
most beautiful and	41
of that work	41
from life of	41
the sacristy of	41
in the presence	41
that it may	41
to be executed	41
portrayed from life	41
given to him	41
the designs of	41
figures in the	41
figures of the	41
all the rest	41
himself very well	41
the holy spirit	41
of that kind	41
by no means	41
all those who	41
manner of the	40
of his time	40
he was to	40
the school of	40
with many figures	40
but in the	40
to whom he	40
himself in the	40
lord duke cosimo	40
without the porta	40
for which he	40
of the highest	40
a picture in	40
those who had	40
which was very	40
in the hall	40
that they might	40
full of grace	40
the sixteenth century	40
the fame of	40
infinite number of	40
beauty of the	40
he made many	40
gave his attention	40
as one enters	40
of the good	40
but it is	40
the same hand	40
braccia in height	40
as he did	40
a few days	40
in the old	40
and also the	40
this same time	39
seems to be	39
many of his	39
the other a	39
his native place	39
of the art	39
they did not	39
to the world	39
of a very	39
it appeared to	39
made a very	39
of no great	39
there was a	39
on the vaulting	39
life of st	39
is true that	39
more than a	39
as they are	39
the monastery of	39
could not have	39
of which the	39
corner of the	39
the sight of	39
the porta a	39
of the monks	39
a panel in	39
fra giovanni da	39
where there is	39
but it was	39
died at the	39
many of the	39
was a man	39
the use of	39
of the king	39
that were to	39
a desire to	39
in the said	39
the painters of	39
a very rich	39
the abbey of	39
by him with	38
to give him	38
of one of	38
by the hands	38
an infinite number	38
of the young	38
the other the	38
master of the	38
our lady and	38
to look at	38
and in s	38
vaulting of the	38
with which he	38
figure of the	38
a pupil of	38
duke of urbino	38
may still be	38
good number of	38
on the head	38
it will be	38
in the predella	38
knowledge of the	38
a very large	38
it seems to	38
not being able	38
a beginning with	38
of the building	38
who was very	38
this work is	38
by those who	38
in the works	38
is at the	38
for some time	38
a madonna with	38
the one and	38
but he was	38
by his own	38
sacristy of s	38
walls of the	38
to do it	38
the birth of	38
still to be	38
of the sacrament	38
in which are	38
and full of	38
the side of	38
were in the	38
the power of	37
the campo santo	37
and when he	37
make use of	37
commissioned him to	37
acquitted himself very	37
he was the	37
of works of	37
which it is	37
the favour of	37
some of his	37
what is more	37
of pope julius	37
he made in	37
very beautiful and	37
deposition from the	37
of the hall	37
the habit of	37
which was much	37
because he had	37
be found in	37
this work he	37
with a most	37
with a good	37
a very rare	37
of the magnificent	37
the temple of	37
the court of	37
he was always	37
it about that	37
statue of the	37
braccia and a	37
the arts of	37
it would not	37
arms of the	37
scene of the	37
of the passion	37
each of the	37
of the three	37
very beautiful work	37
in the following	37
the completion of	37
of those times	37
work in the	37
of the friars	36
no less than	36
and one of	36
in that art	36
with the head	36
went off to	36
piero della francesca	36
bartolommeo di san	36
abbot of s	36
company of s	36
the labours of	36
he was in	36
where there are	36
the studies of	36
reason that the	36
not long after	36
a passing good	36
it in the	36
for the altar	36
a way that	36
to the study	36
convent of the	36
fra bartolommeo di	36
of the sea	36
to all the	36
a seat of	36
of his friends	36
should be made	36
what he had	36
men of that	36
at this same	36
on a panel	36
to make mention	36
i have been	36
in a manner	36
di san marco	36
the way to	36
pope clement vii	36
painted in oils	36
there should be	36
have been the	36
the light of	35
as we have	35
of the sun	35
the face of	35
at the very	35
to the same	35
and there are	35
he was forced	35
at the corners	35
was able to	35
an excellent painter	35
figure of s	35
fresco in the	35
having come to	35
which i have	35
a kind of	35
christ with the	35
appear to be	35
of which we	35
even as in	35
he had no	35
he was able	35
be possible to	35
that they should	35
without a doubt	35
the panel of	35
he made his	35
to execute the	35
as if he	35
returned to rome	35
death of the	35
the four evangelists	35
been related in	35
hand as one	35
a great part	35
and the others	35
the level of	35
painters of the	35
in any other	35
nothing of the	34
of his master	34
a chapel of	34
a san sepolcro	34
the point of	34
the last judgment	34
use of him	34
borgo a san	34
in the history	34
the madonna in	34
of so great	34
so it is	34
the magnificent lorenzo	34
and in truth	34
as for the	34
the siege of	34
the same size	34
be related in	34
be said to	34
in a little	34
the likeness of	34
was sent to	34
of the arts	34
she was seen	34
king of france	34
in a large	34
the top of	34
in the pieve	34
we have spoken	34
they had been	34
allotted to him	34
not a little	34
him by the	34
the father of	34
appeared to him	34
from the old	34
that has been	34
to the present	34
himself to the	34
have been able	34
and likewise the	34
to the art	34
in matters of	34
that he ever	34
the daughter of	34
will be told	34
which was in	34
and since he	34
of the modern	34
was one of	34
in his work	34
him to the	34
a panel for	34
he has painted	34
in every part	34
seat of the	34
a sort of	34
and a very	34
of the sixteenth	34
giovanni antonio bazzi	33
return to florence	33
he had in	33
the advice of	33
you will find	33
executed in fresco	33
because it was	33
to live in	33
some very beautiful	33
in various attitudes	33
possession of the	33
although it is	33
of raffaello da	33
as that of	33
the pieve of	33
and other works	33
the ceiling of	33
of the hospital	33
went to rome	33
the summit of	33
since he had	33
which they were	33
of pope paul	33
the church and	33
might have been	33
the creation of	33
the fact that	33
house of medici	33
is seen in	33
of all that	33
in which they	33
say nothing of	33
of his work	33
it is possible	33
of whom we	33
which has been	33
in this manner	33
to think of	33
and with them	33
was very beautiful	33
there are many	33
those who were	33
that could be	33
be made in	33
and they were	33
to our own	33
he acquitted himself	33
the martyrdom of	33
they have been	33
native city of	33
and particularly in	33
although he had	33
first of these	32
similar to that	32
in this way	32
the old testament	32
giovanni da fiesole	32
in the above	32
in fresco a	32
the place where	32
to say nothing	32
the wardens of	32
i shall say	32
it is in	32
the first time	32
painted in a	32
although it was	32
level of the	32
which was afterwards	32
it is to	32
who was the	32
the gate of	32
beginning of the	32
the place of	32
to have it	32
door of s	32
for a long	32
was seen coming	32
in no way	32
great part of	32
the steps of	32
a half in	32
on the way	32
the number of	32
in the piazza	32
and also to	32
scenes of the	32
returned to his	32
and those of	32
a few years	32
art of the	32
the height of	32
place in the	32
the sistine chapel	32
course of his	32
the very reverend	32
the making of	32
beginning with the	32
that it has	32
in the cloister	32
had to be	32
had been made	32
of the ancients	32
and other saints	32
building of s	32
of the altar	32
for his own	31
it happened that	31
be placed in	31
besides many other	31
lorenzo di credi	31
even as he	31
with the most	31
the ducal palace	31
the greatness of	31
the master of	31
matters of art	31
worthy of the	31
as one who	31
in this scene	31
held in great	31
would have done	31
in each of	31
be seen by	31
and with him	31
be the best	31
of the body	31
he painted some	31
the nature of	31
which may be	31
and over the	31
of a man	31
a madonna in	31
of the nunziata	31
it is no	31
of the lord	31
had made a	31
of the year	31
fra sebastiano viniziano	31
of the temple	31
at his feet	31
painted a s	31
he did in	31
it was finished	31
was allotted to	31
our lady in	31
tomb of the	31
piero di cosimo	31
the last supper	31
a large picture	31
be given to	31
that was to	31
of the ancient	31
of their own	31
he was buried	31
monks of monte	31
in the whole	31
he did a	31
long time passed	31
by the pope	30
seen from the	30
portrait from life	30
the whole city	30
court of the	30
the mother of	30
he had the	30
that have been	30
not possible to	30
attention to the	30
of his age	30
he painted an	30
dal monte sansovino	30
to him to	30
passion of christ	30
such a work	30
on one of	30
it is enough	30
the difficulties of	30
number of other	30
the wife of	30
adam and eve	30
to see it	30
seem to be	30
there is nothing	30
some stories of	30
of the heads	30
to the best	30
to make it	30
which we have	30
also in the	30
that are to	30
there had been	30
all these works	30
his hand that	30
raffaello da montelupo	30
both the one	30
it appears to	30
has executed many	30
of the walls	30
and this was	30
scenes in fresco	30
and there is	30
sebastiano viniziano del	30
executed with great	30
on the same	30
in the sky	30
the space of	30
of that lord	30
same time he	30
andrea dal castagno	30
of marble in	30
with that of	30
on the cross	30
them in the	30
also painted a	30
might be able	30
whom he was	30
in the temple	30
in his works	30
and of his	30
was a great	30
the assumption of	30
in consequence of	30
to those of	30
to make use	30
that there are	30
far as the	30
of the death	30
that he wished	29
by the above	29
piece in oils	29
the miracle of	29
means of the	29
the expression of	29
which he did	29
and other ornaments	29
is not possible	29
of the aforesaid	29
all that was	29
he made for	29
the pope and	29
had come to	29
by giorgio vasari	29
having returned to	29
look at the	29
in other places	29
who had a	29
down from the	29
he had finished	29
executed in a	29
on the contrary	29
and in other	29
if they were	29
of the court	29
well as the	29
that it seems	29
on the high	29
seems to have	29
in his day	29
seeing that he	29
regard to the	29
siege of florence	29
the infant christ	29
the triumph of	29
if it had	29
a series of	29
not been able	29
a god the	29
in many places	29
the garden of	29
in the way	29
of his mother	29
of the wall	29
carried into execution	29
an endless number	29
and with his	29
panel of the	29
had ever been	29
seemed to him	29
be seen at	29
in the borgo	29
panel for the	29
the lives of	29
went to work	29
head of a	29
that of a	29
within and without	29
office of works	29
the judgment of	29
he might be	29
a marvellous thing	28
the request of	28
a gentleman of	28
he should have	28
that no one	28
he had to	28
if it were	28
and was buried	28
spirit of the	28
according to his	28
the refectory of	28
in accordance with	28
the young man	28
design of the	28
the composition of	28
of the men	28
to him the	28
of st francis	28
of all these	28
of a young	28
and then he	28
michele san michele	28
by all the	28
age of sixty	28
carried to completion	28
and for this	28
the fabric of	28
one side and	28
of christ in	28
at the request	28
he resolved to	28
was held in	28
he executed the	28
each of them	28
brought it about	28
in the heads	28
in a certain	28
is full of	28
where he painted	28
devoted himself to	28
the matters of	28
to be erected	28
from which he	28
particularly in the	28
need to make	28
study of the	28
was born in	28
place of the	28
and in order	28
andrea dal monte	28
do not know	28
not only the	28
he executed for	28
in a most	28
that may be	28
time of the	28
a person of	28
stories of s	28
between the two	28
and worthy of	28
work in fresco	28
the guardaroba of	28
than he had	28
the wall of	28
still be seen	28
works in fresco	28
made use of	28
but he did	28
a little picture	28
that the whole	28
they are not	28
figures that are	28
so that they	28
florence in the	28
the man who	28
endless number of	28
the th of	28
much better than	28
in the past	28
set up in	28
the world of	28
of the people	28
both within and	28
any other thing	28
a good and	28
convent of s	28
in an altar	28
on the base	27
to that city	27
works by his	27
the way of	27
the cloister of	27
out of his	27
with a motto	27
the dead christ	27
that he gave	27
assumption of our	27
with the others	27
wished to have	27
a pair of	27
by the most	27
of the scene	27
in the guardaroba	27
one side of	27
so beautiful that	27
of the florentine	27
for the said	27
man who was	27
of florence and	27
which he has	27
the coronation of	27
into the hands	27
a statue of	27
then returned to	27
in fresco and	27
has been made	27
principal door of	27
there has been	27
design for the	27
all these things	27
habit of a	27
after these works	27
him as a	27
city of florence	27
to rome to	27
all full of	27
to tell the	27
each of these	27
giuliano da san	27
the best that	27
picture of s	27
into the church	27
is a little	27
it seemed to	27
to show that	27
the lap of	27
there came to	27
at the entrance	27
things in the	27
him with the	27
that those who	27
he had executed	27
there is in	27
he had received	27
pope leo x	27
the while that	27
in a great	27
the work in	27
the work is	27
for him to	27
and even more	27
of the last	27
having arrived in	27
barbara and bettina	27
st john the	27
entrance of the	27
being a man	27
be a very	27
all the more	27
to work with	27
he was working	27
the design for	27
for the work	27
that on the	27
the minds of	27
which it was	27
his friends and	27
he had already	27
the colour of	27
sum of money	27
and the work	27
of the piazza	27
of our arts	27
who afterwards became	27
see note on	27
was much his	27
in her hand	27
of so many	27
is to say	27
the hospital of	27
than the others	27
time passed before	27
thrown to the	27
which is on	27
long as he	27
in the fourth	27
to the king	26
belonging to the	26
works in the	26
history of the	26
all his works	26
must have been	26
in the sacristy	26
light and shade	26
other suchlike things	26
it does not	26
painted on the	26
lady with the	26
similar to the	26
about the year	26
of the early	26
the highest praise	26
among the many	26
drawn by two	26
of the man	26
is beside the	26
in his art	26
for this work	26
not have been	26
said to be	26
some of them	26
because it is	26
the best and	26
is a portrait	26
of the convent	26
one of whom	26
during his lifetime	26
himself to be	26
of painting in	26
other things of	26
wardens of works	26
has ever been	26
of the four	26
for him in	26
hands of the	26
was seen to	26
together with many	26
masters of the	26
in the convent	26
madonna in the	26
the young men	26
on the inner	26
in oils of	26
end that it	26
commissioned to paint	26
with one hand	26
to the age	26
the model of	26
the subject of	26
of our lord	26
on the front	26
the corner of	26
was summoned to	26
the library of	26
after the design	26
than any of	26
one who has	26
altar in the	26
a panel with	26
the resurrection of	26
was very much	26
the figures of	26
and to make	26
for which reason	26
pope julius iii	26
at the feet	26
the manner that	26
as to the	26
that all the	26
for the above	26
that they would	26
for whom he	26
he had seen	26
giorgione da castelfranco	26
to the house	26
since he was	26
he might have	26
in the very	26
to come to	25
the brother of	25
good and beautiful	25
he also executed	25
a beautiful manner	25
was to have	25
in which there	25
of the belvedere	25
a very fine	25
he painted many	25
the predella of	25
a little boy	25
is called the	25
the nuptials of	25
to the works	25
so well that	25
man of great	25
it is clear	25
half of the	25
of the florentines	25
he had begun	25
to a marvel	25
in the refectory	25
came to the	25
as a whole	25
in a beautiful	25
of a certain	25
was commissioned by	25
on the th	25
whom we have	25
age of fifty	25
that there were	25
a rare work	25
was living in	25
with many others	25
a master of	25
of that chapel	25
giovanni agnolo montorsoli	25
to have some	25
were executed by	25
the person of	25
of the tribune	25
scenes in the	25
to the whole	25
for he had	25
memory of the	25
made by the	25
the influence of	25
be seen a	25
many years in	25
of the gods	25
the case of	25
the heirs of	25
the twelve apostles	25
and he also	25
cast in bronze	25
something of the	25
painted the panel	25
the campanile of	25
to the church	25
for all that	25
a choir of	25
be seen to	25
the portraits of	25
made for him	25
then in the	25
said that the	25
and other figures	25
the doors of	25
it did not	25
to the most	25
some works in	25
of all his	25
able to do	25
the glory of	25
general of the	25
which are the	25
with the exception	25
the most holy	25
buried in the	25
the intention of	25
of the artist	25
the exception of	25
in this he	25
on his way	25
age of seventy	25
so beautiful and	25
made a most	25
one enters the	25
with those of	25
in marble and	25
the coming of	25
of a good	25
to serve him	25
the year of	25
painted an altar	25
monastery of the	25
to him a	25
had been a	25
the arch of	25
most illustrious excellency	24
of the human	24
that they could	24
sculptor and architect	24
that he who	24
when they were	24
i am sure	24
that it could	24
picture of a	24
the masters of	24
the help of	24
in that of	24
had been in	24
both in the	24
in those parts	24
of michelagnolo buonarroti	24
maria del popolo	24
in keeping with	24
his works were	24
michael angelo was	24
and to be	24
put into execution	24
received from the	24
it to him	24
time when he	24
better than the	24
in so far	24
the days of	24
palace of s	24
a little panel	24
of that order	24
lives of the	24
is the most	24
of the age	24
doors of the	24
was seen in	24
of the servites	24
to make him	24
with a vast	24
ceiling of the	24
face of the	24
and because he	24
of the sacristy	24
viniziano del piombo	24
is by the	24
of the apostles	24
high altar of	24
to learn the	24
of figures in	24
the mind of	24
that are there	24
not be possible	24
he was born	24
and out of	24
well and with	24
in fresco for	24
upon the head	24
is proved by	24
in a word	24
things that are	24
of the saint	24
of light and	24
with the pen	24
to the eye	24
and in that	24
go to the	24
that nothing better	24
on the ceiling	24
a scene of	24
a scene in	24
he represented the	24
work to be	24
library of s	24
them to the	24
he has been	24
at the corner	24
it in his	24
that at the	24
the other is	24
of the painter	24
life of s	24
in the lap	24
to give to	24
is a picture	24
the methods of	24
not wish to	24
order to learn	24
should have been	24
the apartments of	24
also made a	24
which are held	24
to the above	24
in the campo	24
and he did	24
like that of	24
more beautiful than	24
and a little	24
order to be	24
on the first	24
his own country	24
a multitude of	24
be said that	24
and some of	24
to see that	24
of these works	24
in the course	24
were held to	24
the most noble	24
and since the	24
all that is	24
was a most	24
buried in s	24
and to have	24
which have been	24
he sought to	24
da san gimignano	24
the expressions of	24
of the italian	24
that this is	24
with great care	24
are on the	23
body of the	23
the entrance of	23
the first to	23
that in a	23
with much grace	23
lived in the	23
that the same	23
that this was	23
mino da fiesole	23
there is also	23
the upper part	23
pictures in oils	23
he went off	23
to work at	23
of duke alessandro	23
of the roman	23
to me that	23
in the picture	23
of every kind	23
of christ and	23
the madonna of	23
that i should	23
is due to	23
portrait of pope	23
of the divine	23
line with the	23
which were all	23
of them all	23
the craftsmen of	23
the grace of	23
note on p	23
that it appears	23
have not been	23
he gave the	23
in the case	23
all the works	23
he had lived	23
and of a	23
in his time	23
of which were	23
of this master	23
and this is	23
would have liked	23
garden of the	23
and there was	23
for the great	23
him to execute	23
right round the	23
be seen the	23
after they had	23
on a wall	23
in the company	23
it is believed	23
of all those	23
picture in the	23
so that in	23
on every side	23
since it was	23
even as the	23
to any other	23
very well executed	23
the best work	23
to do so	23
of his death	23
he caused to	23
very much his	23
andrea di cosimo	23
in painting and	23
the choir of	23
had been left	23
that time to	23
up in the	23
was no less	23
he set his	23
him in a	23
of the borgo	23
the castle of	23
in the new	23
to be done	23
the inner side	23
pictures that are	23
with whom he	23
gentile da fabriano	23
large as life	23
after the designs	23
for it was	23
the invention of	23
the secret of	23
other works in	23
of the angeli	23
in rome and	23
he had painted	23
pope julius ii	23
and so he	23
to make his	23
and child with	23
the desire of	23
better than any	23
very well in	23
tell the truth	23
was not a	23
he was received	23
and he executed	23
the fine arts	23
owing to the	23
with our lady	23
with him to	23
to describe the	23
is much extolled	23
with the intention	23
at all costs	23
of the head	22
the most important	22
very beautiful figures	22
they were in	22
two very beautiful	22
to be by	22
able to see	22
and shortly afterwards	22
the ornamentation of	22
of the car	22
of the soul	22
in the next	22
say that he	22
gave him a	22
not so much	22
at the instance	22
and to this	22
of the sistine	22
had a very	22
he died in	22
had not yet	22
to believe that	22
of the earth	22
with the apostles	22
of the nuns	22
there will be	22
who had the	22
block of marble	22
the work that	22
the greatest possible	22
sent to the	22
the hill of	22
of the ponte	22
what has been	22
now to be	22
they were to	22
not only to	22
i did not	22
and when the	22
many things in	22
seems to me	22
there is an	22
was executed by	22
to florence in	22
in the figure	22
a portrait from	22
together with a	22
of the innocents	22
the loss of	22
which are all	22
did not wish	22
work on the	22
not to speak	22
pictures of the	22
don bartolommeo della	22
peter and s	22
he had never	22
he executed with	22
died in the	22
benedetto da maiano	22
the fourteenth century	22
form of the	22
that the pope	22
brought it to	22
at his death	22
came to pass	22
with the great	22
of the christian	22
and this he	22
of the chamber	22
only in the	22
who have been	22
sack of rome	22
of his house	22
the elder lorenzo	22
apartments of the	22
out upon the	22
the aid of	22
it came to	22
manner that it	22
on each side	22
enters the church	22
of art and	22
it is evident	22
there was to	22
of the day	22
age of the	22
and of all	22
one who had	22
this is a	22
bartolommeo della gatta	22
in the upper	22
at the porta	22
the shape of	22
works of s	22
the sense of	22
seeing that the	22
right hand as	22
of his palace	22
to his native	22
christ on the	22
he died at	22
in those times	22
speak of the	22
that if he	22
of the palazzo	22
it is necessary	22
from the ground	22
and to his	22
martyrdom of s	22
a manner as	22
as he lived	22
to attain to	22
he was summoned	22
in one hand	22
grace and beauty	22
and the two	22
should not be	22
in the ancient	22
he came to	22
arts of design	22
a sculptor of	22
the byzantine style	22
and also a	22
of most beautiful	22
on the canto	22
as if they	22
by the duke	22
of his excellency	22
pictures in the	22
arch of the	22
built in the	22
his works in	22
is over the	22
other works of	22
the chapel in	22
in which it	22
give his attention	22
for the duke	22
age of forty	22
part of his	22
did not succeed	22
but also to	22
the territory of	22
for a moment	22
filippo di ser	22
be seen there	22
di jacopo di	22
the base of	22
of the choir	22
deserves to be	22
arrived in rome	22
this may be	22
father and mother	22
he made an	22
marble in the	22
representation of the	22
in various ways	22
commissioned to make	22
company with the	22
it as a	22
there is one	22
of the siege	22
things that he	22
order to see	22
with much judgment	22
in this picture	22
there are also	22
figures in fresco	22
had been the	21
for these reasons	21
the work to	21
of the family	21
to be an	21
very rich and	21
wherein is the	21
did not know	21
in stucco and	21
and in another	21
of the roof	21
half in height	21
nanni di baccio	21
the means to	21
steps of the	21
is in a	21
it is impossible	21
coronation of the	21
was on the	21
seemed to be	21
would have made	21
after his own	21
and there he	21
the baptism of	21
his own portrait	21
the actions of	21
some of which	21
more and more	21
of the signoria	21
as a man	21
to the emperor	21
he was an	21
to all who	21
in many other	21
fabric of s	21
in a niche	21
that kind of	21
could have been	21
first of the	21
we have seen	21
they were not	21
and by his	21
one in the	21
the most famous	21
an excellent master	21
in one is	21
painted in chiaroscuro	21
is also a	21
and the pope	21
in fresco on	21
is a large	21
is clear that	21
piece of marble	21
the frescoes of	21
to the last	21
with the help	21
that she was	21
who was in	21
the student of	21
ancient and modern	21
of the beautiful	21
in the distance	21
of marble that	21
executed some works	21
what with the	21
those that he	21
hand that are	21
for him the	21
so well executed	21
of that same	21
him on the	21
and then the	21
the head and	21
and the first	21
which were held	21
braccia in length	21
them to be	21
after these things	21
in the houses	21
to work on	21
not otherwise than	21
to be sent	21
were sent to	21
by his father	21
has since been	21
in the vescovado	21
but the best	21
they would have	21
the men who	21
in a good	21
by all who	21
may also be	21
in the frieze	21
that a man	21
to give it	21
other parts of	21
end of his	21
the cathedral of	21
on which he	21
that the duke	21
as to make	21
of these was	21
which are now	21
the instance of	21
on the summit	21
excellence of the	21
the mouth of	21
truly worthy of	21
heads of the	21
the world and	21
from the first	21
the greatest diligence	21
direction of the	21
to the lord	21
not fail to	21
works of art	21
in the composition	21
cloister of the	21
point of view	21
the festive preparations	21
it from the	21
seen to have	21
of that company	21
in an attitude	21
was born at	21
with such a	21
which were to	21
with a beautiful	21
a head of	21
the assistance of	21
part in the	21
had caused to	21
went to the	21
di ser brunellesco	21
which is beside	21
of whom he	21
house of messer	21
and that it	21
of all who	21
those that are	21
the battle of	21
have been executed	21
that she had	21
giovanni antonio licinio	21
of a most	21
in this place	20
antonio da correggio	20
with very beautiful	20
with very great	20
the designs and	20
to a better	20
him to do	20
the work and	20
he made some	20
the value of	20
and although he	20
appearance of a	20
as a painter	20
belonged to the	20
to his holiness	20
seen at the	20
is executed with	20
the effect of	20
the same pope	20
painted a large	20
honour and profit	20
the meaning of	20
came to him	20
nothing better could	20
others in the	20
and not long	20
to make them	20
it is certain	20
and with her	20
and a great	20
with the arms	20
baccio da montelupo	20
the following manner	20
so went to	20
and began to	20
the pope to	20
the loggia of	20
the back of	20
it could be	20
with figures of	20
would never have	20
the best works	20
light of the	20
was seen painted	20
fra filippo lippi	20
he did some	20
a deposition from	20
book of drawings	20
have been made	20
with all his	20
beautiful to a	20
so to speak	20
are now in	20
there are two	20
with the brush	20
beautiful and so	20
for that purpose	20
with one of	20
it with the	20
a picture with	20
work of that	20
choir of the	20
which account he	20
such a kind	20
the first place	20
but for all	20
the side towards	20
at the column	20
each of which	20
commissioned by the	20
to the place	20
the other works	20
in the right	20
as if the	20
they may be	20
they seem to	20
next to the	20
giovan battista da	20
where it is	20
his hand in	20
men who were	20
due to the	20
you will see	20
a period of	20
be made for	20
his father and	20
and wishing to	20
and he painted	20
he painted another	20
that time in	20
more than one	20
mention has been	20
used to say	20
the charm of	20
for the friars	20
young men of	20
as if it	20
his life and	20
the tower of	20
works in that	20