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
some of the	153
one of the	106
as well as	102
the collection of	100
it is not	91
it may be	86
in the collection	86
to have been	77
the use of	74
it is a	71
but it is	63
and it is	59
there is a	59
pottery and porcelain	57
the work of	55
it will be	52
as early as	50
in order to	49
is to be	49
as a mark	47
of the most	45
the name of	44
there is no	43
work of the	42
the united states	42
in regard to	41
seems to have	41
the end of	40
of the same	39
some of these	39
the manufacture of	39
much of the	38
and in the	38
collection of mr	37
many of the	37
it was a	37
part of the	36
the production of	36
are to be	36
of the old	36
of the ware	36
as it is	35
the form of	34
of the work	34
of the clay	33
it must be	33
will be seen	33
the hands of	32
it is the	32
mark in blue	32
the clay is	32
in imitation of	32
it was not	31
of the best	31
most of the	31
the eighteenth century	31
in the same	31
the story of	30
the making of	30
in this country	30
found in the	29
the time of	29
the style of	29
it should be	29
there was a	29
that it was	29
the art of	28
to be a	28
end of the	28
a piece of	28
is in the	28
that of the	28
the th century	28
blue and white	28
have been made	28
to be seen	28
a number of	28
of the finest	28
may be said	28
must have been	28
of this work	27
as to the	27
as in the	27
of the chinese	26
and some of	26
making large pieces	26
capo di monte	26
history of the	25
of some of	25
of the eighteenth	25
a great deal	25
on the other	25
that it is	25
porcelain was made	25
the history of	25
was made in	25
it seems to	25
in the form	24
so that the	24
have been found	24
more or less	24
a pair of	24
in which the	24
so as to	24
the british museum	24
in this way	24
the possession of	24
it would be	24
and it was	24
we do not	24
the surface of	24
to be found	23
the ware is	23
but it was	23
out of the	23
the days of	23
it has been	23
should not be	23
be seen in	23
of the mold	22
known as the	22
this is a	22
a long time	22
of which we	22
a good deal	22
the north devon	22
so far as	22
was made at	22
is one of	22
the fact that	22
surface of the	22
of the early	21
the staffordshire potters	21
it is now	21
at the end	21
victoria and albert	21
to make a	21
of this ware	21
we illustrate a	21
is no doubt	21
said to have	21
in the kiln	21
in the united	21
no doubt that	20
the body of	20
not to be	20
on the wheel	20
to be made	20
may have been	20
the glaze is	20
in spite of	20
such as the	20
of the pieces	20
of the first	20
two or three	20
colonial national historical	20
in addition to	20
national historical park	20
by means of	20
pieces of this	20
the beginning of	20
and there is	20
according to the	20
half of the	20
at that time	20
is a very	19
some of them	19
beginning of the	19
applied to the	19
appears to have	19
of which are	19
and that the	19
leeds cream ware	19
this class of	19
at the present	19
will be found	19
name of the	19
a sort of	19
in the museum	19
and albert museum	19
is known as	19
body of the	19
possession of mr	19
are in the	19
jugs and mugs	19
of the potter	19
of the great	18
the other hand	18
in the possession	18
be seen that	18
be said to	18
to that of	18
up to the	18
one of these	18
for a long	18
inches in height	18
many of these	18
of the greek	18
the museum of	18
those of the	17
the seventeenth century	17
the last century	17
of which is	17
of chinese porcelain	17
the right hand	17
of his own	17
of the piece	17
of the world	17
some of which	17
enamelled in colours	17
this is the	17
is the same	17
of the staffordshire	17
the nineteenth century	17
at the same	17
the face of	17
of the time	17
down to the	17
i have seen	17
covered with a	17
in connection with	17
of the vase	17
of north devon	17
seems to me	17
the subject of	17
and of the	17
the most beautiful	17
of lane end	17
collection of miss	16
the bottom of	16
in many cases	16
imitation of the	16
good deal of	16
a matter of	16
of the th	16
character of the	16
can be made	16
to make the	16
the addition of	16
that they were	16
the same time	16
the size of	16
made in england	16
seen in the	16
that he was	16
was one of	16
the mark of	16
it was the	16
chinese and japanese	16
years of the	16
of the porcelain	16
much of it	16
the decoration of	16
to be the	16
an example of	16
as a rule	16
cup and saucer	16
now in the	15
some of it	15
hard and soft	15
made by the	15
is not a	15
many of them	15
teapot and cover	15
of pottery and	15
of cream ware	15
be found in	15
made in the	15
of the glaze	15
edge of the	15
of miss feilden	15
be able to	15
pottery of the	15
should be made	15
examples of the	15
the introduction of	15
on the surface	15
the walls of	15
the character of	15
examples of this	15
form of the	15
by the use	15
to those who	15
he was a	15
style of decoration	15
of the art	15
of which the	15
is said to	15
the pottery of	15
it is to	15
derived from the	15
in the middle	15
form derived from	15
the ceramic art	15
class of ware	15
the works at	15
there are many	14
back to the	14
of it was	14
found on the	14
the courtesy of	14
that some of	14
into the hands	14
plates and dishes	14
in form and	14
and the clay	14
a great variety	14
in the year	14
some of this	14
the case of	14
the best work	14
production of porcelain	14
the porcelain of	14
the willow pattern	14
in the british	14
it was made	14
any of the	14
is not so	14
the greek vase	14
is a good	14
inches in diameter	14
of the pottery	14
a great many	14
must not be	14
about the year	14
seems to be	14
form of a	14
bottom of the	14
it does not	14
ware was made	14
which may be	14
the school of	14
in the early	14
the same as	14
the patronage of	14
the site of	14
of the nineteenth	14
was not a	14
to have a	14
use of the	14
made for the	14
the best period	14
great deal of	14
on the contrary	14
but there is	13
sadler and green	13
he did not	13
the chinese and	13
the center of	13
derived from a	13
is a great	13
the mold is	13
in the center	13
hands of the	13
to believe that	13
the city of	13
equal to the	13
in the case	13
may be of	13
there is nothing	13
do not know	13
the work is	13
it appears that	13
josiah wedgwood sons	13
it is an	13
vicar and moses	13
be attributed to	13
of the highest	13
josiah spode the	13
face of the	13
it is possible	13
in the meantime	13
it is very	13
the present day	13
art of the	13
would have been	13
of them are	13
the victoria and	13
a few years	13
great variety of	13
in the last	13
in the clay	13
to the clay	13
upon which the	13
as soon as	13
said to be	13
and they are	13
in the hands	13
in common with	13
collection of the	13
it is in	13
the middle of	13
by the courtesy	13
owing to the	13
which it is	13
at british museum	13
is of a	13
the height of	13
size of the	13
the productions of	13
is found in	13
old english earthenware	13
at one time	13
in the glaze	13
as they are	13
of the wheel	12
in the illustration	12
i do not	12
of the king	12
that is the	12
of it is	12
wood and caldwell	12
that in the	12
marks and monograms	12
is a fine	12
have to be	12
they have been	12
of the period	12
to be of	12
end of this	12
of the house	12
the back of	12
on the ware	12
a variety of	12
there is the	12
the best of	12
style of work	12
are apt to	12
the discovery of	12
the uses of	12
were made at	12
the clay and	12
of the french	12
of the plate	12
fingers of the	12
the marks of	12
we have seen	12
was to be	12
of all the	12
in the latter	12
a great number	12
it is impossible	12
of what is	12
in such a	12
the method of	12
regard to the	12
he was not	12
parts of the	12
been made in	12
supposed to be	12
of these are	12
the bernal sale	12
the piece is	12
that made at	12
the knowledge of	12
luca della robbia	12
at the bernal	12
of the factory	12
which is a	12
the wheel is	12
the date of	12
a series of	12
will not be	12
the porcelains of	12
knowledge of the	12
the arms of	12
of new york	12
from about to	11
shown in fig	11
has come to	11
the decoration is	11
because of the	11
of the louvre	11
may be made	11
china and japan	11
has been made	11
produced by the	11
at the beginning	11
it is quite	11
cream ware was	11
it is probable	11
as that of	11
example of the	11
the result of	11
of the country	11
with the glaze	11
while it is	11
at the top	11
but it must	11
to the collector	11
at its best	11
a part of	11
of the kiln	11
given to the	11
the inside of	11
under the glaze	11
is not easy	11
seem to have	11
center of the	11
the impressed mark	11
and with a	11
a kind of	11
courtesy of messrs	11
mugs and jugs	11
great number of	11
were made in	11
we have already	11
in the th	11
pottery was made	11
the part of	11
of the cylinder	11
seen that the	11
to know that	11
made at the	11
in combination with	11
of josiah wedgwood	11
in the days	11
the base of	11
collection of col	11
have been a	11
to be decorated	11
national park service	11
has already been	11
is probable that	11
in form of	11
in the first	11
back of the	11
will be a	11
this is not	11
is supposed to	11
to the surface	11
john howland house	11
the present time	11
to the work	11
that the chinese	11
and much of	11
the skill of	11
it can be	11
well as the	11
shown in the	11
of form and	11
the house of	11
side of the	11
that there is	11
of the fine	11
on the continent	11
well as in	11
of the new	11
a band of	10
are found in	10
must be taken	10
the influence of	10
and to the	10
to have had	10
as far as	10
to show that	10
to do with	10
of this type	10
it did not	10
of one of	10
by the french	10
mark in red	10
they are not	10
of the united	10
this style of	10
and the whole	10
painted in blue	10
the man who	10
of this class	10
the first time	10
as to be	10
it is best	10
to be an	10
best work of	10
has not been	10
used in the	10
the elder man	10
are of a	10
of the other	10
as may be	10
the shape of	10
used by the	10
of the manufacture	10
as we have	10
it should not	10
for a time	10
treatment of the	10
early nineteenth century	10
it is of	10
a very fine	10
carried on the	10
at this time	10
was a great	10
of this period	10
it is believed	10
many pieces of	10
to see that	10
under the name	10
some pieces of	10
among the most	10
museum of the	10
the sgraffito ware	10
example of this	10
it would have	10
the invention of	10
is believed to	10
be used for	10
works of art	10
no one can	10
of the two	10
one of them	10
the figures of	10
this may be	10
as it was	10
come to be	10
the clay will	10
in silver lustre	10
cups and saucers	10
marks of the	10
style of the	10
is difficult to	10
in some cases	10
of the various	10
was made by	10
there are some	10
that there was	10
days of the	10
we give an	10
to show the	10
in the following	10
and should be	10
of the later	10
to say that	10
to the body	10
the first to	10
in all the	10
here and there	10
in some of	10
to tell you	10
by enoch wood	10
i am glad	10
on account of	10
the effect of	10
far back as	10
was the first	10
some of his	10
states national museum	9
under the patronage	9
of this is	9
give an illustration	9
to those of	9
as will be	9
it is so	9
there are two	9
work was made	9
of the stone	9
when he was	9
the processes of	9
of the body	9
for it is	9
as has been	9
in the centre	9
and soft paste	9
may be seen	9
of the seventeenth	9
connection with the	9
need not be	9
borne in mind	9
not have been	9
the reign of	9
in which they	9
the color is	9
other staffordshire potters	9
it is difficult	9
in the use	9
belong to the	9
in mind that	9
patronage of the	9
found to be	9
ware may be	9
to meet the	9
base of the	9
of the english	9
porcelain made at	9
united states national	9
supposed to have	9
that the clay	9
not at all	9
men and women	9
the island of	9
of the last	9
this was a	9
are of the	9
established in by	9
upon the clay	9
care must be	9
and a great	9
intended to be	9
for the purpose	9
of the earliest	9
to think that	9
could not be	9
that they are	9
ornaments in relief	9
during the last	9
the pieces are	9
of old english	9
a group of	9
of clay and	9
which can be	9
marked with the	9
the left hand	9
is of the	9
on the part	9
were made by	9
at any rate	9
of their own	9
because it is	9
the development of	9
of english earthenware	9
hundred and fifty	9
time of the	9
the body is	9
in new york	9
north devon pottery	9
art of pottery	9
of the author	9
is best to	9
the stone age	9
one hundred and	9
be used in	9
tea and coffee	9
to the glaze	9
the proper size	9
at the bottom	9
of this chapter	9
decorated in blue	9
vase of the	9
what is known	9
classes of ware	9
i am afraid	9
in the style	9
the secret of	9
due to the	9
and a half	9
a generic term	9
to be used	9
when it was	9
as far back	9
than that of	9
of the right	9
in the manufacture	9
the vase is	9
came to be	9
for the first	9
and with the	9
three or four	9
of a high	9
now and then	9
place in the	9
the works were	9
of which i	9
of a fine	9
early staffordshire ware	9
so that it	9
in the factory	9
of clay is	9
in the seventeenth	9
it is well	9
the period of	9
we illustrate two	9
not only were	9
the kiln is	9
and the other	9
out in the	9
the province of	9
be borne in	9
in the second	9
in order that	9
museum of art	9
there will be	9
the whole surface	9
the appearance of	9
many of his	9
but in the	9
with the fingers	9
when it is	9
work of this	9
black basalt ware	9
it is only	9
color of the	9
over the glaze	9
mark of the	9
forms of the	9
was known as	9
a mixture of	9
the centennial exhibition	9
taken from the	9
have been in	9
it had been	9
account of the	9
the study of	8
these have been	8
clay may be	8
of their work	8
bacchus and ariadne	8
of bideford earthenware	8
be taken that	8
to make porcelain	8
the ware was	8
may be used	8
parcells of of	8
the diameter of	8
this was not	8
coated with a	8
but there are	8
of them were	8
were made for	8
out of this	8
they did not	8
enough to be	8
to work to	8
the fine style	8
work in the	8
the ming dynasty	8
to do it	8
the works of	8
the sense of	8
north devon gravel	8
and that is	8
went into the	8
fine examples of	8
the aid of	8
is certain that	8
body and glaze	8
to do so	8
used as a	8
at victoria and	8
it must have	8
of it in	8
of china and	8
the fingers of	8
best period of	8
in the most	8
with portrait of	8
marks used at	8
illustration illustration illustration	8
it was used	8
they do not	8
it would seem	8
printed in blue	8
robert bruce wallis	8
various parts of	8
of staffordshire figures	8
it is then	8
productions of the	8
the clay itself	8
the number of	8
of the royal	8
spite of the	8
type of ware	8
may be found	8
of the proper	8
fine example of	8
of the beautiful	8
belongs to the	8
this should be	8
it was to	8
the mark is	8
the edge of	8
of of bideford	8
known to have	8
are known to	8
most of them	8
the last twenty	8
as a potter	8
the second half	8
in accordance with	8
the top of	8
and tea services	8
believed to have	8
in the art	8
of the figures	8
is that of	8
point of view	8
the second section	8
influence upon the	8
from that of	8
specimens of this	8
in the chapter	8
is easy to	8
is possible to	8
it was found	8
for the manufacture	8
a time when	8
as i have	8
the reason for	8
to have you	8
brought to the	8
clay and the	8
it is found	8
inside of the	8
you are a	8
been made by	8
ware of the	8
the nature of	8
this was the	8
there is an	8
was used in	8
which it was	8
most of these	8
similar to that	8
south kensington museum	8
ware of a	8
the duke of	8
this ware is	8
as the work	8
of this early	8
or it may	8
there is one	8
in the world	8
all sorts of	8
this sort of	8
there should be	8
much of this	8
the figures are	8
the head of	8
you must remember	8
they were made	8
be well to	8
date ship master	8
spode the second	8
may not be	8
on the right	8
it is certain	8
it is true	8
of a white	8
diameter of the	8
pieces of the	8
are found on	8
study of the	8
the potter and	8
from time to	8
is now in	8
of the design	8
part of a	8
the museums of	8
and other factories	8
much sought for	8
the museum at	8
frederick the great	8
been found in	8
the low countries	8
to be sure	8
which is the	8
we shall have	8
is apt to	8
is not to	8
in the production	8
made on the	8
i am sure	8
is a large	8
illustrate a fine	8
of the vessel	8
was not until	8
made in china	8
removed from the	8
as a result	8
use of a	8
the color of	8
illustration of a	8
it seems that	8
is applied to	8
illustration staffordshire established	8
william and mary	8
the preparation of	8
work has been	8
has been done	8
the bottom is	8
in the country	8
the kensington museum	8
ball of clay	8
it has a	8
it in the	8
the rest of	8
that many of	8
work was done	8
a fine example	8
time to time	8
of this sort	8
it is necessary	8
and it has	8
is necessary to	8
and upon the	8
the lines of	8
by the chinese	8
the philadelphia exhibition	8
of the day	8
the process of	8
we have the	7
should be a	7
be regarded as	7
to the decoration	7
as late as	7
the period when	7
must always be	7
it is as	7
the most important	7
an illustration of	7
in the best	7
form and decoration	7
given at the	7
in the making	7
well known that	7
there is much	7
in design and	7
in various parts	7
go to the	7
even in the	7
on some of	7
that the work	7
went to the	7
of old earthenware	7
went to work	7
come down to	7
the arts of	7
the secrets of	7
one of his	7
all that is	7
not so much	7
in the history	7
a fine quality	7
have been the	7
of english pottery	7
the greek vases	7
of the second	7
laid on the	7
from the collection	7
of the greeks	7
best examples of	7
collection of old	7
and the result	7
of the century	7
as a decoration	7
we have a	7
of the vases	7
with the initials	7
the mold and	7
is well to	7
and many others	7
mark in gold	7
of leeds cream	7
with the word	7
figures in relief	7
imitation of chinese	7
the wheel and	7
the mark was	7
the composition of	7
theoretical development of	7
of the potteries	7
nearly all the	7
and the work	7
is made of	7
that it must	7
a cup and	7
the best examples	7
in the firing	7
in a small	7
the position of	7
in the museums	7
the factory was	7
and on the	7
to compete with	7
those who are	7
the same way	7
the staffordshire potter	7
must be borne	7
for use in	7
cup of arcesilaus	7
one of those	7
more than that	7
reason to believe	7
we know that	7
can be easily	7
on the clay	7
as a whole	7
of glazed pottery	7
he is a	7
the field of	7
the spirit of	7
by this time	7
given in the	7
carried on by	7
of the present	7
north devon sgraffito	7
only to the	7
may be mentioned	7
the glory of	7
of this kind	7
which has been	7
doubt that the	7
to the best	7
catalogue of the	7
consists of a	7
as good as	7
the treatment of	7
copper or bronze	7
decorated at lowestoft	7
the design is	7
added to the	7
sometimes with the	7
they were not	7
the national park	7
were found in	7
of a pale	7
and for the	7
are going to	7
to which the	7
and at the	7
have been brought	7
it is no	7
that they have	7
is as follows	7
exhibition at philadelphia	7
ware is made	7
the life of	7
which we have	7
filled in with	7
with a white	7
and therefore the	7
is well known	7
discovery of kaolin	7
a few pieces	7
for you to	7
been able to	7
to the present	7
in cream ware	7
used for the	7
uses of life	7
it is here	7
at the time	7
been brought to	7
in those days	7
to the world	7
and his successors	7
and if the	7
second half of	7
they may be	7
a collection of	7
of porcelain in	7
and one of	7
how to make	7
the centre of	7
than the chinese	7
of the state	7
henri deux ware	7
walls of the	7
not easy to	7
of the alhambra	7
but little of	7
mixed with the	7
weight of the	7
has been the	7
had been made	7
making of the	7
site of the	7
in other words	7
the action of	7
the older man	7
at the british	7
of the works	7
at the victoria	7
they are the	7
the collections of	7
a style of	7
is an interesting	7
the work done	7
and the glaze	7
great variety and	7
it is easy	7
as for the	7
attributed to the	7
made in this	7
that this is	7
the upper edge	7
and the decoration	7
when they were	7
work on the	7
the plate is	7
school of wedgwood	7
the way to	7
in the other	7
so long as	7
where it is	7
of soft clay	7
this type of	7
is decorated with	7
of george i	7
it is more	7
on the same	7
and as a	7
piece of work	7
is that the	7
is covered with	7
and the dragon	7
example of a	7
cream ware of	7
that he had	7
clay can be	7
and mugs with	7
commenced to make	7
the finest pieces	7
of toby jugs	7
the paste and	7
upon the wheel	7
out of which	7
skill of the	7
in the louvre	7
be made of	7
and in some	7
put in theo	7
were made here	7
in the low	7
patent ironstone china	7
of the north	7
it is interesting	7
if it were	7
figures of the	7
there is not	7
sir william hamilton	7
these were the	7
the chapter on	7
number of these	7
may be well	7
was applied to	7
over and the	7
at a very	7
a very high	7
should be used	7
shall have to	7
and these are	7
to the early	7
in date about	7
to do this	7
in the body	7
for some time	7
there are a	7
is due to	7
as a matter	7
as to what	7
not only did	7
and has a	7
in the fire	7
it is said	7
more and more	7
it could not	7
the human figure	7
well as a	7
and decorated in	7
of the people	7
the surface is	7
interest in the	7
the colors are	7
on the bottom	7
black basalt teapot	7
in the bottom	6
the middle ages	6
by sadler and	6
on one side	6
at the royal	6
the products of	6
by ralph wood	6
collection at the	6
we find the	6
in relief in	6
composition of the	6
and development of	6
as you can	6
down to us	6
of the principal	6
known as a	6
of the worker	6
a high temperature	6
it must not	6
was made for	6
the progress of	6
the success of	6
made by wedgwood	6
on pottery and	6
but they are	6
are used in	6
and in consequence	6
and so on	6
in great variety	6
came to the	6
the clay with	6
done on the	6
is much more	6
antony and cleopatra	6
the chinese were	6
reference to the	6
more than a	6
in his work	6
aside to dry	6
would not have	6
be mentioned that	6
it may have	6
the first section	6
not only to	6
it is better	6
this will be	6
part of it	6
of the late	6
is ready for	6
be made from	6
you will find	6
to be confounded	6
of the common	6
earthenware and porcelain	6
tell you that	6
which we shall	6
the clay was	6
the application of	6
bideford earthenware subsidy	6
i know it	6
the weight of	6
was made and	6
in the shape	6
as they do	6
the perfection of	6
the most part	6
glaze may be	6
be made in	6
howland house site	6
of the material	6
you will be	6
the idea of	6
making of porcelain	6
of color and	6
in a very	6
belonging to the	6
specimens of the	6
a coating of	6
gods and goddesses	6
on the site	6
the don pottery	6
what we call	6
works at meissen	6
pieces of porcelain	6
to the time	6
hercules and the	6
has been found	6
a period of	6
after his death	6
are known as	6
of the japanese	6
wedgwood wedgwood wedgwood	6
the english potters	6
nature of the	6
or silver lustre	6
is here that	6
decorated in colours	6
the dark ages	6
of these things	6
the sale of	6
of the whieldon	6
one of which	6
which they were	6
to this day	6
to a high	6
it cannot be	6
the plaster has	6
am glad to	6
made of a	6
iron oxide parts	6
is used for	6
of the oriental	6
or bronze lustre	6
the glaze was	6
out by the	6
on to the	6
compete with the	6
have been used	6
was introduced into	6
was given to	6
employed in the	6
has been a	6
in her chariot	6
made at st	6
to the potter	6
ware is of	6
story of the	6
caused by the	6
the origin of	6
water and the	6
the twelfth century	6
more than one	6
holland and belgium	6
in relief and	6
life of the	6
been done in	6
shape of the	6
city of london	6
plaster is poured	6
as shown in	6
vases and other	6
the product of	6
and is a	6
at the base	6
is the only	6
is believed that	6
far as i	6
this mark used	6
from the chinese	6
a certain amount	6
was also made	6
what is now	6
they were the	6
is not always	6
not only in	6
few pieces of	6
the names of	6
the light of	6
were sent to	6
dealt with in	6
dishes were made	6
old english potter	6
painted upon the	6
but there was	6
the chinese had	6
certain amount of	6
would lead to	6
was in the	6
ship master to	6
purchased by the	6
english pottery and	6
was in a	6
a plaster bat	6
that they could	6
first half of	6
he appears to	6
barnstaple and bideford	6
form and ornament	6
which was not	6
which was the	6
is found on	6
block of plaster	6
it to the	6
the common people	6
as much as	6
all of them	6
in the porcelain	6
the early days	6
much of our	6
took out a	6
before it is	6
porcelain of the	6
with a brush	6
can be used	6
of the subject	6
that there were	6
little is known	6
and the same	6
succeeded in making	6
on the subject	6
on the reverse	6
oxide of tin	6
of the elers	6
the old english	6
the quality of	6
devoted to the	6
a few words	6
the expense of	6
will be the	6
printed in black	6
that they will	6
of the celebrated	6
early th century	6
may be a	6
was a man	6
that there are	6
in general use	6
in the period	6
the pottery was	6
lead to the	6
a man of	6
higher than the	6
to fit the	6
during this period	6
of the table	6
at a later	6
he does not	6
with the arms	6
the glaze itself	6
the illustration of	6
he would have	6
that has been	6
during the time	6
a very early	6
top of the	6
be confounded with	6
appears to be	6
is better to	6
i told you	6
which are to	6
ready for use	6
the moors of	6
at new york	6
duke of york	6
believe that the	6
great quantities of	6
the bronze age	6
the clay must	6
set aside to	6
a knowledge of	6
to the period	6
large number of	6
the list of	6
of the china	6
the first half	6
which i have	6
it is evident	6
have had a	6
and the most	6
is intended to	6
spirit of the	6
for domestic use	6
with the name	6
and he has	6
john washington house	6
been made at	6
of interest to	6
and there are	6
would be a	6
is impossible to	6
for it was	6
when the clay	6
the most famous	6
the form is	6
of this school	6
within the last	6
to the light	6
known to the	6
may be attributed	6
as some of	6
the manufactory of	6
to see you	6
in the house	6
the sixteenth century	6
which they are	6
to have produced	6
the next stage	6
pieces of it	6
prepared for the	6
period of the	6
of a piece	6
so much in	6
that i am	6
various classes of	6
the beauty of	6
is not necessary	6
the reverse of	6
painted in the	6
excellent examples of	6
he had a	6
could not have	6
king of prussia	6
associated with the	6
lines of the	6
mark used from	6
some of its	6
plain or undecorated	6
this work is	6
in the east	6
of the wares	6
which we are	6
of the manufactory	6
he went to	6
out a patent	6
for the most	6
which have been	6
the result is	6
were used to	6
caughley or salopian	6
the following are	6
have never been	6
to some extent	6
it is this	6
the john howland	6
of charles ii	6
the cup of	6
to give some	6
solid agate ware	6
a history of	6
the ware in	6
accordance with the	6
not be forgotten	6
porcelain in the	6
from the first	6
but it may	6
the attention of	6
the delicacy of	6
a ball of	6
the soft clay	6
and his wife	6
artists of the	6
of oriental porcelain	6
which is of	6
new york city	6
they will be	6
of which he	6
given in fig	6
have come to	6
of the potters	6
early as the	6
pair of vases	6
the most elaborate	6
on each side	6
spoken of as	6
in this manner	6
the french revolution	6
the paste is	6
together in the	6
so that they	6
to be fired	6
easy to distinguish	6
all over the	6
but with a	6
and when the	6
the forms of	6
middle of the	6
the death of	6
platinum or silver	6
used from to	6
dinner and tea	6
more than the	6
to some of	6
be in the	6
idea of the	6
fact that the	6
one of their	6
he had been	6
i guess you	6
case of the	6
matter of fact	6
peter the great	6
beauty of form	6
in one of	6
and the first	6
a white ground	6
production of the	6
with a sponge	6
to a great	6
was not the	6
and this is	6
that his father	6
appears as a	6
of a very	6
the earthenware of	6
glad to see	6
all of these	6
the value of	6
with a thin	6
the age of	6
each of these	6
was found in	6
be said that	6
there must be	6
up to this	6
printed in red	6
has come down	5
of this nature	5
rouse and turner	5
quality of the	5
be produced by	5
is not the	5
the thickness of	5
glaze or enamel	5
blue printed ware	5
must be admitted	5
in like manner	5
may be called	5
the wife of	5
of the sea	5
as that made	5
have seen that	5
by the addition	5
the standpoint of	5
the elder astbury	5
by no means	5
is held in	5
in the staffordshire	5
in england and	5
paste was made	5
which seems to	5
them from the	5
more beautiful than	5
the glaze may	5
of greek pottery	5
thickness of the	5
began to be	5
little or no	5
see that the	5
with which the	5
to the bottom	5
of these vases	5
is marked by	5
the equivalent weight	5
quarter of the	5
produced in the	5
porcelain at dresden	5
all the other	5
of the reign	5
well as of	5
are made by	5
all the world	5
of various kinds	5
the clay used	5
in enamel colours	5
the shores of	5
in blue and	5
connected with the	5
porcelain made in	5
vases were made	5
that time the	5
is a sort	5
far as we	5
of the public	5
of the court	5
in considerable quantities	5
is interesting to	5
latter half of	5
be applied to	5
we shall not	5
pressed into the	5
what has been	5
the marquis of	5
it is most	5
those who have	5
in different arts	5
there are other	5
and a little	5
but it will	5
the same manner	5
could have been	5
the beginnings of	5
soft clay is	5
offered for sale	5
am going to	5
not until the	5
the realm of	5
are not the	5
of the east	5
to the staffordshire	5
the present century	5
the most celebrated	5
found among the	5
marks and dates	5
the most perfect	5
were also made	5
the name and	5
the purpose of	5
on the back	5
and the more	5
in the new	5
but with the	5
i have a	5
copied from the	5
in possession of	5
the edge is	5
at a much	5
or may not	5
at this period	5
the late eighteenth	5
late staffordshire ware	5
of the white	5
of ancient pottery	5
in the collections	5
the proprietors of	5
the ball of	5
so many of	5
the english porcelain	5
which for a	5
printed at liverpool	5
which is in	5
has ever been	5
that he might	5
so well known	5
the same year	5
that this was	5
his wife and	5
the potter to	5
none of these	5
the symbol of	5
of the classic	5
be of interest	5
the whole is	5
known that the	5
mentioned in the	5
he must have	5
from which the	5
a master potter	5
there were a	5
as in lesson	5
a favorite decoration	5
is thus described	5
sporting subjects in	5
is the most	5
not improbable that	5
of course it	5
as showing the	5
of the middle	5
that of wedgwood	5
leeds and other	5
was made here	5
royal scottish museum	5
is not too	5
the rubber belt	5
factory was established	5
not likely that	5
the practice of	5
this does not	5
of john wesley	5
your father and	5
could be used	5
similar to those	5
something of the	5
of large size	5
hundred and eighty	5
staffordshire cream ware	5
at the exhibition	5
is not improbable	5
qualities of the	5
of the mediterranean	5
it is doubtful	5
the porcelain made	5
may be either	5
school of potters	5
had not the	5
in north devon	5
the conclusion that	5
pottery in barnstaple	5
which had been	5
the south kensington	5
who made it	5
at the centennial	5
and the waggoner	5
east india company	5
the ware and	5
a class of	5
green and yellow	5
it has come	5
is not likely	5
so you see	5
of such a	5
works of the	5
you have been	5
of the director	5
put upon the	5
the black transfer	5
with his own	5
with the letter	5
pure and simple	5
to prevent the	5
of the block	5
stoneware jugs and	5
because it was	5
coating of glaze	5
shores of the	5
surmounted by a	5
made in staffordshire	5
from the great	5
the class of	5
a sense of	5
in the loan	5
they can be	5
of a vase	5
not far from	5
but this is	5
same motive expressed	5
the interior of	5
the firm was	5
be divided into	5
of a century	5
pbo lead oxide	5
of the duke	5
is allowed to	5
the cylinder is	5
the limits of	5
with a good	5
we give a	5
upon the unburned	5
covered with the	5
with the body	5
of the race	5
were carried on	5
we are to	5
it was in	5
a good many	5
porcelain of china	5
the porcelain factories	5
likely to be	5
must be made	5
of the specimens	5
persian and arabic	5
of its own	5
is not possible	5
of those who	5
he made a	5
upper surface slipped	5
collection of mrs	5
shook his head	5
of this was	5
and cream ware	5
of the paste	5
for his own	5
are among the	5
with a view	5
ready for the	5
they began to	5
for the clay	5
what we know	5
of the fontana	5
made with the	5
i have had	5
as is the	5
of the forms	5
the amount of	5
was not made	5
to make his	5
none of the	5
appear in the	5
are given at	5
name and fame	5
the cause of	5
by the fact	5
of the earthenware	5
did not know	5
figures and groups	5
fame of the	5
the portrait of	5
for the table	5
the cambrian pottery	5
it is held	5
of these jugs	5
the third section	5
application of the	5
and are very	5
is known of	5
rise to a	5
of the moors	5
and died in	5
is given in	5
and the moors	5
keep the hands	5
but it has	5
the north walk	5
the apotheosis of	5
the same motive	5
to me that	5
with the same	5
in great numbers	5
continued to be	5
it will take	5
are now made	5
to go to	5
the hands wet	5
the workmen and	5
be forgotten that	5
the ware itself	5
at the great	5
who does not	5
who was the	5
the manner of	5
ready to be	5
or with the	5
the technique of	5
the excellence of	5
some of us	5
a very large	5
put into a	5
i want you	5
of the silversmith	5
i have been	5
come to the	5
of the tile	5
was made there	5
subjects in relief	5
the wheel head	5
at the back	5
traces of the	5
in high relief	5
that it will	5
of the artist	5
they are of	5
set to work	5
of oxide of	5
the point of	5
jug in the	5
the royal scottish	5
on the edge	5
it were not	5
the bowne house	5
by the hand	5
the work to	5
of the devonshire	5
it is often	5
china and earthenware	5
illustration of the	5
used to decorate	5
of fine porcelain	5
should be carefully	5
of the family	5
the italian renaissance	5
the existence of	5
an abundance of	5
would not be	5
and it will	5
height of the	5
the painting of	5
there seems to	5
we wish to	5
and it seems	5
some fine examples	5
on the walls	5
dishes of the	5
know how to	5
a depth of	5
in the light	5
the block mold	5
were in the	5
is now ready	5
it has not	5
used on the	5
of the sgraffito	5
and all the	5
on the table	5
outline of the	5
to make this	5
madame de pompadour	5
i shall have	5
little by little	5
will have to	5
late th century	5
little of it	5
there is little	5
so good as	5
with regard to	5
the remains of	5
the loan collection	5
the king of	5
copied in pottery	5
do you suppose	5
to come to	5
motive expressed in	5
may or may	5
busts and figures	5
it is almost	5
and as the	5
in blue under	5
it was during	5
reason for this	5
of the tool	5
has always been	5
by miss e	5
clay must be	5
halves of the	5
there was an	5
here in america	5
the reach of	5
called by the	5
of the proposed	5
but the clay	5
of many of	5
and it would	5
the power of	5
the plaster is	5
in point of	5
what is the	5
found at jamestown	5
of his father	5
is full of	5
ornament in relief	5
north devon wares	5
off with a	5
as a consequence	5
equal to that	5
as an adjunct	5
that we have	5
prior to the	5
that the ware	5
the slip is	5
he has been	5
succeeded to the	5
on a white	5
to give the	5
of a flower	5
one or two	5
was known to	5
a man who	5
of george iii	5
as one of	5
of course a	5
the protection of	5
two hundred years	5
of the sixteenth	5
of these were	5
was being made	5
i shall not	5
varying in size	5
came into the	5
the formation of	5
a second time	5
this is true	5
appear to have	5
west of england	5
north devon types	5
in the ceramic	5
in all probability	5
in blue with	5
was a very	5
few examples of	5
were made of	5
an imitation of	5
may also be	5
which are now	5
the former is	5
bideford and barnstaple	5
development of the	5
as it had	5
has a very	5
be glad to	5
the metropolitan museum	5
the firm became	5
of the modern	5
number of pieces	5
a large number	5
left hand and	5
that it may	5
is of great	5
side by side	5
was done at	5
it could be	5
it was this	5
for which the	5
than any other	5
have all the	5
will be necessary	5
does not seem	5
the two halves	5
the demand for	5
be admitted that	5
it to be	5
this cream ware	5
slipped and glazed	5
a factory was	5
for some years	5
in the treatment	5
england in the	5
it was no	5
the end plates	5
nor is the	5
well as for	5
should be as	5
is made from	5
the most interesting	5
empress catherine ii	5
the difference between	5
they are now	5
a set of	5
a very beautiful	5
to the factory	5
of the greatest	5
with water and	5
earthenware may be	5
but of course	5
the mission of	5
product of the	5
of this factory	5
expressed in different	5
a half inches	5
chats on english	5
is not known	5
feet in height	5
of the firm	5
with a black	5
of greek vases	5
and in other	5
in blue or	5
in which it	5
have to do	5
by that time	5
of the use	5
i am going	5
into the kiln	5
later in the	5
i have spoken	5
should be kept	5
of the maiolica	5
perfection of form	5
the place of	5
vases of the	5
is a strong	5
john philip elers	5
is likely to	5
proportion of the	5
i should say	5
and white porcelain	5
members of the	5
at the junction	5
the same period	5
and they were	5
a short time	5
is put into	5
of the decoration	5
for a few	5
painting of a	5
when they are	5
and by the	5
though it is	5
metropolitan museum of	5
a figure of	5
be taken to	5
the men who	5
date of this	5
and the painting	5
last quarter of	5
and white ware	5
the whole of	5
want you to	5
might have been	5
to have the	5
marks on the	5
a very considerable	5
with arms of	5
we find that	5
wedgwood and his	5
hard paste was	5
on this ware	5
better than to	5
to begin with	5
of the painters	5
to please the	5
taken that the	5
cannot be used	5
of the ancient	5
turned over and	5
figures of men	5
of the painter	5
with a little	5
parcels of earthenware	5
believed to be	5
you can be	5
of the medici	5
with the clay	5
have used the	5
you can see	5
maryland parcells of	5
came from the	5
on the left	5
in the arts	5
there is always	5
of the persian	5
is a most	5
the old chinese	5
the time when	5
some of our	5
if it is	5
be a good	5
diana in her	5
painted on the	5
you can imagine	5
from to the	5
comes from the	5
and a very	5
excellence of the	5
in the old	5
it is still	5
the following is	5
vases and jugs	5
within the reach	5
as it seems	5
to the production	5
is true that	5
terre de pipe	5
all of which	5
figure of a	5
these figures are	5
has been called	5
the foundation of	5
is found to	5
to make it	5
of the bat	5
may well be	5
it was about	5
of the life	5
as an example	5
brown stoneware jugs	5
passing through the	5
of the very	5
is pressed into	5
soon as the	5
in that year	5
to represent the	5
of the city	5
have time to	5
of two or	5
the potteries of	5
had a great	5
to support the	5
piece of pottery	5
passed into the	5
upon the subject	5
has to be	5
in it was	5
painted with flowers	5
is made to	5
he had not	5
may be divided	5
of the form	5
the solid agate	5
under the direction	5
it was much	5
were made with	5
a ground of	5
to be set	4
for the making	4
we can do	4
was also a	4
forgotten all about	4
well to have	4
of the shell	4
it is remarkable	4
placed upon the	4
bust of james	4
the science and	4
mold is now	4
tucker and hemphill	4
the classes of	4
of great beauty	4
the potters of	4
rather than a	4
lyman and fenton	4
a few of	4
in either case	4
of a large	4
and the mold	4
the pleasure of	4
a much later	4
that is in	4
be covered with	4
in colours in	4
at the other	4
george and the	4
origin of ornament	4
will tell you	4
number of fabriques	4
arts of the	4
ware and the	4
potters in the	4
we must not	4
of delft had	4
among them the	4
there were many	4
and the beautiful	4
tell me about	4
prized by collectors	4
now it is	4
as a body	4
practically the same	4
the wares of	4
in our own	4
you have seen	4
be kept in	4
the staffordshire cream	4
is given to	4
piece of the	4
head of the	4
the th and	4
we shall see	4
is shown in	4
coats of arms	4
the arabs and	4
if not the	4
the love for	4
thus be seen	4
more than once	4
the methods of	4
lump of clay	4
a sketch of	4
turned out in	4
tazza and cover	4
on with a	4
and at liverpool	4
a portrait of	4
how to collect	4
the first work	4
in the city	4
even to the	4
use in the	4
printed ware was	4
and is not	4
portrait of the	4
you like to	4
that there should	4
the vases and	4
the forms and	4
that it would	4
be no doubt	4
of art in	4
other of the	4
the level of	4
sold to the	4
to the city	4
be made on	4
into the possession	4
advancement of science	4
as it does	4
in the shaping	4
that of his	4
refer to the	4
the source of	4
even when the	4
and many other	4
now that the	4
and a variety	4
method of manufacture	4
of this book	4
i wish i	4
of especial interest	4
being that of	4
would have to	4
and white jasper	4
the designs of	4
by wood and	4
of flower boys	4
and is still	4
be made to	4
black oxide of	4
the marks used	4
is not enough	4
in that country	4
north devon potteries	4
you think of	4
with the use	4
in its way	4
it will thus	4
made and decorated	4
the modification of	4
and gold lustre	4
and porcelain of	4
some two hundred	4
to produce the	4
down and the	4
made by a	4
is all that	4
the porcelain which	4
and we must	4
in those of	4
of the arts	4
honored their dead	4
marks used on	4
of the enamel	4
to the making	4
within a few	4
are described in	4
the marks on	4
with its rich	4
will be of	4
are no longer	4
in the left	4
you to be	4
with great skill	4
a practical potter	4
the rim of	4
a later date	4
of the fire	4
to prove that	4
as an illustration	4
it with the	4
that the man	4
it has to	4
most beautiful and	4
as i know	4
the following synopsis	4
and has been	4
figures of flower	4
this is in	4
almost equal to	4
a type of	4
are sure to	4
they may have	4
in the former	4
pottery known as	4
of this pottery	4
the clay should	4
crest of the	4
decoration of their	4
in a later	4
the genius of	4