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
part of the	190
in proportion as	153
the centre of	144
in the original	136
one of the	131
in the same	129
of the same	128
the colour of	122
of the sun	120
light and shade	115
leonardo da vinci	114
the surface of	113
and in the	110
that of the	109
is to be	108
to the eye	103
of the eye	99
of the sea	98
and if you	94
the middle of	92
side of the	91
in the middle	90
from the eye	87
of the earth	86
and of the	86
of the body	86
according to the	85
and this is	84
the top of	84
is in the	84
there is no	82
the eye and	81
centre of the	81
the nature of	81
colour of the	80
to have been	79
out of the	77
that is to	77
as it is	75
by means of	75
surface of the	74
the cause of	73
is to say	73
in which the	73
there is a	71
distance from the	69
more or less	69
at the same	69
of the air	68
of light and	68
portion of the	67
middle of the	67
on the same	66
as to the	66
you will see	65
the end of	64
and it is	64
of the colour	63
the head of	63
as well as	63
the face of	62
eye and the	62
and the same	61
it will be	61
the sun is	60
will be the	60
are to be	60
it may be	60
top of the	59
the side of	59
that he was	59
it is not	59
in proportion to	59
of the head	58
of a man	58
at a distance	58
the motion of	58
of the human	58
between the eye	57
of the two	57
the form of	57
in order to	56
equal to the	56
the beginning of	56
of the object	55
seen in the	55
proportion as the	55
of which the	55
is equal to	54
that which is	54
in front of	54
will be seen	53
may be seen	53
which is the	53
on the other	53
and the other	52
it is a	52
on the contrary	51
by the sun	51
and all the	51
so as to	51
proportion to the	51
the name of	50
thickness of the	50
where it is	50
of the atmosphere	50
to be found	49
as they are	49
in the air	49
so that the	49
if it were	49
and the eye	49
to be seen	49
to be the	49
the images of	48
a book of	48
it is the	48
and to the	48
the same way	47
of the great	47
of the light	47
when it is	47
that it is	47
the same time	47
at the end	46
to be a	46
of the moon	46
and at the	46
the duke of	46
the bottom of	45
the image of	45
on the th	45
the th of	45
that he had	45
of the world	45
of the whole	45
the fact that	45
of all the	45
the eye is	44
be found in	44
he did not	44
bottom of the	44
by reason of	44
the point of	44
on the left	43
nearer to the	43
this is the	43
the human body	43
the course of	43
it was a	43
on the right	42
and if the	42
ought to be	42
seems to have	42
parts of the	42
on the ground	41
that it was	41
that part of	41
book of the	41
of the foot	41
it is impossible	41
is of the	41
now in the	40
the possession of	40
in such a	40
the thickness of	40
not to be	40
the rest of	40
the length of	40
the church of	40
seems to me	40
there was a	39
motion of the	39
to the right	39
proportion as they	39
which he had	39
of the first	39
the light of	39
part of a	39
of the water	39
the works of	39
light of the	38
of the nature	38
produced by the	38
of the face	38
nature of the	38
in the first	38
end of the	38
on which the	38
in the east	38
is the same	38
and on the	38
the size of	38
with regard to	38
of his own	38
the king of	38
face of the	38
be seen in	37
i say that	37
the work of	37
of the arm	37
you wish to	37
body of the	37
as in the	37
it would be	37
he had been	37
the space between	37
he was a	37
image of the	36
of the sky	36
in the possession	36
the sun and	36
proportion as it	36
say that the	35
those of the	35
the height of	35
it must be	35
to the left	35
of the objects	35
to the other	35
because it is	35
some of the	35
the house of	35
the hands of	35
as far as	35
i do not	34
and the light	34
the luminous body	34
regard to the	34
on one side	34
the shadow of	34
by the side	34
it seems to	34
and if it	34
you want to	34
at that time	34
nearest to the	34
it does not	34
the laws of	34
to see the	34
the son of	33
and by the	33
pen and ink	33
of leonardo da	33
the man who	33
the body of	33
in the louvre	33
rays of the	33
the base of	33
of the said	33
was in the	33
if it is	33
of the muscles	33
that in the	33
be able to	33
this is proved	32
a b c	32
of the mountains	32
to each other	32
size of the	32
at the bottom	32
the effect of	32
when the sun	32
a man who	32
is that which	32
the opposite side	32
the weight of	32
as is shown	32
will not be	31
those which are	31
the death of	31
the eye of	31
which they are	31
of the man	31
and you will	31
and from the	31
at the top	31
the last supper	31
in the year	31
to make a	31
the manner of	31
the motions of	31
from the centre	31
the foot of	31
seems to be	31
space between the	31
the light and	30
of the shadow	30
through the air	30
one and the	30
and the sun	30
which it is	30
the old man	30
caused by the	30
of the duke	30
the whole of	30
on account of	30
it was the	30
of the tree	30
front of the	30
proportions of the	30
of the hand	30
at the beginning	30
as may be	30
close to the	30
length of the	30
the outlines of	30
width of the	30
reason of the	29
of the arch	29
up to the	29
the level of	29
are in the	29
it to the	29
it is evident	29
at the time	29
that is the	29
one of his	29
the same thing	29
darkness of the	29
the construction of	29
duke of milan	29
the distance from	29
the shadows of	29
the right hand	29
found in the	28
they will be	28
of the most	28
than that of	28
a distance of	28
the time of	28
if it be	28
the same colour	28
you do not	28
the perspective of	28
seen by the	28
to say that	28
to the duke	28
on the side	28
the position of	28
is proved by	28
of santa maria	28
proved by the	28
base of the	27
so far as	27
but it is	27
the rays of	27
of the church	27
on the surface	27
the same as	27
th day of	27
the solar rays	27
in the eye	27
sides of the	27
light and shadow	27
the number of	27
it in the	27
larger than the	27
he could not	27
the edges of	27
this passage is	27
and the like	27
the study of	27
in regard to	27
the life of	26
was to be	26
there will be	26
as much as	26
will be found	26
to the light	26
of the pyramid	26
than the other	26
the moon is	26
the art of	26
it would seem	26
when they are	26
form of a	26
rest of the	26
a man of	26
the colours of	26
the left hand	26
and it will	26
smaller than the	26
for the first	26
the darkness of	26
to the top	26
between lines and	26
of the other	26
the proportion of	26
of the wall	25
of the original	25
of the nose	25
the pyramid of	25
one of these	25
if you want	25
illuminated by the	25
weight of the	25
to the west	25
of the text	25
the eye will	25
the young man	25
means of the	25
to the east	25
the angle of	25
of the last	25
the power of	25
of the castle	25
cause of the	25
in the centre	25
the sides of	25
point of sight	25
the same size	25
on the opposite	25
you will find	25
form of the	25
beginning of the	25
eye of the	25
than in the	25
and that the	25
to the bottom	25
it is to	25
in the morning	25
the direction of	24
would have been	24
images of the	24
in light and	24
the air is	24
there can be	24
at the foot	24
from the sea	24
the waves of	24
published by j	24
that portion of	24
remote from the	24
such a way	24
the hand of	24
the lake of	24
the figure of	24
light from the	24
position of the	24
the strength of	24
knowledge of the	24
one of them	24
to make the	24
it is said	24
the derived shadow	24
seemed to him	24
of the waters	24
he would have	24
of the surface	24
written on the	24
in the world	24
the th day	24
the use of	24
of the figure	24
account of the	24
motions of the	24
the walls of	24
higher than the	23
the reason is	23
centre of gravity	23
the order of	23
a great distance	23
the meaning of	23
can be no	23
the first is	23
height of the	23
may have been	23
of the holy	23
foot of the	23
of this is	23
in this work	23
that they are	23
of this passage	23
because they are	23
sketch of a	23
to be of	23
but if you	23
the service of	23
but in the	23
i will not	23
taylor high holborn	23
him to the	23
removed from the	23
if you wish	23
is nearer to	23
will see the	22
in the west	22
of the waves	22
on that side	22
the court of	22
of the window	22
in which he	22
line of the	22
which does not	22
order of the	22
the mass of	22
the character of	22
of those who	22
it is in	22
level of the	22
in order that	22
his face was	22
up by the	22
a variety of	22
joint of the	22
to be in	22
the width of	22
be the same	22
to represent a	22
the plan of	22
to the distance	22
lower than the	22
to the same	22
where there is	22
of the chin	22
in the text	22
away from the	22
of the leg	22
the proportions of	22
on the margin	22
in red chalk	22
see that the	22
on light and	21
in all the	21
with the same	21
and when the	21
that it may	21
on each side	21
as to be	21
is caused by	21
the light from	21
if the eye	21
than any other	21
of his life	21
the castle of	21
them to the	21
it will appear	21
at this moment	21
at a great	21
the difference between	21
shadow of the	21
of the cathedral	21
on which it	21
must have been	21
the history of	21
i have not	21
so that it	21
the forms of	21
the light which	21
on the wall	21
the lines of	21
the eye which	21
it is necessary	21
lights and shadows	21
and as the	21
together with the	21
sun is in	21
look at the	21
and it was	21
placed in the	21
by which the	21
of the new	21
said to have	21
refer to the	21
be of the	21
that they were	21
to the south	21
the beauty of	21
that the eye	21
of the ground	21
will be more	21
and he was	21
the part of	21
shadow will be	21
there was no	21
is that the	21
shown by the	20
and then the	20
head of the	20
had not been	20
the roots of	20
the same proportion	20
from the top	20
it seemed to	20
but if the	20
in the form	20
of equal size	20
point of the	20
more than a	20
of a body	20
refers to the	20
infinite number of	20
and ink drawing	20
an infinite number	20
that there is	20
the movement of	20
the insertion of	20
and the whole	20
as that of	20
to the sea	20
the other hand	20
of the spectator	20
the joint of	20
do not know	20
proportion of the	20
the primary shadow	20
to the ground	20
and when it	20
interposed between the	20
lines of the	20
from the sun	20
and the more	20
picture of the	20
at the point	20
be regarded as	20
by the same	20
treat of the	20
the first time	20
king of france	20
when he was	20
by the light	20
this may be	20
to the end	20
of the town	20
and the object	20
made by the	20
the subject of	20
that i am	20
and for the	20
which had been	20
they are not	19
it has been	19
who had been	19
description of the	19
the heart of	19
movement of the	19
in which they	19
is the most	19
be in the	19
of the soul	19
which i have	19
if they are	19
most of the	19
of the dead	19
objects which are	19
of the gods	19
the vertical plane	19
that he might	19
it was not	19
the parts of	19
it follows that	19
shoulder to the	19
distant from the	19
is seen in	19
to that of	19
the palazzo vecchio	19
or any other	19
of the limbs	19
years of age	19
at this time	19
darker than the	19
the pit of	19
so great a	19
pit of the	19
it might be	19
of the wind	19
the mouth of	19
you must make	19
you will be	19
there is nothing	19
the tops of	19
the mind of	19
of the florentine	19
i have seen	19
fury of the	19
and the reason	19
in his hand	19
of the mouth	19
of the palazzo	19
the shores of	18
of the art	18
the knowledge of	18
if they were	18
down by the	18
is produced by	18
that they may	18
pupil of the	18
in the hands	18
which is nearest	18
it is true	18
light and the	18
the fury of	18
the diminution of	18
of the shoulders	18
difference between the	18
john the baptist	18
the old woman	18
the mother of	18
the line of	18
the sense of	18
in the course	18
of the bones	18
the place of	18
is not a	18
more than the	18
the original ms	18
is shown by	18
to return to	18
the same with	18
you will have	18
course of the	18
him in the	18
of the shadows	18
and in this	18
seem to have	18
ought not to	18
and a half	18
joints of the	18
maria delle grazie	18
to me to	18
the text of	18
the shape of	18
the book on	18
a part of	18
reason is that	18
the light is	18
seen through a	18
the action of	18
the sound of	18
a great deal	18
in the following	18
the water which	18
the variety of	18
flow and ebb	18
of the winds	18
as soon as	18
in the margin	18
a straight line	18
be seen by	18
in the light	18
by the eye	18
of the fingers	18
is nearest to	18
which will be	18
from each other	17
you mean to	17
of the figures	17
could not be	17
that leonardo was	17
is said to	17
name of the	17
the waters of	17
the soul of	17
of the hair	17
it would have	17
the daughter of	17
and when you	17
for this reason	17
the voice of	17
in a note	17
that all the	17
from the earth	17
that if the	17
the same sheet	17
head of a	17
in the way	17
of the images	17
the depth of	17
the tip of	17
of the cause	17
in his own	17
will be most	17
of the various	17
from the other	17
placed between the	17
which are the	17
of the old	17
and this happens	17
it is quite	17
the text is	17
is shown in	17
no less than	17
seen in a	17
is on the	17
when he had	17
as it were	17
to prove that	17
in the church	17
as he had	17
of the people	17
it in a	17
into the air	17
of the luminous	17
the arrangement of	17
will be in	17
at any rate	17
the portrait of	17
the pupil of	17
raised his eyes	17
treatise on painting	17
roots of the	17
a long time	17
is more or	17
ludovico il moro	17
the age of	17
the sphere of	17
of a great	17
corner of the	17
a matter of	17
those who are	17
and there is	17
which of the	17
the same distance	17
with all the	17
of the motion	17
far as the	17
when the eye	17
farthest from the	17
the human figure	17
to draw a	17
the distance of	17
of the neck	17
is evident that	17
that he could	16
in the midst	16
on the subject	16
the first of	16
in the dark	16
the day of	16
to the point	16
hands of the	16
him on the	16
given in the	16
it is proved	16
and with the	16
and that of	16
in the second	16
the central line	16
but when the	16
of the leaves	16
and the shadows	16
the wisdom of	16
waters of the	16
far from the	16
and in a	16
in which it	16
at some distance	16
in the water	16
so long as	16
a b is	16
and so on	16
was one of	16
connection with the	16
a piece of	16
the sea and	16
a way as	16
eyes on the	16
given on pl	16
if you look	16
we know that	16
is one of	16
between the light	16
if you do	16
the structure of	16
of the picture	16
the right side	16
which is in	16
the presence of	16
the appearance of	16
them in the	16
place in the	16
to the earth	16
the ambrosian library	16
the other side	16
to the said	16
will be a	16
in the whole	16
of the painter	16
is a great	16
where they are	16
for a long	16
edges of the	16
the treatise on	16
of the house	16
the first place	16
of the lord	16
the body which	16
listening to the	16
as if he	16
the place where	16
with the other	16
all the parts	16
insertion of the	16
which he has	16
the style of	16
to give the	16
it from the	16
if you were	16
the back of	16
the mountains of	16
such as the	16
plan of a	16
the present work	16
the reflection of	16
shown in the	16
the eyes of	16
of the tower	16
if you have	16
way to the	16
of the second	16
will be less	16
the joints of	16
the equestrian statue	15
of such a	15
from the surface	15
water in the	15
study of the	15
direction of the	15
he does not	15
colour of that	15
i am not	15
the expression of	15
not in the	15
of the lines	15
reproduced on pl	15
of the room	15
as a man	15
it should be	15
the spirit of	15
seen at a	15
if you place	15
it is only	15
after the manner	15
is from the	15
waves of the	15
side by side	15
of the members	15
of the rivers	15
tip of the	15
a young man	15
in the distance	15
is impossible that	15
the battle of	15
and i have	15
are on the	15
may not be	15
in the house	15
in the ms	15
of a letter	15
from the object	15
of the mediterranean	15
one of those	15
between the two	15
as to whether	15
as it was	15
to the centre	15
in the evening	15
the faces of	15
it and the	15
will always be	15
men and women	15
down to the	15
arrangement of the	15
his eyes to	15
of one of	15
the summits of	15
the difference of	15
by the th	15
on all sides	15
master of the	15
and i will	15
the straits of	15
that the sun	15
the origin of	15
in this way	15
character of the	15
written in the	15
colours of the	15
of the three	15
b c d	15
he had a	15
near to the	15
part of his	15
the will of	15
which are not	15
is farthest from	15
will see that	15
is impossible to	15
as that the	15
the water of	15
of the little	15
to have a	15
of the trees	15
and with a	15
of him who	15
he was not	15
he had not	15
from the body	15
in one of	15
it to be	15
long as the	15
is smaller than	15
with that of	15
of the court	15
of the master	15
light will be	15
as if they	15
if he had	15
might have been	15
the shoulder to	15
to which the	15
to form a	15
no more than	15
and let the	15
from the shoulder	15
at an equal	14
the practice of	14
is placed between	14
you look at	14
the glory of	14
because there is	14
perspective of colours	14
the book of	14
the love of	14
side which is	14
were to be	14
of the mind	14
said to be	14
which he was	14
any part of	14
which it was	14
that of a	14
of the work	14
i tell you	14
of the madonna	14
all the other	14
with reference to	14
proportion to their	14
turned to the	14
a number of	14
looking at the	14
the spot where	14
the left side	14
this happens because	14
you were to	14
book on painting	14
in the summer	14
it is seen	14
which has been	14
surrounded by a	14
diminution of the	14
given as no	14
in consequence of	14
he saw the	14
the reason of	14
are equal to	14
of the walls	14
cesare da sesto	14
at the head	14
this will be	14
the shadow is	14
the eye by	14
let a b	14
is surrounded by	14
of the colours	14
in the vatican	14
from right to	14
in its place	14
of the image	14
distance of miles	14
of the book	14
as we see	14
or in the	14
of the time	14
and thus the	14
we shall see	14
of the year	14
of the mountain	14
turned towards the	14
to the north	14
a pair of	14
the days of	14
the way of	14
in the service	14
of any object	14
the date of	14
is not to	14
made in the	14
in his edition	14
do you not	14
to the sun	14
is at the	14
reflection of the	14
it was in	14
that when the	14
to which he	14
the object is	14
the second is	14
of the derived	14
part of it	14
of the back	14
which is farthest	14
how to represent	14
and that he	14
is composed of	14
the idea of	14
in the place	14
of the subject	14
death of the	14
walls of the	14
in his youth	14
it by the	14
will appear to	14
it is nearer	14
from the first	14
he had no	14
the words of	14
angle of the	14
he had never	14
can never be	14
side of this	14
with each other	14
in the present	14
from the original	14
of the arno	14
by leonardo himself	14
right to left	14
of the night	14
shores of the	14
the object seen	14
and this will	14
which is not	14
the midst of	14
are of the	14
the theory of	14
the object which	14
as long as	14
goes times into	14
to represent the	14
it had been	13
the valley of	13
from time to	13
of the palace	13
time to time	13
the objects seen	13
can be proved	13
with a smile	13
of the rays	13
more of the	13
and when he	13
are not to	13
whole of the	13
a short time	13
come from the	13
at his feet	13
it seemed as	13
a drawing in	13
the same page	13
the composition of	13
an old man	13
of an old	13
they do not	13
studies for the	13
the way in	13
in the other	13
every part of	13
that i have	13
a mixture of	13
and if this	13
farther from the	13
is the cause	13
the cathedral at	13
i have been	13
the extent of	13
strength of the	13
the way to	13
which is to	13
him with a	13
reference to the	13
it is more	13
in his work	13
a sketch of	13
black and white	13
towards the north	13
the loss of	13
heat of the	13
whom he had	13
when a man	13
the summit of	13
notes on the	13
for that reason	13
and there was	13
seem to be	13
the last time	13
a sort of	13
way as that	13
for those who	13
do the same	13
the line a	13
at the distance	13
came from the	13
way in which	13
a picture of	13
of the convent	13
movements of the	13
at the spot	13
the air was	13
by the colour	13
and the shadow	13
there should be	13
go to the	13
of which are	13
in the line	13
front of it	13
to the object	13
of the way	13
which may be	13
part of this	13
to the king	13
of any other	13
the author of	13
between the sun	13
of the devil	13
appears to be	13
the convent of	13
as the eye	13
with which he	13
the feet of	13
figure of the	13
but this is	13
of this text	13
that is in	13
for the last	13
as if in	13
the same manner	13
was the first	13
is not the	13
looked at the	13
half of the	13
him by the	13
would have to	13
of their own	13
the chin to	13
of the virgin	13
shook his head	13
from the bottom	13
the intersection of	13
the flow and	13
for a moment	13
to their distance	13
on his back	13
to the surface	13
an opaque body	13
there shall be	13
of the things	13
in the country	13
that they will	13
as large as	13
belonging to the	13
the purpose of	13
a portrait of	13
set to work	13
could not have	13
the earth and	13
the folds of	13
that he should	13
the atmosphere is	13
that this is	12
those that are	12
and the body	12
said that the	12
now and then	12
are more or	12
to the world	12
there are no	12
and i paint	12
shadow on the	12
images of objects	12
fell on the	12
all that is	12
the vatican copy	12
of the universe	12
participates of the	12
the amount of	12
a head of	12
on to the	12
when it was	12
it with the	12
to the length	12
of the diminution	12
a way that	12
and they will	12
this is a	12
seen on the	12
be the most	12
object will appear	12
the spaces between	12
battle of anghiari	12
than it is	12
of the stars	12
referring to the	12
drawing of a	12
they are more	12
the method of	12
is necessary to	12
with his own	12
of the crowd	12
of the throat	12
the edge of	12
any of the	12
of the solar	12
the lights and	12
he raised his	12
of the present	12
the sake of	12
if they had	12
lighter than the	12
those parts which	12
on which they	12
what is the	12
opposite to the	12
a luminous body	12
the effects of	12
piero da vinci	12
when you have	12
wall of the	12
son of a	12
on the back	12
the representation of	12
for his own	12
by the line	12
come to the	12
of the taurus	12
mother of god	12
be equal to	12
will have the	12
the bending of	12
a light ground	12
each of these	12
painter ought to	12
this text is	12
chin to the	12
in the mirror	12
the wall of	12
to take the	12
as it seems	12
of the line	12
the object in	12
and do not	12
she was a	12
man who is	12
the sun in	12
in that case	12
in his heart	12
the joy of	12
the camera obscura	12
passing through the	12
the object to	12
with the air	12
of the nile	12
on his shoulders	12
that side of	12
will be of	12
the head and	12
have been in	12
of the city	12
the refectory of	12
structure of the	12
i would have	12
had been a	12
sun and the	12
but there is	12
to be made	12
all the rest	12
for the sake	12
ends of the	12
owing to the	12
to the effect	12
they did not	12
and for this	12
summits of the	12
was born in	12
how to draw	12
the air and	12
to be represented	12
of the dome	12
in the cathedral	12
to have the	12
of the parts	12
means of a	12
each side of	12
as is seen	12
in the time	12
of an object	12
this was the	12
to the sight	12
of the joints	12
it can be	12
would seem to	12
each other and	12
house of the	12
construction of the	12
affected by the	12
the side which	12
fact that the	12
given to the	12
a few days	12
does not appear	12
has been said	12
an equal distance	12
no doubt that	12
here and there	12
the duke was	12
with the greatest	12
of his work	12
from which the	12
in the face	12
and if he	12
should not be	12
those of a	12
at the door	12
on the face	12
of the fire	12
plan of the	12
the function of	12
me to be	12
of the rainbow	12
lire s d	12
the branches of	12
he went to	12
his edition of	12
book on light	12
is now in	12
lighted by the	12
that is not	12
the force of	12
there is in	12
in the art	12
it is that	12
in the moon	12
is of a	12
the holy nail	12
in the presence	12
as if the	12
great deal of	12
seen from the	12
you see the	12
be no doubt	12
of the artist	12
the necessity of	12
in the spring	12
the flight of	12
seemed to have	12
if the sun	12
shadow cast by	12
the first to	12
is larger than	12
hand to the	12
is full of	12
know that the	12
sketch on the	12
central line of	12
to the elbow	12
were it not	12
reflected in the	12
that he may	12
than at the	12
he returned to	12
he is a	12
went to the	12
object and the	12
which are in	12
church of st	12
in the sea	12
it will not	12
banks of the	12
as those of	12
of a figure	11
and the old	11
in the name	11
it may not	11
at last the	11
parts which are	11
the library of	11
of the primary	11
and under the	11
we have no	11
and if they	11
lost to the	11
that leonardo had	11
equally distant from	11
than those which	11
the royal academy	11
the original text	11
action of the	11
that he did	11
this is not	11
and the air	11
in black chalk	11
on the floor	11
like those of	11
on the horizon	11
belongs to the	11
the other is	11
in the sun	11
to those who	11
to study the	11
the help of	11
theory of the	11
and the second	11
of the blood	11
about this time	11
there is the	11
be seen at	11
seemed as if	11
of the greatest	11
the porta vercellina	11
blue of the	11
it is very	11
receive the light	11
the upper part	11
to the whole	11
the pound lire	11
on the table	11
so that they	11
and the rest	11
of the eyes	11
and full of	11
i am a	11
from the ground	11
attributed to leonardo	11
part of its	11
may be observed	11
the banks of	11
it were not	11
at one time	11
first of the	11
outlines of the	11
of gian galeazzo	11
himself in the	11
the element of	11
the absence of	11
of the height	11
in the uffizi	11
pound lire s	11
been able to	11
relative proportions of	11
the fall of	11
the science of	11
that he is	11
the city of	11
some of these	11
the collection of	11
in this case	11
appear to be	11
will appear the	11
find that the	11
and where the	11
equal to each	11
the more the	11
those who have	11
number of the	11
in a straight	11
in every part	11
towards the middle	11
santa maria delle	11
seen in front	11
great quantity of	11
as in a	11
and shade in	11
the termination of	11
added to the	11
he began to	11
of the works	11
he seems to	11
right hand side	11
to the space	11
view of the	11
of the darkness	11
not for the	11
at a time	11
as i have	11
not seem to	11
in the lower	11
object which is	11
the greatest of	11
maria del fiore	11
for the most	11
should be a	11
a very small	11
the source of	11
the eye at	11
the sketch of	11
they will appear	11
to the last	11
which has no	11
to look at	11
so much as	11
of the houses	11
of the building	11
which was to	11
side of a	11
to be observed	11
of the mill	11
greater or less	11
in the great	11
of the roman	11
of some of	11
a letter to	11
of that object	11
him in his	11
out of their	11
that he has	11
instead of the	11
to which they	11
to all the	11
the extremities of	11
evident that the	11
is not in	11
be at the	11
you will not	11
all the objects	11
you must know	11
son of the	11
will appear larger	11
the memory of	11
of colours in	11
of the horse	11
up and down	11
at a b	11
upon the ground	11
of the french	11
the ruins of	11
to the subject	11
the anatomy of	11
at the side	11
by the hand	11
be darker than	11
the breadth of	11
of francesco sforza	11
the quantity of	11
than the body	11
the picture was	11
of the alps	11
half way between	11
possession of the	11
will never be	11
beauty of the	11
explained by the	11
have been a	11
the quality of	11
works of nature	11
you have to	11
from the window	11
to the second	11
the east and	11
the shadow will	11
most christian king	11
and the king	11
light on the	11
that it will	11
compare also no	11
as if it	11
it was painted	11
if you are	11
is it not	11
the sea to	11
to the house	11
a man in	11
came to the	11
from the wall	11
order that the	11
force of the	11
the national gallery	11
in the early	11
than the others	11
which is seen	11
the same in	11
in the direction	11
of the torso	11
copy of the	11
to prove this	11
have been the	11
many of the	11
of its own	11
that he would	11
as has been	11
would not have	11
the object and	11
surface of a	11
on the day	11
towards the sky	11
of the horizon	11
from the elbow	11
on the moon	11
was about to	10
back of the	10
of the country	10
on his knees	10
shadow is the	10
and as he	10
side will be	10
the monastery of	10
in like manner	10
a great artist	10
at his work	10
straits of gibraltar	10
in a dark	10
the distance between	10
will find that	10
the waters which	10
out of a	10
sketches on pl	10
it was his	10
against a background	10
of the composition	10
belonging to it	10
them from the	10
to the middle	10
when the arm	10
the heat of	10
of the perspective	10
the movements of	10
the rivers which	10
forms of the	10
the studio of	10
already been published	10
it has no	10
may be a	10
looked at him	10
must not be	10
only a few	10
in a great	10
azure of the	10
water of the	10
the body in	10
out of it	10
in the library	10
of these two	10
of the hill	10
came to him	10
the perfection of	10
object to the	10
the front of	10
the picture of	10
of the white	10
the situation of	10
of the clouds	10
the margin of	10
the law of	10
of the order	10
spaces between the	10
the angles of	10
the atmosphere which	10
of the motions	10
in the said	10
i pray you	10
in contact with	10
the following year	10
will appear of	10
to the place	10
a drawing of	10
have been written	10
we do not	10
the father of	10
in the piazza	10
the brightness of	10
and there are	10
to give a	10
had been in	10
only in the	10
a great number	10
shrugged his shoulders	10
a space of	10
the bodies of	10
of the renaissance	10
of the shoulder	10
the muscles which	10
is illuminated by	10
of the page	10
at last he	10
he was the	10
valley of the	10
to the first	10
the principles of	10
of the ear	10
into the sea	10
i know that	10
prove that the	10
the earth is	10
of the different	10
are surrounded by	10
are nearer to	10
a thick air	10
attention to the	10
viva il moro	10
brightness of the	10
paint and i	10
the more so	10
of la gioconda	10
he remembered the	10
man in the	10
be seen to	10
has already been	10
to show that	10
the arm is	10
the azure of	10
of the canal	10
the secrets of	10
out in the	10
of the pupil	10
in the refectory	10
towards the centre	10
that you have	10
apparent size of	10
observations on the	10
he would not	10
is turned towards	10
mouth of the	10
they are seen	10
if you will	10
of the author	10
author of the	10
but by the	10
service of the	10
fourth part of	10
in the royal	10
in a picture	10
of the middle	10
in the fire	10
he said to	10
all the more	10
the shadow cast	10
those in the	10
member of the	10
is given in	10
in itself the	10
words of the	10
to the very	10
will be darker	10
the air in	10
i paint and	10
in the book	10
in the picture	10
to do the	10
shape of the	10
know very well	10
in the act	10
we find the	10
it is hardly	10
be a great	10
they will not	10
by the french	10
the apparent size	10
in the mind	10
when the light	10
to be able	10
that she was	10
and would have	10
they are nearer	10
the other parts	10
than on the	10
in the fact	10
they are of	10
and he would	10
same as that	10
are nearest to	10
refectory of the	10
that you are	10
did not know	10
the under side	10
he saw a	10
from the light	10
for the purpose	10
according to their	10
when he came	10
rise to the	10
are written in	10
the opaque body	10
in a mirror	10
the eye in	10
out into the	10
the hand and	10
all the images	10
him of the	10
by no means	10
for some time	10
and this being	10
the corners of	10
of the one	10
hill of the	10
of which is	10
of his art	10
was on the	10
and not to	10
the air which	10
it is an	10
of the ancients	10
in at the	10
a man and	10
listened to the	10
bearing on the	10
the depths of	10
that at the	10
then i will	10
to his own	10
of the rocks	10
can hardly be	10
of derived shadows	10
have been made	10
than the light	10
in a low	10
of the elements	10
to this passage	10
to the life	10
and where they	10
in the ambrosian	10
with a great	10
the mediterranean sea	10
let it be	10
which are at	10
mingled with the	10
the birth of	10
the text given	10
two or three	10
him as a	10
lost in the	10
placed in front	10
the men who	10
of the cross	10
of the lips	10
but of the	10
and which is	10
of the preceding	10
of the lights	10
in spite of	10
is divided into	10
eye which sees	10
in the very	10
said the duke	10
depths of the	10
returned to the	10
extent of the	10
ser piero da	10
belonged to the	10
known as the	10
the mode of	10
tower of the	10
the light on	10
and he has	10
to be done	10
any other part	10
how to paint	10
great part of	10
under the title	10
the figures of	10
must be the	10
they may be	10
image to the	10
same with the	10
we see the	10
feet of the	10
origin of the	10
we may conclude	10
draw a figure	10
the effect that	10
and he had	10
of the christ	10
the captain of	10
a be the	10
at the place	10
to his feet	10
is between the	10
but he was	10
it is possible	10
the sign of	9
the images are	9
elbow to the	9
of the illuminated	9
back to the	9
was going to	9
that by the	9
as it would	9
the aid of	9
appear of the	9
of that body	9
those things which	9
and a little	9
for the good	9
make use of	9
of the following	9
of his death	9
said that he	9
edge of the	9
great number of	9
fall on the	9
and his eyes	9
with its own	9
objects that are	9
it is better	9
of the best	9
body and the	9
and besides this	9
a pen and	9
he had done	9
will look the	9
into the hands	9
for the arrangement	9
equestrian statue of	9
santa maria del	9
passed through the	9
resurrection of the	9
the following note	9
the diminution in	9
a level with	9
the ends of	9
from the middle	9
the distribution of	9
if it had	9
at that moment	9
to the great	9
the picture is	9
that it would	9
well as the	9
in aqua fortis	9
which you have	9
of the principal	9
that the earth	9
in the castle	9
from under the	9
the gates of	9
as i am	9
there are two	9
the relative proportions	9
the same side	9
those who had	9
which is most	9
the sole of	9
and the top	9
of which he	9
the limbs of	9
surrounded by the	9
what he had	9
from florence to	9
other in the	9
at the base	9
summit of the	9
of the point	9
that from the	9
a great quantity	9
in the shadow	9
is above the	9
the solid body	9
the greatest width	9
the moon and	9
be the cause	9
the more they	9
by the sea	9
as regards the	9
have not been	9
of the breast	9
the pen and	9
published in the	9
reflected in it	9
to the lower	9
at the other	9
the air will	9
to the level	9
on the top	9
to such a	9
and when they	9
point of view	9
picture in the	9
which is now	9
but they are	9
more than one	9
on the earth	9
is in a	9
in point of	9
and then it	9
the points of	9
and the earth	9
a kind of	9
made of the	9
the treatment of	9
lies between the	9
between it and	9
the british museum	9
the palace of	9
towards the west	9
of a mile	9
of the place	9
of a new	9
of the leaf	9
the portion of	9
angle of incidence	9
that side which	9
it is of	9
inside of the	9
c d is	9
work on the	9
the existence of	9
put in the	9
of a horse	9
that a man	9
from the east	9
lies in the	9
to give it	9
are those which	9
there would be	9
history of the	9
and so the	9
towards the sun	9
not far from	9
that they have	9
the other in	9
as we find	9
the parts which	9
we can not	9
in his eyes	9
in the wind	9
the island of	9
the shadow on	9
the canal of	9
a b be	9
how it is	9
meaning of the	9
he made a	9
hence it is	9
of distant objects	9
of this chapter	9
is called the	9
leonardo looked at	9
sea to the	9
that is from	9
which seems to	9
the description of	9
of which i	9
it with a	9
on a level	9
that there was	9
so that in	9
the time when	9
at a greater	9
in any other	9
let there be	9
the fire of	9
to the year	9
with the light	9
body will be	9
bank of the	9
the act of	9
his eyes and	9
in his mind	9
which treat of	9
of it is	9
is possible to	9
which have been	9
if you see	9
breadth of the	9
in the darkness	9
sole of the	9
which the light	9
go on to	9
th of this	9
where there are	9
should have been	9
and not the	9
and so it	9
the inside of	9
of the lower	9
the florentine republic	9
though he had	9
of men and	9
church of san	9
and is equal	9
centre of its	9
the luminous rays	9
the definition of	9
the life in	9
will participate of	9
the flame of	9
be proved by	9
the two lights	9
time of the	9
in the mss	9
of this which	9
the sea of	9
it is still	9
a dark chamber	9
as to what	9
and in proportion	9
the great toe	9
sketch of the	9
peaks of the	9
members of the	9
soul of the	9
life of the	9
he left the	9
the muscles of	9
the body and	9
the taurus mountains	9
into a dark	9
the duke had	9
the spots on	9
the painter who	9
in a landscape	9
the shadows are	9
times into the	9
to the horizon	9
the thought of	9
of a very	9
objects of equal	9
left hand side	9
that this was	9
on the walls	9
has not been	9
the bones of	9
seen against the	9
of his feet	9
given under no	9
from a distance	9
and that is	9
the title of	9
it was at	9
a man has	9
as though he	9
taken from the	9
with a light	9
the elbow and	9
the wife of	9
of the forms	9
than the first	9
of a picture	9
for in the	9
all the time	9
the sight of	9
when in the	9
to any one	9
and other similar	9
the eye can	9
the members of	9
face to face	9
less than the	9
with those of	9
he was so	9
the elbow to	9
who does not	9
the man of	9
agree with the	9
the codex atlanticus	9
been published by	9
the boy was	9
the sea is	9
leonardo did not	9
as compared with	9
the sun will	9
the fourth part	9
those objects which	9
of a church	9
by him in	9
the visual rays	9
he felt himself	9
he might have	9
the tower of	9
things that are	9
we see in	9
that they might	9
that on the	9
any one who	9
lights and shades	9
to do with	9
the eye sees	9
to make it	9
b is the	9
know how to	9
and among them	9
from the same	9
the making of	9
in the chimney	9
this does not	9
of art and	9
if the object	9
voice of the	9
them and the	9
of the above	9
in the space	9
place of the	9
of his father	9
on the upper	9
look at a	9
the judgment of	9
we find in	9
of his time	9
on either side	9
which the sun	9
which receives the	9
belonging to this	9
equal to that	9
hand of the	9
divided into two	9
he had made	9
i will give	9
he may be	9
that the air	9
and it would	9
represent a man	9
of the duchess	9
as high as	9
the surrounding air	9
of the battle	9
side of it	9
the highest light	9
work of the	9
the first object	9
in the sky	9
air interposed between	9
i have found	9
i shall not	9
was a great	9
of the octagon	9
to say the	9
at s the	9
and that it	9
is a very	9
in the diagram	9
pounds a year	9
function of the	9
when the moon	9
that she had	9
of the thigh	9
closed his eyes	9
the lines which	9
by the duke	9
the water in	9
to be placed	9
and of these	8
mixed with the	8
may conclude that	8
connected with the	8
one from the	8
to work in	8
but at the	8
contact with the	8
the man was	8
and that this	8
in the figure	8
in a few	8
of the background	8
a few months	8
one above the	8
there in the	8
and at last	8
of the day	8
the more he	8
this in the	8
the noise of	8
the original is	8
the most christian	8
of a face	8
falls upon it	8
the original the	8
in the codex	8
it is placed	8
good and evil	8
statue of francesco	8
the ground and	8
this note is	8
in the memory	8
wish to see	8
will be least	8
b be the	8
the master of	8
and then he	8
the surrounding objects	8
to carry out	8
of the ancient	8
the light falls	8
in the sketch	8
proportion in the	8
is written in	8
rivers which flow	8
library of the	8
one to the	8
supper in the	8
spots on the	8
figure of a	8
is proved that	8
the parting of	8
a special interest	8
above the other	8
be lower than	8
definition of the	8
to the position	8
are written on	8
of the wings	8
it could not	8
in the king	8
here in the	8
rays of light	8
himself to the	8
of the space	8
in such wise	8
on his face	8
leonard de vinci	8
the hill of	8
have the same	8
like a child	8
is not so	8
of the mother	8
the disposition of	8
falls on the	8
appears to have	8
their way to	8
the most part	8
in the days	8
in a greater	8
a few years	8
it is always	8
way between the	8
had found the	8
to know the	8
wish to represent	8
the half of	8
i have had	8
that a painter	8
like that of	8
a great part	8
in eighteen hundred	8
a single point	8
and the most	8
and we are	8
must know that	8
forth from the	8
the objects in	8
the lower portion	8
the sforza monument	8
the earl of	8
there are some	8
cried the duke	8
a greater distance	8
the xvith century	8
diameter of the	8
at different distances	8
the lower sketch	8
such a manner	8
and the third	8
to this day	8
to give him	8
the object you	8
of the knee	8
the window and	8
the value of	8
to speak of	8
the very same	8
attached to the	8
of the morning	8
of them to	8
a painter ought	8
is known to	8
the king was	8
little of the	8
the blessed virgin	8
in the open	8
quality of the	8
a light background	8
presence of the	8
of the ball	8
of those objects	8
and they are	8
when he is	8
the resurrection of	8
the smoke of	8
it cannot be	8
and those who	8
it had not	8
light should be	8
as to form	8
the same subject	8
bodies of equal	8
all these things	8
of the sforza	8
and the sea	8
in the style	8
would be a	8
to the sky	8
the authority of	8
an object in	8
but there was	8
must make the	8
leonardo seems to	8
they are the	8
as the moon	8
the sketches on	8
he had seen	8
it in his	8
he was to	8
by a man	8
this and the	8