trigram

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

trigram	frequency
one of the	46
as well as	28
the art of	26
line and colour	24
the th century	19
the costume of	18
of the most	18
the reign of	17
so as to	16
of the same	16
men and women	15
woman as decoration	15
the middle ages	15
of the renaissance	14
it is the	14
the woman who	14
of the body	13
of the th	13
and in the	13
part of the	13
costume of the	12
it is not	12
it is a	12
some of the	12
to have been	12
the present day	12
the duchess of	12
the life of	12
reaching to the	11
the middle of	11
in the same	11
the sixteenth century	11
out of the	11
cloth of gold	11
the eighteenth century	11
in the art	11
the value of	11
costuming of woman	11
in the middle	10
regarded as a	10
life of the	10
of the present	10
we have said	10
of interior decoration	10
it was a	10
of the head	10
consisted of a	10
and it is	10
dress of the	10
to be decorative	9
metropolitan museum of	9
of the church	9
the use of	9
colour and line	9
the lines of	9
there was no	9
vernon castle in	9
the fact that	9
woman decorative in	9
of the court	9
lines of the	9
art of interior	9
gold and silver	9
in the reign	9
the dress of	9
museum of art	9
on the other	9
of the period	8
the death of	8
the line of	8
worn by the	8
and on the	8
of the virgin	8
the other hand	8
the story of	8
the end of	8
if you are	8
the women of	8
man and woman	8
decorative in her	8
it was the	8
by reason of	8
art of the	8
a matter of	8
of the party	8
as to the	8
of a woman	8
is that of	8
the hair was	8
as a rule	8
the time of	8
the fifteenth century	8
as we have	8
the costuming of	8
in new york	8
side of the	8
at the present	7
of the costume	7
is to be	7
end of the	7
the result of	7
mother of god	7
the mother of	7
back to the	7
and at the	7
in some cases	7
the court of	7
of the human	7
the waist line	7
to hem of	7
of the world	7
the fashions of	7
members of the	7
middle of the	7
women of the	7
mary queen of	7
of the people	7
of white satin	7
the character of	7
be seen in	6
to be worn	6
of the dress	6
the duke of	6
that of a	6
according to the	6
it had been	6
man or woman	6
the earl of	6
so far as	6
geraldine farrar in	6
the seventeenth century	6
used by the	6
articles of dress	6
by thelma cudlipp	6
point of view	6
idea of the	6
more or less	6
lines and colours	6
the outline of	6
of marie antoinette	6
it would be	6
of the sixteenth	6
there is no	6
queen of scots	6
many of the	6
it was not	6
in the case	6
the history of	6
of the skirt	6
known as the	6
in which they	6
is said to	6
a band of	6
the effect of	6
to the eye	6
that it was	6
at the waist	6
lady de bathe	6
the top of	6
to the waist	6
in the house	6
the sight of	6
led by the	6
a part of	6
in art of	6
of that period	6
of art woman	6
a variety of	6
is the one	6
to be a	6
woman of the	5
was a common	5
in many cases	5
at the back	5
the hands of	5
her majesty queen	5
it can be	5
is one of	5
there was a	5
of the wearer	5
of the great	5
in her garden	5
one of these	5
art woman in	5
in this country	5
of line and	5
in order to	5
to the knees	5
on the death	5
that she is	5
the face of	5
the age of	5
if you would	5
were made of	5
of henry viii	5
the roman empire	5
more and more	5
of the day	5
of gold and	5
the matter of	5
of the house	5
princess of wales	5
in the east	5
the evolution of	5
appear to have	5
in the fifteenth	5
which it is	5
her own type	5
in the world	5
that in the	5
costume worn by	5
with precious stones	5
the same time	5
portion of the	5
of her own	5
the marchioness of	5
it may be	5
the habit of	5
to wear the	5
and that the	5
at the sides	5
the human form	5
portrait by john	5
the nineteenth century	5
which they were	5
was one of	5
during the middle	5
on the head	5
a portrait by	5
the royal family	5
of the middle	5
part in the	5
of the last	5
the colour of	5
would be a	5
sense of the	5
appears to have	5
be a decorative	5
in the costume	5
of a young	5
to be seen	5
in the th	5
worn at the	5
characteristic of the	5
the colour scheme	5
and colour in	5
the head of	5
and colour of	5
as decoration by	5
and it was	5
bride and bridegroom	5
there is a	5
adapted to the	5
the beginning of	5
that he was	5
the name of	5
eighteenth and nineteenth	5
and how to	5
of th century	5
the part of	5
the fourteenth century	5
the woman in	5
of the french	5
ladies of the	5
to the feet	5
the fashion of	5
duchess of sutherland	5
of colour and	5
the same in	5
said to have	5
of the anglo	5
to a certain	5
at the same	5
well as the	5
the spirit of	5
held in place	5
to say that	5
of the early	5
in the matter	5
a pair of	5
type of costume	5
in one of	5
by the duchess	5
that it is	5
and as he	4
sixteenth and seventeenth	4
art of costuming	4
a sort of	4
to the fact	4
had been a	4
happens to be	4
in the british	4
attached to the	4
as shown in	4
woman who would	4
the form of	4
throughout the ages	4
lace and jewels	4
of the ancient	4
on the beach	4
he was a	4
to the knee	4
decorative on the	4
it is well	4
in the morning	4
black and white	4
spirit of the	4
close to the	4
kept in mind	4
at a distance	4
the case of	4
good idea of	4
was allowed to	4
of a small	4
the belles of	4
which may be	4
all classes of	4
a period costume	4
decoration by thelma	4
the renaissance sculpture	4
woman decorative on	4
portrait of mrs	4
castle in afternoon	4
both men and	4
of those who	4
fashions of the	4
on the forehead	4
the virgin and	4
and then he	4
to have a	4
we have seen	4
and the same	4
of the highest	4
the front of	4
on the stage	4
was in the	4
with regard to	4
of a long	4
filled in with	4
of all classes	4
some of us	4
of the eighteenth	4
the mind of	4
henry of pless	4
to the woman	4
to wear a	4
it was all	4
the light of	4
the most of	4
as it were	4
these are the	4
of various periods	4
the upper classes	4
we see the	4
parts of the	4
as one of	4
we learn that	4
for the moment	4
for each occasion	4
of the nobility	4
at this period	4
that of the	4
he would be	4
as soon as	4
the human body	4
even in the	4
the men and	4
the princess of	4
most of the	4
he heard the	4
of william and	4
have been a	4
is described as	4
the first to	4
the shape of	4
as she appears	4
she appears in	4
of the royal	4
and fourteenth centuries	4
of her time	4
be regarded as	4
of henry vii	4
it does not	4
the one who	4
history of british	4
a bit of	4
countess of warwick	4
to have had	4
on greek vase	4
colour of the	4
under the head	4
sketched for woman	4
the lawrence p	4
we are told	4
to the wearer	4
hem of the	4
silks and velvets	4
the crown of	4
to be the	4
one of them	4
an important part	4
for woman as	4
to make a	4
customs of the	4
by one of	4
by means of	4
used in the	4
keep in mind	4
of charles i	4
belles of the	4
a very early	4
remarkable for its	4
in afternoon costume	4
in line and	4
two or three	4
a good idea	4
woman in the	4
he might have	4
case of the	4
the present century	4
up to the	4
to do so	4
knowledge of the	4
surmounted by a	4
of edward iii	4
at the beginning	4
of cloth of	4
of a costume	4
of mary queen	4
of the dead	4
of different colours	4
the appearance of	4
on the shoulders	4
it will be	4
in the dress	4
a certain extent	4
of the seventeenth	4
where he was	4
of the english	4
the costumes of	4
of the first	4
of our day	4
a series of	4
of the modern	4
if one would	4
and seventeenth centuries	4
thrown over the	4
might have been	4
now in the	4
from neck to	4
in which the	4
is the same	4
the bride was	4
woman in question	4
of her costume	4
used for the	4
william and mary	4
at a glance	4
placed on the	4
not to be	4
as in the	4
at this moment	4
to do with	4
the aid of	4
of the foot	4
we have here	4
a woman who	4
to show the	4
example of the	4
this is the	4
any one of	4
those which are	4
woman as the	4
the hair of	4
or in the	4
the book of	4
of both sexes	4
if she would	4
as seen in	4
with gold and	4
the decorative value	4
one or two	4
in such a	4
women and men	4
with gold lace	4
of costumes for	4
the average woman	4
a costume of	4
character of the	4
seemed to be	4
this is a	4
of the war	4
and those which	4
of the nineteenth	4
fortuny tea gown	4
a sign of	4
but it is	4
by no means	4
of which the	4
of british costume	4
relief in terra	4
in the neck	4
those of the	4
as a matter	4
the manner of	4
in the national	4
in place by	4
the door and	4
to put on	4
in the hall	4
of the women	4
of the peasant	4
seen in the	4
for the first	4
as early as	4
feeling for line	4
for all that	4
contribution to the	4
carry out the	4
that she has	4
woman and man	4
if you have	4
period in the	4
the property of	4
that at the	4
a portrait of	4
woman in art	4
embroidered with gold	4
gold or silver	4
in the most	4
the hem of	4
with reference to	4
may be seen	4
appropriate to the	4
of the greatest	4
and others for	4
the side of	3
confined to the	3
the illusion of	3
trimmed with lace	3
the course of	3
the wake of	3
in westminster abbey	3
decorative value of	3
all this here	3
of the precious	3
of the beautiful	3
to be taken	3
worn on the	3
of masculine costume	3
baron de meyer	3
we quote from	3
there is an	3
the days of	3
to her husband	3
in ancient egyptian	3
and now in	3
of the sacred	3
to one of	3
and they were	3
woman in ancient	3
to the heels	3
new note is	3
wrought with silver	3
to know that	3
to their own	3
thirteenth and fourteenth	3
three weeks after	3
and there were	3
which is so	3
beginning of the	3
lines of her	3
into this country	3
derived from the	3
to me like	3
she wears a	3
france and england	3
by baron de	3
were worn by	3
shape of a	3
and the great	3
of clothes upon	3
hat or gown	3
if you will	3
of charles ii	3
to the costume	3
that is to	3
this branch of	3
not only in	3
a long way	3
the same manner	3
have to plug	3
and out of	3
for the purpose	3
the national costume	3
were followed by	3
at the top	3
of the child	3
the classic greek	3
on the floor	3
a study of	3
and worn by	3
description of the	3
and then it	3
of the reign	3
the eyes of	3
we use the	3
a woman of	3
and fifteenth centuries	3
woman we know	3
in the name	3
back in the	3
in the temple	3
during the last	3
a gown of	3
for a walk	3
well as in	3
elsie de wolfe	3
in a gold	3
be wearing a	3
of the empire	3
in which he	3
top of the	3
ribbons and lace	3
the skirt and	3
his or her	3
of blue and	3
in case of	3
of the type	3
of richard ii	3
out of doors	3
it is said	3
the virgin in	3
in the ball	3
he sought to	3
gait became a	3
the manner in	3
attention to the	3
was bordered with	3
silver and gold	3
that the woman	3
off the shoulders	3
the british museum	3
we have tried	3
seems to have	3
by thomas gainsborough	3
in ancient egypt	3
of queen elizabeth	3
the stage is	3
is to say	3
the feeling for	3
member of the	3
the countess of	3
the vital spark	3
and the hair	3
as to how	3
on the ice	3
the death crier	3
the background of	3
rather than the	3
in with a	3
so much as	3
the eye and	3
made to the	3
with pearls and	3
historic dress in	3
be decorative in	3
given in the	3
note is the	3
by john s	3
the highest rank	3
easy to be	3
la guerre for	3
go in for	3
trimmed to correspond	3
studying line and	3
the marriage of	3
we find the	3
fourteenth and fifteenth	3
in egypt and	3
for the occasion	3
and the duchess	3
no peep or	3
a sense of	3
a dress of	3
better in the	3
to make them	3
a large number	3
skins of animals	3
of new york	3
of her majesty	3
development of the	3
of this period	3
this here gat	3
he galloped he	3
the interior decoration	3
ancient egyptian sculpture	3
during the sixteenth	3
for the benefit	3
with flowers and	3
of the art	3
the fifteenth and	3
weeks after the	3
in the mind	3
who has not	3
it consisted of	3
and gold tissue	3
the folk music	3
a hat or	3
themselves in the	3
men of the	3
line of a	3
on the chest	3
during the reign	3
with a black	3
to plug you	3
is not enough	3
here i am	3
to any setting	3
crown of the	3
of the sun	3
of the toilet	3
attention to this	3
fashions in dress	3
dress of white	3
of black cloth	3
her head and	3
election bet three	3
in common use	3
the inner room	3
what she can	3
goes in for	3
jewels should be	3
is well to	3
miss elsie de	3
in ball costume	3
at a very	3
to the university	3
the style of	3
that when the	3
must be the	3
floor of the	3
a young girl	3
interior decoration of	3
much his as	3
the purpose of	3
station in life	3
integral part of	3
this type of	3
in the way	3
to the occasion	3
of the russian	3
the benefit of	3
the tudor period	3
in the public	3
costumes for women	3
in speaking of	3
of the limbs	3
the habits and	3
out to be	3
worn by a	3
a lady of	3
of a great	3
and the colour	3
the man or	3
in her sun	3
the ladies of	3
over the left	3
philadelphia public ledger	3
death of a	3
reference to the	3
one pair of	3
about the waist	3
of his own	3
to each other	3
women in the	3
of one of	3
glove of henry	3
may be regarded	3
at her best	3
expressed in the	3
dress is a	3
edged with fur	3
effect of clothes	3
the house of	3
reign of richard	3
in her boudoir	3
about the hips	3
string of pearls	3
example of woman	3
and nineteenth century	3
i could have	3
attired in a	3
of the picture	3
very early period	3
be mentioned the	3
upon the shoulders	3
a member of	3
woman as she	3
love of dress	3
how to dress	3
castle in ball	3
on the street	3
prevailed in the	3
her royal highness	3
was the most	3
to give the	3
of her husband	3
as a decorative	3
in the opera	3
the services of	3
even as he	3
or as a	3
be taken to	3
to fit the	3
a decorative contribution	3
we can see	3
artist in the	3
one would be	3
in the costuming	3
with the needle	3
more than once	3
in harmony with	3
have here a	3
this fashion was	3
by the lower	3
costumes of the	3
was embroidered with	3
he took my	3
spake the fearsome	3
as mother of	3
followed by the	3
by which we	3
the janitress was	3
have you been	3
appears to be	3
in mind a	3
adopted by the	3
the point where	3
the bottom of	3
of a man	3
far as we	3
and had a	3
the type of	3
the fearsome stranger	3
the king of	3
as he galloped	3
by elisabeth searcy	3
a desperate gallop	3
jest the way	3
to be wearing	3
on the ground	3
those who have	3
roses and foliage	3
towards the end	3
the weight of	3
of the tudor	3
in costumes of	3
the tops of	3
the emblem of	3
was worn by	3
the temple of	3
outline demanded by	3
to us of	3
the importance of	3
magistrate voris was	3
as a protection	3
manner in which	3
apropos of this	3
a plain bedaddled	3
a train of	3
over and over	3
outline of the	3
the height of	3
on such occasions	3
in her hair	3
are to be	3
an integral part	3
on the side	3
the roman invasion	3
the head was	3
one of those	3
late middle ages	3
line of costume	3
vernon castle costumed	3
the influence of	3
decorative in the	3
the period of	3
at that time	3
and customs of	3
an agreeable contrast	3
and all accessories	3
by a band	3
in by the	3
this portion of	3
plain bedaddled ijiet	3
evolution of the	3
and the long	3
the symbol of	3
and then to	3
stay jest the	3
was the same	3
part of it	3
by the romans	3
to the other	3
instinct for costuming	3
and sixteenth centuries	3
or is it	3
portraits of the	3
of man and	3
classes of the	3
the produce of	3
the practice of	3
the depths of	3
the driver of	3
of the moment	3
the figure of	3
the central powers	3
the outline demanded	3
the queen and	3
as part of	3
in mind that	3
matter of fact	3
some of them	3
it to the	3
of period costumes	3
the way you	3
of bride and	3
and the men	3
introduced into this	3
make the most	3
could have touched	3
let him in	3
colour of costumes	3
natural instinct for	3
reached to the	3
europe of the	3
one woman we	3
as the empress	3
as much his	3
he was gone	3
in the centre	3
of the greek	3
an example of	3
the body was	3
the north american	3
is supposed to	3
the marie antoinette	3
and magistrate voris	3
are no longer	3
about this period	3
of the feet	3
is the result	3
of flowers and	3
in the eighteenth	3
and elbow sleeves	3
princess henry of	3
in any setting	3
matter of dress	3
the principles underlying	3
the working classes	3
and these were	3
because it is	3
down to the	3
of the new	3
the same as	3
of silver tissue	3
the most successful	3
fifteenth and sixteenth	3
make a point	3
portrait by gilbert	3
to the same	3
on the lawn	3
north american indian	3
if it is	3
same in the	3
the hope of	3
in a sense	3
of one who	3
and with the	3
there are many	3
the pageant of	3
the writer has	3
refer to the	3
a piece of	3
was worn a	3
with silver and	3
fashion of the	3
by the judicious	3
but on the	3
became a desperate	3
is not a	3
the experience of	3
of the law	3
the portrait of	3
of the times	3
the order of	3
the world of	3
you can be	3
learn that the	3
way you are	3
you are and	3
dress in america	3
the left shoulder	3
for a long	3
the best of	3
colour scheme of	3
for the body	3
how to wear	3
long string of	3
that you make	3
which is a	3
the close of	3
this garment was	3
is full of	3
to serve as	3
the queen of	3
shown in the	3
by a strap	3
woman is the	3
in the sun	3
sketch of a	3
the tone of	3
i would not	3
from one of	3
take on the	3
with the same	3
part of a	3
and for the	3
a point of	3
it was found	3
that we have	3
turned out by	3
guerre for a	3
bet three weeks	3
of vanity fair	3
covering of the	3
mauve and white	3
of the lawrence	3
cap trimmed with	3
she would be	3
to the art	3
of the late	3
the train of	3
woman of fashion	3
the members of	3
during the first	3
more than this	3
now stay jest	3
on the top	3
may be mentioned	3
in great request	3
of the fifteenth	3
costume of various	3
and held in	3
of the fair	3
say that a	3
the same flowers	3
was at the	3
woman who knows	3
duchess of devonshire	3
of the east	3
of the gowns	3
is lined with	3
and lined with	3
and precious stones	3
costume of a	3
should be worn	3
at the sight	3
have tried to	3
red cross nurse	3
in the course	3
also used for	3
make use of	3
borne in mind	3
an election bet	3
the body of	3
and during the	3
a background of	3
as colour and	3
resting on the	3
dressed in a	3
of the room	3
for three days	3
is made of	3
you are to	3
carriage of the	3
each of the	3
a knowledge of	3
we have only	3
courtesy of vanity	3
to the ankles	3
not born with	3
and one of	3
the dimensions of	3
light upon her	3
colours and lines	3
make no peep	3
to the average	3
to meet the	3
than in the	3
background against which	3
he was not	3
for this purpose	3
at the time	3
it is as	3
the union of	3
to the figure	3
now and then	3
in the illustration	3
the attention of	3
at the opera	3
by the fashion	3
that part of	3
for the same	3
and as a	3
the same way	3
not more than	3
a group of	3
enriched with gold	3
in connection with	3
of james i	3
to return to	3
the contour of	3
we do not	3
is it that	3
down the back	3
were also used	3
madame geraldine farrar	3
as to give	3
lined with satin	3
in on him	3
of colour in	3
and the latter	3
of the time	3
as the natural	2
were a delight	2
the egyptians were	2
distinguished example of	2
pageant of life	2
such plays as	2
corsage veiled with	2
your own type	2
is considered an	2
courtesy of braun	2
way and that	2
this period the	2
will tell you	2
influence of such	2
result that we	2
with gold fringe	2
a flower or	2
farrar in japanese	2
to protect them	2
health and beauty	2
cut their hair	2
the may queen	2
or will i	2
ur de lion	2
decorative contribution to	2
the fashion for	2
a great impetus	2
money i had	2
son of a	2
similar lines to	2
upon her costume	2
to illustrate our	2
her majesty the	2
we would remind	2
so many of	2
that from the	2
with a highly	2
no matter how	2
point is that	2
a slave bundle	2
when in it	2
is that you	2
be the first	2
to carry out	2
the author of	2
it is easy	2
gown of cream	2
know that the	2
terms of art	2
wife of edward	2
they were more	2
in no way	2
by courtesy of	2
illuminated manuscripts of	2
in the front	2
arranged on the	2
it is amazing	2
supposed to have	2
in white satin	2
as depicted by	2
muslin and lace	2
to you that	2
curls on the	2
the victorian era	2
has been concluded	2
is reproduced from	2
of a good	2
how much more	2
partially covered by	2
one is not	2
lasted for three	2
the present european	2
to which we	2
details which are	2
the country club	2
no regular guy	2
habit of those	2
or woman of	2
ample proof of	2
unconscious grace of	2
a long time	2
low off the	2
and a band	2
male and female	2
until too late	2
him in a	2
a few rules	2
to the station	2
they form a	2
thistles and ribbon	2
of the city	2
and a considerable	2
the short sleeves	2
periods in dress	2
year of the	2
to the fashions	2
only as a	2
vital organs of	2
of the third	2
we see that	2
on the left	2
style of the	2
of costume and	2
a good deal	2
opening up of	2
youth of athens	2
the united states	2
are all familiar	2
you wish to	2
this oriental colour	2
florence mary gardiner	2
that of national	2
blue and red	2
gave way to	2
be a flower	2
between and a	2
heavy with powder	2
covered by a	2
the distinction of	2
disposal of the	2
himself at the	2
lines of gown	2
same time a	2
the custom to	2
and he was	2
and embellished with	2
he came to	2
and character of	2
of woman of	2
are the women	2
the son of	2
is dependent upon	2
the door of	2
to a degree	2
low in front	2
on the face	2
manner that it	2
xiii woman decorative	2
years of age	2
of fashion as	2
on this occasion	2
there are a	2
to the upper	2
they are also	2
will look better	2
whole mind on	2
with consistency and	2
eyes of the	2
for woman and	2
to wear red	2
cause of the	2
and woman alike	2
forth upon the	2
whether in action	2
of silver and	2
and from the	2
priest wearing a	2
is of great	2
painted during the	2
few minutes ago	2
silver and precious	2
off by a	2
of george iii	2
is not born	2
a head covering	2
a complete outfit	2
the lining of	2
use of the	2
to george iv	2
the origin of	2
to get a	2
with a view	2
about midway of	2
to be borne	2
furred with ermine	2
i a few	2
japanese costume as	2
as for the	2
the natural hair	2
shades of red	2
was all alone	2
same key as	2
xxvi nationality in	2
of russian nature	2
which we mean	2
glance about him	2
the clergy were	2
the eye of	2
to the present	2
no claim to	2
embroidered with the	2
at their best	2
the opening up	2
the technique of	2
the world over	2
cases it was	2
the emperor aurelian	2
eighth year of	2
when not in	2
the right side	2
then it ran	2
is of silver	2
a few of	2
to and fro	2
the effect produced	2
renaissance sixteenth and	2
of the gentle	2
line of the	2
of the arts	2
day to the	2
those used by	2
to a great	2
in a costume	2
circulation of wealth	2
the psychology of	2
whether they are	2
of the pointed	2
which she was	2
be induced to	2
we know that	2
a decorative way	2
in other respects	2
you will observe	2
open on the	2
over the men	2
to be found	2
the importation of	2
note of colour	2
from life by	2
has to do	2
one of her	2
made between the	2
establish habits of	2
xvi development of	2
it should be	2
as we can	2
xx sex in	2
on a colour	2
is it likely	2
of links or	2
always assumed poetic	2
not only with	2
in the last	2
in cloth of	2
good gothic lines	2
enough of a	2
with the intention	2
the mysteries of	2
greek and roman	2
just below the	2
with all the	2
return to the	2
woman costumed for	2
the fashionable world	2
the women in	2
to the human	2
were thrown into	2
a strange house	2
the consort of	2
he would get	2
from the shoulders	2
the person of	2
she may not	2
this may be	2
of this book	2
seventy years of	2
from point of	2
we have given	2
more than you	2
a black satin	2
opinion of the	2
the frozen roads	2
could make out	2
which was suspended	2
costumes of various	2
born with this	2
the scheme of	2
and though the	2
writer has in	2
the type are	2
to the hem	2
children and their	2
of any particular	2
was the signal	2
was in vogue	2
the warmth of	2
to the impulse	2
on one shoulder	2
of bone and	2
costume as madame	2
mead and company	2
illustration of the	2
imprisoned in whalebone	2
we saw them	2
and they are	2
a manner that	2
of the rules	2
to look like	2
give your attention	2
is about to	2
as the gothic	2
familiar to all	2
were used in	2
in the depths	2
more than any	2
the gentle craft	2
he had been	2
the way of	2
the round neck	2
to their station	2
miss milly hollister	2
the assistance of	2
by cosmopolitan influences	2
i opened the	2
to make our	2
man in his	2
a flight of	2
century costume portrait	2
in costuming european	2
that it had	2
iv the psychology	2
in a petticoat	2
in garden costume	2
the one in	2
agreeable contrast to	2
king edward vii	2
home economics archive	2
and silk stockings	2
but those who	2
bewildering and misleading	2
and with his	2
in his home	2
winner of amateur	2
trimming at the	2
in greek costume	2
the mastery of	2
the mourning habit	2
have been used	2
few rules underlying	2
and reached to	2
passed under the	2
was attached to	2
once the first	2
the whim of	2
in period costumes	2
it was usual	2
and to be	2
costumes in gothic	2
more than the	2
affected by cosmopolitan	2
of the gothic	2
important branch of	2
steamer or yacht	2
a view to	2
he was the	2
beautiful in form	2
doran company copyright	2
noted for her	2
the reader is	2
by insisting on	2
and he said	2
tudor england portrait	2
on a chair	2
owner of the	2
the rank of	2
at the metropolitan	2
habits of carriage	2
sign of virility	2
arranged in two	2
of ruby velvet	2
when away from	2
russian women of	2
marked off into	2
cascade of curls	2
and the whole	2
it would inevitably	2
nature has always	2
court of charles	2
on his heels	2
of costume worn	2
gentle craft of	2
by charles i	2
and short sleeves	2
to how jewels	2
the neck and	2
license in the	2
to the tops	2
man and his	2
with the fleur	2
followed in the	2
life shows that	2
been the life	2
for line and	2
of the afternoon	2
on the continent	2
party by irvin	2
which she has	2
the top floor	2
for her to	2
absurdly furbished head	2
we went to	2
into the world	2
of white and	2
the same reason	2
the lovely queen	2
century the round	2
not enough to	2
with intent to	2
came in a	2
colour scheme and	2
was known as	2
the moment the	2
quite another field	2
greek costume as	2
new colour vocabulary	2
in the life	2
that the egyptians	2
with turquoises and	2
a word of	2
and all that	2
can and cannot	2
movement of the	2
important factor in	2
look better than	2
like his over	2
the vital organs	2
our points clear	2
or ball gown	2
under the general	2
them cling to	2
apart from the	2
the materials used	2
exaggeration of an	2
marchioness of londonderry	2
of the young	2
the upper part	2
the minds of	2
dimensions of a	2
chain or string	2
the intention of	2
the possibility of	2
that they have	2
following the fashion	2
associated with the	2
for the death	2
as the virgin	2
the woman is	2
the best dressed	2
she can wear	2
of the previous	2
the impulse of	2
who has an	2
to take on	2
by both sexes	2
early period in	2
with pearls or	2
the one to	2
the variations of	2
high in the	2
in the ground	2
example of a	2
earliest illustration of	2
a marked example	2
let us repeat	2
of that day	2
of amateur championship	2
to change into	2
i am indebted	2
form they were	2
planning a period	2
daughters of the	2
no more time	2
think about you	2
that he had	2
we would make	2
the effect was	2
was chiefly remarkable	2
leg bandages and	2
point we would	2
in their marriage	2
the russian peasants	2
on similar lines	2
appear in a	2
to the decoration	2
coming to the	2
one tea gown	2
the centre of	2
her material trappings	2
turned his attention	2
devoted to the	2
in clothes as	2
of this fashion	2
was given to	2
a colour which	2
the knees and	2
it has been	2
in the hair	2
miles an hour	2
gives a good	2
rich white satin	2
of the hand	2
her fingers and	2
of those lines	2
the traditional costume	2
and floral costume	2
feature in the	2
issue of the	2
we have chosen	2
is the most	2
storm and stress	2
place in the	2
you and your	2
contribution of our	2
understood that the	2
his bachelor apartments	2
of sheer material	2
a costume ball	2
to his bachelor	2
in the new	2
colour instinct in	2
that she was	2
that was it	2
nationality in costume	2
of any period	2
the black evening	2
an ordinance for	2
down the stair	2
was the usual	2
on to the	2
knowledge of how	2
for which it	2
he could make	2
in the character	2
away from here	2
we hear that	2
woman of our	2
the finest yarn	2
by the sea	2
too late to	2
possessed by the	2
novice who would	2
to that worn	2
the size of	2
the party was	2
from which we	2
to the sixteenth	2
is known to	2
of how to	2
trimmed with mole	2
other art does	2
the body as	2
with thistles and	2
the upper portion	2
from an ancient	2
of which are	2
for the most	2
with a necklace	2
on the arm	2
of any setting	2
the tomb of	2
of a gentleman	2
copied from a	2
is of a	2
will observe that	2
in evening dress	2
they are so	2
in his hand	2
lining of the	2
the thought of	2
the french revolution	2
which was cut	2
and his costume	2
the chance of	2
to go about	2
and duchess of	2
any other art	2
for all the	2
are used as	2
of periods in	2
the full skirt	2
opposite end of	2
order to look	2
powerful because they	2
as decorative line	2
shrubs and trees	2
her to be	2
at first we	2
quarter of a	2
to the lines	2
were to be	2
which they are	2
wore a costume	2
decorated with a	2
an instance of	2
be remembered that	2
he did not	2
the carriage of	2
with moss roses	2
held me up	2
some years after	2
of western europe	2
costume of both	2
embroidered with silver	2
few hints for	2
characteristics as expressed	2
vertical row of	2
in colours and	2
protect them from	2
the colours and	2
plan her costumes	2
rheinhardt and granville	2
of our book	2
even if one	2
the same idea	2
customary for the	2
in the wake	2
the old story	2
can explain everything	2
in the eyes	2
we speak of	2
lighted tapers and	2
wore a dress	2
they had been	2
have shown that	2
to forget her	2
a married woman	2
behind him a	2
you come down	2
to your own	2
by this means	2
on the crown	2
to her father	2
the artist and	2
back to bed	2
are to wear	2
sound as of	2
was dispensed with	2
in spanish costume	2
the highly sensitised	2
by those who	2
stage and floral	2
it that you	2
in that direction	2
be decorative when	2
gown of silk	2
to shed light	2
order of the	2
flower or a	2
sense of line	2
the result that	2
may be a	2
reaching to their	2
two broad street	2
the planning of	2
edged with a	2
chat about children	2
bands of the	2
go back to	2
on which was	2
form of the	2
contested for the	2
mind when planning	2
it was necessary	2
of his life	2
woman in gothic	2
the stair well	2
are indebted to	2
represented in a	2
in the figure	2
look at you	2
powder and patches	2
they were not	2
the floor below	2
angle at which	2
dress is worn	2
there could be	2
by great masters	2
of the castle	2
from the latter	2
of his feet	2
with a cap	2
national or individual	2
a certain degree	2
national characteristics as	2
which the accompanying	2
not so fleeting	2
modern portrait by	2
place during the	2
as the woman	2
miss rowena skiff	2
made of the	2
her arms and	2
craft of shoemaking	2
to take his	2
costume of woman	2
to the man	2
turned into a	2
of the lines	2
their clothing was	2
what money i	2
as distinct types	2
be paid to	2
remember that a	2
the beauty of	2
upon the sidewalk	2
to the grave	2
materials and colour	2
the ordinary costume	2
head of european	2
is an art	2
mantle was of	2
illustrations of the	2
iii how to	2
of crimson velvet	2
way of expressing	2
xii woman as	2
on this subject	2
the artist nature	2
and silver thread	2
of white cloth	2
the canterbury tales	2
of fashion which	2
the movements of	2
some cases it	2
substitute for the	2
colour and detail	2
i tell you	2
one of our	2
were employed in	2
in colour and	2
colour in the	2
you will find	2
sir joshua reynolds	2
sides of the	2
the control of	2
of cloth and	2
beauty of the	2
but even in	2
might be induced	2
from year to	2
be borne in	2
out for the	2
a description of	2
controlling the physique	2
our present fashions	2
harmonise with the	2
links or beads	2
a generic term	2
it was also	2
ball was a	2
a few points	2
ornamented with a	2
ii woman in	2
the peasant class	2
missions of art	2
and their clothing	2
the shade of	2
there were some	2
record of the	2
and her court	2
made on the	2
at one time	2
edged with gold	2
go about planning	2
upon a time	2
which would be	2
still in existence	2
to all costumes	2
and lady angela	2
on in the	2
ten years later	2
all over the	2
even during the	2
succeeded by the	2
string of beads	2
by what we	2
of great antiquity	2
of shrubs and	2
and you will	2
colour and texture	2
the hallway entrance	2
patron of the	2
the banks of	2
bunches of flowers	2
and with no	2
by the church	2
and success throughout	2
with crimson satin	2
mother of the	2
lined with black	2
cut in the	2
woman of any	2
as to be	2
the great point	2
woman who lives	2
an age when	2
white against gold	2
and trimmed with	2
as to what	2
the care of	2
by a note	2
passed through the	2
thelma cudlipp mme	2
of a shoemaker	2
action or repose	2
was regarded as	2
of any costume	2
or individual temperament	2
and tied with	2
value of a	2
one time in	2
as a necessary	2
the demands of	2
as we see	2
and roman shoes	2
so that they	2
the exigencies of	2
rules underlying all	2
gown of white	2
knows very well	2
when they are	2
with rows of	2
set with jewels	2
in a key	2
all of us	2
one for the	2
also studded with	2
the sketch of	2
if i was	2
ordinary costume of	2
would get himself	2
and th centuries	2
to those who	2
age of three	2
the greek church	2
the costume and	2
a love of	2
nast in a	2
the third floor	2
which comes under	2
the body to	2
time of henry	2
old story of	2
cut low and	2
the choice of	2
as she moved	2
sweep of green	2
the consideration of	2
correct carriage of	2
a watch or	2
their clothes to	2
i assure you	2
of the ordinary	2
could have been	2
of national costumes	2
as a distinct	2
to wear it	2
or a bunch	2
a preposterous ass	2
a prominent position	2
her best in	2
and what is	2
one sees that	2
bottom of skirt	2
the characters of	2
there is much	2
water boiled with	2
the public mind	2
and places of	2
costuming of herself	2
hours of the	2
about planning a	2
go on home	2
of a member	2
of braun co	2
were used by	2
the front and	2
which it was	2
into terms of	2
after a painting	2
what might be	2
on the platform	2
opened the door	2
a look at	2
owing to the	2
be worn to	2
bequeathed by will	2
to the court	2
did not know	2
the possession of	2
pink and red	2
but remember that	2
th century the	2
carried across the	2
half of the	2
women who have	2
consistency and success	2
were told that	2
the disposal of	2
early as the	2
to be of	2
the last half	2
in the country	2
of the subject	2
of precious metals	2
upon the public	2
line in a	2
should be carried	2
to admit a	2
study of this	2
tip of left	2
to the orient	2
shed light upon	2
a black dalmatic	2
to resemble the	2
upon us that	2
now waging in	2
depths of the	2
and here was	2
be appropriate to	2
the rich storehouse	2
dignitaries of the	2
to outline and	2
where they were	2
made by the	2
silk of different	2
detail with raison	2
important part in	2
a fortuny tea	2
tops of his	2
according to their	2
early nineteenth century	2
among the anglo	2
of the tenants	2
the sleeves of	2
against the background	2
a fancy dress	2
lady eva dugdale	2
this is especially	2
the possibilities of	2
restraint in line	2
to make subtle	2
during the eighteenth	2
the hair in	2
places of amusement	2
of such a	2
as to get	2
was of gold	2
an early period	2
complete outfit of	2
as we know	2
intended as a	2
that the costume	2
have been there	2
with a close	2
coloured oriental stuffs	2
gloves on his	2
would be difficult	2
with magenta stockings	2
this method of	2
me and you	2
the toes are	2
it is of	2
in a portrait	2
clasped by a	2
ornamented with gold	2
on the whole	2
of an old	2
the station house	2
to get efficiency	2
most of it	2
the opening is	2
that you might	2
drawn from life	2
by the iron	2
just as he	2
for the novice	2
figure of a	2
of pale blue	2
for in a	2
portrait of mary	2
for the third	2
contrast to it	2
the russian women	2
the trimming must	2
latter part of	2
lady of th	2
roman occupation of	2
property of marie	2
for this reason	2
is always in	2
that they were	2
that it may	2
round the instep	2
of the ladies	2
it is considered	2
to the head	2
lines which follow	2
in the colour	2
and he took	2
at the battle	2
to fall in	2
costume of empire	2
or at least	2
the th and	2
to which the	2
for the long	2
be difficult to	2
waging in europe	2
all costuming of	2
i think about	2
and silver and	2
to the young	2
he said he	2
as the first	2
contribution to any	2
is shown in	2
i know that	2
of woman is	2
time of our	2
white satin and	2
can wear and	2
of the community	2
of carriage which	2
were looking at	2
is that so	2
habits and customs	2
garment reaching to	2
story of period	2
were the usual	2
in greek art	2
a gentleman at	2
is of inestimable	2
to abstain from	2
the hawking glove	2
thrown into relief	2
costumes in hungary	2
of an essential	2
piece of furniture	2
as the mother	2
elimination of detail	2
do you mean	2
in the early	2
a wreath of	2
the good work	2
what was he	2
the lines and	2
the novice who	2
decoration when skating	2
the home of	2
a chat about	2
fourteenth century the	2
the beautiful and	2
of the garment	2
was in great	2
the crusaders were	2
to the virgin	2
will be seen	2
period costumes a	2
the tea gown	2
was an artist	2
among all classes	2
in the year	2
in street dress	2
a shoemaker at	2
and take a	2
spanish costume as	2
to help in	2
a garment reaching	2
happen to have	2
of his future	2
made in venice	2
quite apart from	2
fastened to the	2
as long as	2
the decoration of	2
line to the	2
should hate to	2
of the household	2
in your garden	2
picture hat with	2
on each side	2
colour for mourning	2
and pink ribbon	2
one sees the	2
assyria and egypt	2
what do you	2
for the reason	2
are bewildering and	2
soul of the	2
period the variations	2
portrait of an	2
over his shoulder	2
lady angela forbes	2
to the end	2
queen and the	2
the party by	2
background of shrubs	2
centuries it was	2
done in light	2
the houses of	2
in the princess	2
to fashions in	2
that had been	2
wolfe in costume	2
while the other	2
the north of	2
effect of a	2
an early victorian	2
follow one another	2
also we have	2
draw them to	2
worn by charles	2
the earliest illustration	2
is easy to	2
on a summer	2
there had been	2
to where a	2
for her a	2
were subject to	2
of the door	2
the roman occupation	2
in honour of	2
in the seventeenth	2
to her feet	2
as to say	2
the wisdom to	2
of the roman	2
on the feet	2
instead of being	2
had its origin	2
of a more	2
all that his	2
on the skirt	2
her husband came	2
services of a	2
and women were	2
china and japan	2
woman decorative is	2
be in the	2
galloped he shouted	2
as expressed in	2
best suited to	2
to form a	2
at the door	2
of some of	2
commonly known as	2
and fascinating as	2
as if the	2
a revival of	2
cut low off	2
in a single	2
the metropolitan opera	2
to the top	2
to visit the	2
by gilbert stuart	2
to those with	2
a single flower	2
vitality and money	2
seize upon the	2
grace of the	2
in his bed	2
good deal of	2
where you are	2
of the full	2
worn by swedish	2
colour in all	2
same classic lines	2
and women of	2
linen or cotton	2
the cup of	2
once a week	2
in the first	2
on his hands	2
at the hem	2
that your outline	2
the head and	2
an evening gown	2
on the value	2
in a minute	2
a law which	2
fortuny tea gowns	2
he could not	2
ii the laws	2
clothes upon manners	2
was lined with	2
in such cases	2
with gold thread	2
of art and	2
costumes worn by	2
gold lace and	2
have not been	2
have been worn	2
form of a	2
in a picturesque	2
a distinguished example	2
strange lady saw	2
men as well	2
banks of the	2
with brass buttons	2
in souvenirs of	2
fact that a	2
of her body	2
they are of	2
and a train	2
gown is white	2
had gone out	2
mark of our	2
woman who is	2
woman is given	2
preserved in the	2
at table with	2
the same classic	2
noted for their	2
if you cannot	2
comes under the	2
was distinguished by	2
come down here	2
and skirt of	2
sleeves of the	2
of mauve and	2
at the funeral	2
love of colour	2
of controlling the	2
in a cascade	2
you got a	2
occupation of britain	2
they could not	2
a loin cloth	2
the french woman	2
of a high	2
as it was	2
them to be	2
he had forgotten	2
much in vogue	2
applies to the	2
or was it	2
xvii the renaissance	2
of the coming	2
the love of	2
life by elisabeth	2
constant reference to	2
costume in the	2
the place of	2
and the late	2
the last years	2
she was attended	2
time in the	2
depends in part	2
be as decorative	2
which create good	2
to try to	2
women who are	2
a delight to	2
present european war	2
or of leather	2
woman and her	2
as marie antoinette	2
studded with jewels	2
as the most	2
or by both	2
be a picture	2
would be under	2
still preserved in	2
and make use	2
only a few	2
of dress were	2
a modern portrait	2
corsage trimmed to	2
more than one	2
each detail of	2
this was the	2
more than six	2
cathedrals of mont	2
lines and colouring	2
we turn to	2
other rich fabrics	2
body of the	2
consisting of a	2
informs us that	2
to our own	2
so that she	2
we owe to	2
woman with a	2
decoration of her	2
the laws underlying	2
adornment for the	2
has not the	2
in the sketch	2
viii jewelry as	2
history of mourning	2
that made him	2
costuming european dress	2
in buda pest	2
from a very	2
in part upon	2
in a snood	2
when the roman	2
art portrait showing	2
of tanned leather	2
the direction of	2
we were looking	2
the revival of	2
in close folds	2
by a broad	2
for some years	2
any of the	2
empire period an	2
organs of the	2
lady marjorie greville	2
so that he	2
of your room	2
a few years	2
few points applying	2
a skating costume	2
on the social	2
to the rich	2
and vulgar taste	2
weld of boston	2
of the fashionable	2
adapted to our	2
is true of	2
as he made	2
and it may	2
ceased to be	2
followed the fashion	2
two long plaits	2
the courtiers of	2
on the banks	2
who had fallen	2
as far as	2
the rules as	2
of the woman	2
violent contrasts which	2
light of the	2
colour is the	2
for the cup	2
earl of warwick	2
a few hints	2
england portrait by	2
championship of fancy	2
the writer recalls	2
made of white	2
we have the	2
then he might	2
up in a	2
of the upper	2
knew only the	2
the most skilful	2
as though it	2
are accepted by	2
the coiffure of	2
took a step	2
ruff encircling the	2
keynote upon which	2
of red cross	2
the room in	2
and the abundance	2
it is customary	2
were introduced into	2
the men of	2
the skin of	2
the eighth year	2
the connoisseur is	2
the other way	2