quadgram

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

quadgram	frequency
in a front view	28
seen in a front	25
of an old man	24
the duke of mantua	22
seen in a three	20
is seen in a	19
bust of an old	17
of light and shade	17
he has on a	17
in a profile view	16
seen in nearly a	15
portrait of an old	15
with a hay barn	15
seen in a profile	14
landscape with a hay	13
a bust of an	13
in nearly a front	13
nearly a front view	13
a flock of sheep	13
in the national gallery	12
bust of a man	12
seems to have been	12
at the same time	11
hay barn and a	11
a hay barn and	11
barn and a flock	11
seated at a table	11
descent from the cross	11
a bust of a	11
and a flock of	11
in the collection of	11
the descent from the	10
is one of the	10
an old man with	10
in the british museum	10
of an old lady	10
portrait of a woman	9
of a young man	9
to the effect that	9
by the name of	9
a robe bordered with	9
old man with a	9
the spirit of the	9
one of the most	8
the art of the	8
robe bordered with fur	8
in the works of	7
the christ at emmaus	7
in nearly a profile	7
a ditto of the	7
syndics of the cloth	7
and a robe bordered	7
he is seen in	7
nearly a profile view	7
the hundred guilder print	7
the syndics of the	7
the bust of an	7
the collection of the	7
the etchings of rembrandt	7
of one of the	7
into the hands of	7
in the possession of	7
portrait of rembrandt when	6
man and a woman	6
is now in the	6
christ healing the sick	6
the works of rembrandt	6
by the side of	6
the work of the	6
on a fur cap	6
of the work of	6
at the age of	6
be seen in the	6
with a long beard	6
in his right hand	6
that he could not	6
as one of the	6
ditto of the emperor	6
on the other hand	5
seem to have been	5
the death of the	5
the character of the	5
which may be noticed	5
has on a cap	5
it is difficult to	5
in the palace of	5
in a way that	5
of the works of	5
on his own account	5
the prince of orange	5
would seem to have	5
cap of the usual	5
as well as the	5
the bust of a	5
the mother of rembrandt	5
as a matter of	5
to have been a	5
a bust of the	5
of landscape with a	5
may be noticed a	5
in the first instance	5
the masses of light	5
the adoration of the	5
the body of christ	5
under the influence of	5
of the marquis of	5
he seems to have	5
the death of his	5
in the course of	5
the top of the	5
at the end of	5
the man with the	5
man with a long	5
a mantle bordered with	5
a stick in his	5
may be seen in	5
a cap of the	5
a copy of the	5
represented in a three	5
the works of the	5
in the church of	5
of the usual shape	5
she is seen in	5
duke of mantua was	5
that he was not	5
the flight into egypt	5
as the night watch	4
in the heart of	4
at the expense of	4
a picture of the	4
in the pitti palace	4
the return from jerusalem	4
the ladies of the	4
of rembrandt when young	4
is represented in a	4
that he did not	4
the possession of the	4
of the greatest painters	4
out of the window	4
over and over again	4
for the sake of	4
the appellation of the	4
represented in nearly a	4
the side of the	4
rembrandt and his works	4
of the italian school	4
at the foot of	4
the pitti palace at	4
of the holy family	4
the appeal of the	4
to be found in	4
on the part of	4
at the national gallery	4
in a high degree	4
the portrait of a	4
the ryks museum at	4
a great number of	4
differing from the preceding	4
in the way of	4
of the british museum	4
christ on the cross	4
in front of it	4
was born in the	4
portrait of a young	4
the etched lines in	4
in his own way	4
the father and the	4
death of the virgin	4
in eighteen hundred seventy	4
it would have been	4
the man who is	4
the hands of the	4
on account of the	4
of rembrandt and his	4
in the year eighteen	4
figure detail of landscape	4
that is to say	4
the minister of state	4
we do not know	4
the work of his	4
royal museum at amsterdam	4
of an elderly woman	4
to the homes of	4
of light and shadow	4
of the dutch school	4
and the hair frizzled	4
the city of amsterdam	4
detail of landscape with	4
with regard to the	4
in the history of	4
in the royal museum	4
he must have been	4
of the fact that	4
the late sir david	4
was one of the	4
known under the appellation	4
a work of art	4
that we can trace	4
and the fact that	4
of the prince of	4
his hands behind him	4
the presentation in the	4
and it is only	4
the heart of rembrandt	4
pitti palace at florence	4
with his hands behind	4
the face of the	4
woman taken in adultery	4
under the appellation of	4
dress consists of a	4
the side of a	4
in the midst of	4
the woman taken in	4
to be in the	4
bust of the emperor	4
mantle bordered with fur	4
it is impossible to	4
so as to make	4
a picture of a	4
a study of a	4
presentation in the temple	4
the eye of the	4
the royal museum at	4
late sir david wilkie	4
the work was done	4
ryks museum at amsterdam	4
adoration of the shepherds	4
with a bald head	4
the year eighteen hundred	4
the corner of the	3
wearing a fur cap	3
a long line of	3
he appears to be	3
a work of this	3
beggar man and a	3
and a bald head	3
in the cause of	3
one of the greatest	3
the dome of saint	3
a study of the	3
the permission of phaidon	3
to a great degree	3
company of francis banning	3
a quarter of a	3
at the sale of	3
by a mass of	3
one of his pictures	3
the fact that he	3
as he saw them	3
an old lady in	3
be a great artist	3
of the death of	3
portraits of rembrandt and	3
he arrived in england	3
a short frizzled beard	3
the heart of the	3
containing prints after rafaelle	3
by the magic of	3
a few of his	3
portrait of a slav	3
of a slav prince	3
of charles the first	3
of the same subject	3
a pen in his	3
has on a fur	3
in eighteen hundred fifty	3
work was done by	3
he painted her as	3
did not satisfy his	3
in the wallace collection	3
a beggar man and	3
in a letter to	3
in spite of his	3
the back of the	3
than any other painter	3
of leonardo da vinci	3
on the same sheet	3
with a short beard	3
he could not have	3
the journal pour rire	3
head on her hand	3
in the act of	3
company of amsterdam musketeers	3
a head of an	3
the king of spain	3
to the duke of	3
at the head of	3
of sir joshua reynolds	3
at the time of	3
prints after rafaelle urbino	3
from time to time	3
the men and women	3
the portrait of the	3
he could no longer	3
a repetition of the	3
he was going away	3
on being able to	3
a picture in the	3
the princess of orleans	3
a portrait of saskia	3
in the form of	3
may be supposed to	3
with a cap on	3
there came to him	3
the wall of the	3
he is one of	3
the marquis of westminster	3
look at the man	3
that the world has	3
this quality in a	3
we are indebted for	3
leaning on a staff	3
flora with a flower	3
there are moods when	3
we know that the	3
he would have been	3
christ and his disciples	3
both hands on a	3
paper in his hand	3
a picture of himself	3
be supposed to have	3
a greater breadth of	3
his disciples at emmaus	3
cap on his head	3
has on a large	3
so well that he	3
the middle of the	3
he was incapable of	3
of an old woman	3
it is one of	3
to the city of	3
the history of art	3
the edge of the	3
nothing can exceed the	3
rembrandt and his wife	3
set to work making	3
full of prints by	3
her head on her	3
journeys to the homes	3
and a mantle bordered	3
man without a beard	3
any one who has	3
in eighteen hundred ninety	3
there is no doubt	3
in sixteen hundred twenty	3
a matter of course	3
on which is a	3
of men and women	3
great founder of the	3
with his right hand	3
at the height of	3
for the amusement of	3
for three hundred years	3
of francis banning cocq	3
in the portrait of	3
reposo of the holy	3
of the duke of	3
i have mentioned that	3
and the next day	3
at the door of	3
the man who had	3
the beautiful miss pott	3
breadth of light and	3
the people of the	3
he had never seen	3
hot and cold colours	3
was admitted to the	3
of the night watch	3
of sketches by rembrandt	3
appears to have been	3
was the mother of	3
a clump of trees	3
the soul of the	3
a small bust of	3
as he had never	3
collection of the marquis	3
years before his death	3
the name of rembrandt	3
there came into his	3
face is seen in	3
is the portrait of	3
years of age his	3
a head of a	3
it is easy to	3
could not hope to	3
he will do nothing	3
having on a cap	3
bust of a young	3
he could not hope	3
the art world of	3
the company of francis	3
the bits of glass	3
for the first time	3
by lucas van leyden	3
the singing boy at	3
with the head uncovered	3
a look at the	3
on the bank of	3
it was at the	3
the love of his	3
in the pictures of	3
the hand of the	3
to have been the	3
a book full of	3
one of the last	3
will do nothing but	3
a sum equal to	3
one of the great	3
a part of the	3
which the artist was	3
that it was a	3
the king and queen	3
the fact that the	3
of the art of	3
the good of the	3
masses of light and	3
the feet of christ	3
an old woman in	3
was one of those	3
a portrait of a	3
a head of christ	3
portrait of his mother	3
the keeping of the	3
states of this print	3
to be able to	3
in the line of	3
permission of phaidon press	3
fact that he was	3
of the medici family	3
the church of santa	3
born in the year	3
to use a brush	3
sir anthony van dyck	3
the mouth a little	3
singing boy at vienna	3
a view of the	3
of the school of	3
at the house of	3
the faces of his	3
the martyrdom of st	3
she appears to be	3
eye of the spectator	3
portraits of all the	3
in such a way	3
the beauty of the	3
the office of the	3
on the wall of	3
the city of barcelona	3
when a young man	3
of the great master	3
a cottage on the	3
he went to the	3
after the manner of	3
little journeys to the	3
resting her head on	3
as if he were	3
on the elbow of	3
said to have been	3
of the character of	3
the genius of rembrandt	3
the ceiling of the	3
the palace of the	3
decked with a feather	3
it is not easy	3
he knew how to	3
the works of titian	3
may be said that	3
to be seen in	3
and look at the	3
in one of the	3
the portrait of his	3
i do not know	3
of the great man	3
on the edge of	3
of the three trees	3
ladies of the dorcas	3
the name of the	3
known as the night	3
is not easy to	3
the prince of wales	3
such as we have	3
part of the art	3
a beggar with a	3
at this time was	3
the sale of the	3
by means of the	3
we feel that he	3
of the cloth hall	3
having on a fur	3
in the studio of	3
in the highest degree	3
had come from the	3
as well as a	3
his principles and practice	3
and at the same	3
was in the possession	3
in many of his	3
the pride of the	3
a company of amsterdam	3
for the purpose of	3
the great founder of	3
on the same plate	3
and the man who	3
it is necessary to	3
and told him to	3
the figure of christ	3
the great principles of	3
a reposo of the	3
and his disciples at	3
died in eighteen hundred	3
a man with a	3
a fur cap on	3
the place of his	3
himself on being able	3
containing a number of	3
it may be said	3
and is seen in	3
from the time he	3
with the permission of	3
in the art of	3
with the dry point	3
in her right hand	2
a few months before	2
and then we find	2
it is an old	2
a young woman in	2
ii the appeal of	2
not seem to have	2
be said to have	2
his mother lived together	2
as the body of	2
seated at the foot	2
we may add the	2
was an artist of	2
the face is seen	2
belonged to no school	2
surrounded by a mass	2
of the fine arts	2
the footsteps of the	2
their way to the	2
to his friends in	2
up with the greatest	2
up on the wall	2
he is seated in	2
the brightest scholar in	2
to peter paul rubens	2
off the head of	2
he looked at her	2
the later works of	2
a studio was opened	2
was jealous of the	2
the usual shaped cap	2
the drawings of rembrandt	2
that rembrandt used the	2
principles of light and	2
the glory of the	2
the genius of her	2
a high feather in	2
of his art was	2
and the delight of	2
open on a table	2
the error of the	2
beside a road with	2
it was she who	2
a road with distant	2
he was so well	2
head of an old	2
stick in his right	2
when the little mother	2
was formerly in the	2
as the hundred guilder	2
in the mind of	2
republic of the united	2
he went to amsterdam	2
at you out of	2
death of his mother	2
that he should love	2
one of his own	2
in the national guard	2
branch of the art	2
the pictures of the	2
in black and white	2
with his back to	2
for the rest of	2
cross of the legion	2
a time when he	2
genius to neutral salts	2
the diligence office and	2
the homes of the	2
of the dorcas meeting	2
had it been a	2
all his time to	2
of what he had	2
woman in an arm	2
pictures in the louvre	2
of the anatomy lesson	2
to his mother and	2
the plate for the	2
i hope you will	2
must ever rank as	2
the great artist in	2
painted portraits of all	2
i used to go	2
of the other is	2
he will not do	2
in those early years	2
to the people of	2
young woman in a	2
stick in his hand	2
and as a result	2
containing a great number	2
by the portrait of	2
to the cause of	2
had the ability to	2
he had ever known	2
when he was thirty	2
he would have to	2
acquaintance of the painter	2
face it in his	2
of the company of	2
the galleries of europe	2
and the portrait of	2
that might have been	2
i caught sight of	2
was not one of	2
a mass of light	2
again and again in	2
a man of the	2
christ with the woman	2
up and down the	2
must again revert to	2
a pink in her	2
and i have a	2
on the back of	2
holding with both hands	2
duke of mantua had	2
and led him away	2
a woman sitting naked	2
the little mother had	2
go to london and	2
in the year fourteen	2
were that they ought	2
in the year fifteen	2
and so it was	2
way in which he	2
the form of a	2
this and other prints	2
old when he arrived	2
a sort of play	2
draw so well that	2
was the hope of	2
the wife of the	2
were so different from	2
on the summit of	2
in a great degree	2
again and again he	2
with a wooden leg	2
this part of the	2
won the confidence of	2
the portrait of jan	2
man seated at a	2
of the ashmolean museum	2
the cross between the	2
quoted in hofstede de	2
considerably more than half	2
but it is the	2
years old when he	2
the butt and byword	2
and that he was	2
it is clear that	2
nerves to speak of	2
sum equal to a	2
and on this account	2
his son rembrandt was	2
is to be regretted	2
knew him by mortimer	2
off islands of the	2
holding a pink in	2
peter de la tombe	2
it was exhibited in	2
so much for the	2
with his hands united	2
jesus amidst the doctors	2
in a velvet hood	2
having on a turned	2
men on one sheet	2
and filled his heart	2
but not with the	2
of jason and creusa	2
wife of jan pellicorne	2
after a year of	2
are much more beautiful	2
jean francois to his	2
head only of which	2
mass of light of	2
of the old masters	2
open to the public	2
down to the sea	2
the year fourteen hundred	2
of the mother of	2
at the holford sale	2
do the thinking for	2
to the king and	2
by the late sir	2
having short frizzled hair	2
by means of a	2
the one in the	2
come down from the	2
light and shade are	2
a boy like that	2
air was full of	2
buildings beside a road	2
it was in the	2
would be a great	2
ten years of age	2
probable that rembrandt used	2
the history of the	2
the moon rise across	2
the great man grew	2
the white ground for	2
lessons in the languages	2
would require a book	2
with a rolling horse	2
worked in the fields	2
more about old age	2
foot of a tree	2
to tell some one	2
that the design was	2
the fact that they	2
into the mysteries of	2
in eighteen hundred eighty	2
is to be seen	2
at the village of	2
by the hand of	2
he did not really	2
if he does not	2
a form of expression	2
won the love of	2
reconciliation between david and	2
side of the face	2
man in the pitti	2
effect is produced by	2
of the prints in	2
you love the things	2
head of christ rembrandt	2
brightest scholar in the	2
in the best works	2
he said he could	2
the two disciples of	2
into the keeping of	2
it was called the	2
and wears a mantle	2
but at the same	2
in sixteen hundred thirty	2
in a red cap	2
a man and a	2
of which is finished	2
for the sum of	2
one hundred and sixty	2
it was to be	2
of the legion of	2
again and again that	2
etched lines in this	2
two years before his	2
to have been painted	2
the louvre had been	2
in the hermitage gallery	2
as though he were	2
was the last of	2
sit for her portrait	2
the picture of the	2
he wished to show	2
all of which are	2
rembrandt when a young	2
was a man of	2
of women on one	2
and go down to	2
the little village of	2
the dress consists of	2
three heads of women	2
table with the two	2
given to the world	2
has been pointed out	2
man of the world	2
as i knew him	2
to peter de la	2
goes back to the	2
painted in a way	2
he was just as	2
certain it is that	2
that of the great	2
from the hand of	2
ambitions in the line	2
the son of a	2
enveloped in a mantle	2
the best of the	2
in his face and	2
old man without a	2
city of barcelona to	2
he took up his	2
of the best of	2
problems of light and	2
they would make a	2
the light and shade	2
a woman of eighty	2
and still laughs on	2
not know enough to	2
on the banks of	2
the woman of samaria	2
and the young man	2
and so we find	2
the harmony of the	2
the bent of his	2
paint a portrait of	2
in the face of	2
years of age when	2
with a stick in	2
cap and a gold	2
covered with a mantle	2
lovers of the beautiful	2
is seated at a	2
and made the acquaintance	2
on her head a	2
on a cap of	2
who drove the cart	2
the holy family with	2
it was not so	2
the door of his	2
as his taking down	2
by rubens and vandyke	2
of a broken heart	2
having on a large	2
the treatment of the	2
the eyes bent downwards	2
anything else in the	2
his back to the	2
of the burgomaster six	2
image of the virgin	2
with a canal in	2
and it must be	2
market for his wares	2
means of the dry	2
the next day he	2
of three hundred thousand	2
being surrounded by a	2
his father had ever	2
they ought to be	2
of all the great	2
butt and byword of	2
at the battle of	2
him a confidence in	2
how should i know	2
in eighteen hundred forty	2
he painted his own	2
the same way that	2
it was the first	2
they had met the	2
where have you been	2
that one of his	2
bust of an elderly	2
the catalogue of his	2
and the death of	2
by the city of	2
homes of eminent painters	2
she has on a	2
by the use of	2
works of the great	2
the expression of the	2
the beauties of the	2
keeper of the prints	2
his taking down from	2
very similar to the	2
did we not know	2
a large high cap	2
the father of landseer	2
by far the most	2
it is the figure	2
to understand that the	2
he is represented in	2
himself at the national	2
on an absolute equality	2
and the good samaritan	2
too great for speech	2
as well as any	2
had to face it	2
ladies of the court	2
family with the angels	2
wearing a wide cap	2
a sight of the	2
as far as the	2
away up and up	2
off his cap and	2
each member of the	2
of the duchess of	2
his interest in rembrandt	2
feel that he can	2
the elbow of her	2
and the head uncovered	2
the way in which	2
v the great triumvirate	2
set diligently to work	2
for a group of	2
adam and charles black	2
prints after rubens and	2
that he should be	2
man with a short	2
the prints in the	2
a bald head in	2
in the neighbourhood of	2
a few years ago	2
it was a little	2
hermitage gallery at st	2
figure landscape with a	2
in those days for	2
when five years of	2
and paint a picture	2
the moment when the	2
of the young artist	2
he had found the	2
the little mother was	2
with a black head	2
ought to bear in	2
the court at madrid	2
bank of which sits	2
the age in which	2
who made the designs	2
the evolution of the	2
is enveloped in a	2
was the practice of	2
shoulders are covered with	2
it is said that	2
see that he was	2
have been more than	2
and in spite of	2
the etching is hind	2
the benefit of the	2
definite ideas as to	2
portrait of a savant	2
the place de la	2
in the corner of	2
of the venetian school	2
the head of which	2
attitude of the figure	2
such as his taking	2
called the anatomy lesson	2
he gave it to	2
his portraits and pictures	2
and is now in	2
of his life that	2
the british museum is	2
when the child was	2
picture of his mother	2
not one of the	2
the younger man had	2
fourteen cents a day	2
portrait of van tolling	2
one of the figures	2
don john was a	2
do anything but draw	2
nearly as he could	2
and others of the	2
keppel was placed in	2
it was then the	2
would take him to	2
the shadows of the	2
her feet in the	2
cottage on the left	2
in which he is	2
a man seated at	2
it has always been	2
a large folio of	2
he did not trouble	2
have your portrait painted	2
having on a turban	2
pictures of his mother	2
harmony of the whole	2
in a small room	2
as if he had	2
and one of the	2
a few touches of	2
anthony van dyck was	2
bald head in front	2
out of a hundred	2
made use of the	2
the love of woman	2
the old republic of	2
of age his father	2
with the two disciples	2
the course of years	2
was a young man	2
in the presence of	2
standing with his back	2
parable of the unmerciful	2
that there was a	2
cap on the head	2
the man who collects	2
was too great for	2
not hope to win	2
catalogue of his effects	2
looked at the pictures	2
out that he was	2
art has found a	2
a letter to his	2
in his hands and	2
did not care to	2
the amusement of the	2
being a man of	2
the direction of the	2
of the men who	2
were in his possession	2
helper was giuseppe marchi	2
do you wish to	2
i have no money	2
and these are the	2
to care for her	2
looking upon the picture	2
the age of twenty	2
his life of rembrandt	2
was placed in the	2
after a few months	2
when we look at	2
of all the etchings	2
that it was the	2
old republic of the	2
is not found in	2
in which the artist	2
were lavish in their	2
his father and brother	2
a young man in	2
the th and th	2
is a portrait of	2
the higher qualities of	2
are in east aurora	2
is in the british	2
the portrait of an	2
it may be that	2
a few strokes of	2
the quality of the	2
and the heart of	2
no one but the	2
the mirror reversal of	2
it is not for	2
passed for an antique	2
qualities of the old	2
the year fifteen hundred	2
years of married life	2
resting both hands on	2
short beard and a	2
of the young man	2
right hand is placed	2
work of this kind	2
the center of the	2
of rubens and his	2
great men never come	2
farmstead with a hay	2
to have your portrait	2
women on one sheet	2
a canal in front	2
to the genius of	2
know what to do	2
painted her picture as	2
is very easy to	2
the air was full	2
drawing by rembrandt in	2
the recoverers of rembrandt	2
and a high feather	2
a red chair holding	2
had long been to	2
six thousand nine hundred	2
of light in the	2
has on a small	2
on which are two	2
exterior of the same	2
not be amiss to	2
the bank of which	2
then made a portrait	2
can be no doubt	2
full of prints of	2
venice at that time	2
small bust of an	2
and a rich mantle	2
print room of the	2
in a red chair	2
to break in upon	2
the source of life	2
the stairs to where	2
he carried with him	2
buried in the church	2
on his way to	2
a man who could	2
would be an artist	2
by rembrandt in british	2
the thinking for a	2
in a few weeks	2
when we consider that	2
but he did not	2
five years of age	2
by adam van vianen	2
art world of paris	2
one corner of the	2
the church and state	2
are to be seen	2
back of the hand	2
the first state is	2
one of the women	2
he was greater than	2
portions of the picture	2
took the boy by	2
when he had reached	2
and so i will	2
part of the work	2
the strong stamp of	2
and once we know	2
and a tuft of	2
in the office of	2
and truth of the	2
the fleming was a	2
were sold at auction	2
and so did the	2
years of age we	2
he looked at life	2
at the thought of	2
a picture annibal caracci	2
and the singing boy	2
in the ability to	2
the head uncovered and	2
moon rise across the	2
chapter iii the appeal	2
his hand and brain	2
in the rubens studio	2
he was a great	2
follow in the footsteps	2
the portraits of the	2
peasant with his hands	2
at rome in the	2
in his great book	2
with such ease that	2
the composition of a	2
appeal of the paintings	2
in hofstede de groot	2
and the duke of	2
in which they were	2
in his later works	2
the purpose of giving	2
he is seated at	2
in front with a	2
sortie of a company	2
and there is in	2
the duchess of orleans	2
will not do anything	2
set him to work	2
with a look of	2
too much to expect	2
i may notice here	2
of a picture and	2
no nerves to speak	2
no interest in the	2
small bust of a	2
our citizen and golfer	2
rembrandt leaning on a	2
about sixteen hundred twenty	2
scene is remarkable for	2
the reverend samuel reynolds	2
in the royal collection	2
was a handsome man	2
may be said to	2
old woman in an	2
by the people of	2
he painted portraits of	2
to show the picture	2
head of a young	2
when i had looked	2
she was a model	2
palace of the pope	2
elbow of her chair	2
was to be the	2
simile of a drawing	2
of the hundred guilder	2
of the great artist	2
filled the heart of	2
and the prodigal son	2
the same truth and	2
a portion of his	2
as presents to his	2
so long as he	2
jean francois and catherine	2
were among the first	2
the man of genius	2
and a short frizzled	2
out on his own	2
room of the british	2
his mother at vienna	2
portrait closely resembling rembrandt	2
of the great masters	2
the intent of the	2
with her feet in	2
church of santa maria	2
the grave of the	2
a man in the	2
the mind of the	2
in the rubens gallery	2
i will admit that	2
having the appearance of	2
out against the bars	2
that one day rembrandt	2
when the plate was	2
the favor of princes	2
an old man in	2
lady in a velvet	2
to hear what he	2
having on a high	2
leading features of the	2
top of the diligence	2
was not in his	2
appeal of the etchings	2
three steps at a	2
simile of a letter	2
four hundred years have	2
that he was the	2
of peter paul rubens	2
move men to tears	2
one of the pictures	2
founder of the dutch	2
for a full year	2
is distinguished by a	2
full of drawings by	2
the nature of the	2
the hermitage gallery at	2
the side of christ	2
the marriage of jason	2
woman with a child	2
about the life of	2
the time of his	2
from the face of	2
more than half a	2
to be a painter	2
love the things that	2
was destined to be	2
offering up his son	2
and was familiar with	2
an investigation of the	2
the parable of the	2
of the old republic	2
knew the history of	2
the foot of a	2
two disciples of emmaus	2
a woman with a	2
full of life and	2
to add to the	2
of the sistine chapel	2
of love and patience	2
i do not think	2
portrait of the burgomaster	2
falling in love with	2
was familiar with his	2
an image of the	2
his brothers and sisters	2
the whole arrangement is	2
in the age of	2
pen in his right	2
ary scheffer the artistic	2
and presented to the	2
to find in the	2
of which are two	2
obliquely by a canal	2
that at the sale	2
the rank and file	2
in eighteen hundred fourteen	2
of the house of	2
the possession of these	2
both looked at the	2
go away and describe	2
to the ionides collection	2
the master that he	2
to the works of	2
of rembrandt van ryn	2
iii the appeal of	2
would have been better	2
chapter v the great	2
from nature by rembrandt	2
he saw through his	2
was afterwards cut into	2
farm buildings beside a	2
eight years of age	2
of importance in the	2
we can guess the	2
has come down to	2
a place of pilgrimage	2
quite as a matter	2
of his contemporaries and	2
member of the company	2
care for her and	2
with a long white	2
it is very easy	2
this time there came	2
it was not the	2
with the strong stamp	2
a dozen of the	2
there comes creeping a	2
to have been kissing	2
the age at which	2
but it gave him	2
a critical examination into	2
three years had passed	2
as though it were	2
the general tone of	2
partly concealed by trees	2
less harsh and cutting	2
now in the national	2
and john at the	2
i the recoverers of	2
the time of titian	2
in spite of the	2
chapter ii the appeal	2
in which may be	2
the picture of a	2
in the hands of	2
i knew him by	2
and devoted all his	2
the fact that it	2
but now it was	2
many of the best	2
on one of his	2
those first few years	2
that no picture is	2
it is not very	2
and he did not	2
of sir thomas lawrence	2
and the air was	2
the subject of this	2
and once in a	2
of the virgin and	2
after a picture annibal	2
was born in a	2
was invited to neuilly	2
of a drawing by	2
our father and our	2
as to make the	2
out of his own	2
beard and a bald	2
was the son of	2
did not last long	2
a few years later	2
him a bit of	2
he should go to	2
chair holding a pink	2
on in the world	2
cannot with safety be	2
to the print room	2
to face it in	2
his father and mother	2
wearing a slouched hat	2
a head of rembrandt	2
a red cap and	2
came to him a	2
of the great painters	2
see the moon rise	2
remarkable for an old	2
may not be amiss	2
until the thing was	2
her picture as a	2
to bear in mind	2
of making up a	2
a member of the	2
the art of painting	2
art of his country	2
there can be no	2
bust of an aged	2
distinguished by a large	2
of many of his	2
by the hand and	2
and fulness of effect	2
a reflection of the	2
it was the hope	2
it into his head	2
high feather in his	2
to paint a portrait	2
and we see that	2
when we view the	2
a copy of which	2
four years in italy	2
of the venetian and	2
the rest of his	2
to the study of	2
of colour to the	2
the modern school of	2
the difference between the	2
the acquaintance of the	2
sent away as presents	2
with the greatest care	2
to the diligence office	2
it is but fair	2
how to do it	2
the fact that a	2
a series of sketches	2
but out of the	2
the works of michael	2
heart goes out to	2
his father was a	2
in the munich gallery	2
we may more clearly	2
was not at home	2
while it was called	2
hand placed on his	2
marriage of jason and	2
but there is a	2
which he saw through	2
wife of the prince	2
the harmony of a	2
it is that the	2
of the united provinces	2
is that of a	2
on the left of	2
nor did he ever	2
was ten years old	2
chapter i the recoverers	2
the etchings and drawings	2
of his own on	2
and did his best	2
we know that charles	2
have a look at	2
by mortimer menpes square	2
to the harmony of	2
containing sketches by rembrandt	2
to bring out a	2
of philip the second	2
plans for the future	2
is in the collection	2
the boy by the	2
the woman who can	2
the age of fifty	2
to have been very	2
and held his breath	2
disputing with the doctors	2
a goodly modicum of	2
master of the school	2
fill in the color	2
were it not for	2
a picture of one	2
painted his own portrait	2
he did not even	2
a group of family	2
he was not a	2
diana at the bath	2
lines in this print	2
the embassy was a	2
only the etched lines	2
then it was that	2
have more of a	2
his wife and children	2
by a young woman	2
of the unmerciful servant	2
the effect that the	2
arms on the elbows	2
cross between the two	2
was invited to come	2
in matters of art	2
with her own hands	2
containing a selection of	2
lines on his plate	2
to do was to	2
in the composition of	2
and his right hand	2
taste of his quality	2
joshua reynolds was young	2
the manners of those	2
the colour of the	2
seems always to have	2
largely a matter of	2
so as to bring	2
of this mode of	2
in our own time	2
and it is difficult	2
the brush of a	2
did i tell you	2
the duchess of mantua	2
the pupils of rubens	2
the landscape with a	2
time there came to	2
work at rome was	2
the course of his	2
rise across the meadow	2
art of the mosaicist	2
a peasant with his	2
and may have been	2
the incredulity of st	2
ways of polite society	2
to report to the	2
and looked at the	2
red cap and a	2
which is the principal	2
that one of the	2
what did i tell	2
of a woman of	2
of rembrandt when a	2
to have a good	2
the heart of rubens	2
are moods when the	2
the life of a	2
was a delight to	2
with both hands a	2
and one part asphaltum	2
was at the house	2
death of sir thomas	2
is probably true that	2
he had been the	2
twenty years of age	2
is more difficult to	2
the last of the	2
in many of the	2
falls on the shoulders	2
it was the custom	2
steps at a time	2
artist must not be	2
examination into his principles	2
and pay the father	2
of one of his	2
years of his life	2
it is a great	2
they were equal to	2
holy family with the	2
for half a century	2
critical examination into his	2
fresh from the country	2
of colouring and chiaro	2
to be observed in	2
in the character of	2
landscape with a rolling	2
is seen in the	2
known as the hundred	2
he lingered long before	2
pink in her right	2
for him to go	2
in order to show	2
portrait of a man	2
father and our mother	2
hence it is that	2
he had heard of	2
the use of a	2
her husband had been	2
that he was a	2
we not know that	2
whistler as i knew	2
beggar with a wooden	2
entered the studio of	2
trunk of a tree	2
the duke of lerma	2
of a man of	2
character of the people	2
about this time there	2
the usual shape covers	2
farm building among trees	2
the master of the	2
i must again revert	2
of jean francois to	2
that they were married	2
and a pendent frill	2
the directors of the	2
rembrandt in british museum	2
by far the greatest	2
i was admitted to	2
as an example of	2
of the older one	2
rest of his life	2
and character of the	2
the year sixteen hundred	2
of the king that	2
this it is that	2
the compositions of rembrandt	2
as a knowledge of	2
woman in a red	2
of the road and	2
there is a difference	2
and the left on	2
character of the head	2
now in the munich	2
a model from nature	2
road with distant farmstead	2
the foot of the	2
put a look of	2
of the man is	2
it may not be	2
as we have in	2
illustrations were in demand	2
this was the first	2
the man behind the	2
it is quite possible	2
was to be a	2
of light of the	2
that came to his	2
the impress of actuality	2
and filled in the	2
the source from which	2
he lived and worked	2
in the catalogue of	2
are covered with a	2
of saskia van uylenburg	2
piercing the side of	2
etched lines in the	2
of his mother at	2
it can be seen	2
salutation of the virgin	2
could not have been	2
it is an extraordinarily	2
rembrandt painted of himself	2
with a large square	2
it was only a	2
to hold a clear	2
what ought to be	2
conducive to his purpose	2
body is enveloped in	2
there is no reason	2
and the daughter of	2
but there was one	2
his dress consists of	2
and a gold chain	2
the man who could	2
holding a pen in	2
that we may more	2
that it was all	2
master of light and	2
painted when he was	2
his making use of	2
we often perceive in	2
man behind the throne	2
place de la concorde	2
the death of sir	2
of these two great	2
hand on the wall	2
leonardo da vinci and	2
the light on the	2
eternal in the heavens	2
reason to suppose that	2
they both looked at	2
an old man without	2
go down to the	2
was given for the	2
maria rubens was a	2
as light as the	2
at the face of	2
both sides of the	2
elbows of his chair	2
of the effects of	2
the introduction of the	2
back to the spectator	2
susanna at the bath	2
on a stone sill	2
to be an artist	2
worked up with the	2
was the spirit of	2
he turned the prints	2
the head of the	2
do nothing but draw	2
lavish in their praise	2
but it was not	2
what to do with	2
in seventeen hundred sixty	2
of the journal pour	2
way to italy and	2
at the hermitage gallery	2
the close of his	2
and it was so	2
there was no fuel	2
a lion and a	2
for the benefit of	2
seated near a table	2
of christ in the	2
in the household of	2
the great masters of	2
had been taken to	2
only a poor woman	2
the raising of lazarus	2
the end of his	2
book full of prints	2
high estimation in which	2
when peter paul rubens	2
instead of a mere	2
duke of mantua and	2
on the elbows of	2
him by mortimer menpes	2
on the cross between	2
and seen in a	2
that the work was	2
supposed to have been	2
peter and john at	2
was not much of	2
when his father died	2
never came under the	2
with the woman of	2
at the table with	2
of a company of	2
the household of a	2
look of love and	2
but he was not	2
a sheet of paper	2
the elbows of his	2
be an artist yet	2
the return of his	2
group of family portraits	2
a portrait of the	2
his father and brothers	2
an excellent idea of	2
the battle of wad	2
out into the street	2
he used to call	2
such a way that	2
hundred francs were paid	2
to allow him to	2
cornelis hofstede de groot	2
be taken as a	2
was called the day	2
for a sight of	2
at the side of	2
father and the mother	2
human hand on the	2
he was a handsome	2
the duke of orleans	2
it is probably true	2
that rembrandt was a	2
banks of which are	2
picture of one of	2
of works of art	2
represented in a front	2
several of the pictures	2
the pictures of titian	2
the labors of hercules	2
the greatest of the	2
the homes of eminent	2
the picture was painted	2
he wrote to his	2
the world has ever	2
black and white reproductions	2
in the footsteps of	2
the upper part of	2
old lady in a	2
he returned to antwerp	2
on a cap with	2
to the fact that	2
for the good of	2
of age we find	2
he had decided to	2
general tone of the	2
in the same direction	2
it was that he	2
we see that he	2
would be a thing	2
represented in a profile	2
the church of saint	2
the legion of honor	2
the life of rembrandt	2
it was only when	2
of the king of	2
in the shape of	2
in the minds of	2
an account of the	2
and the right hand	2
in the middle of	2
the form of the	2
a loaf of bread	2
on a slouched hat	2
made the acquaintance of	2
my heart goes out	2
to the top of	2
his plans for the	2
and his mother lived	2
the resurrection of lazarus	2
gate of the temple	2
her face and form	2
he was painting at	2
wife and children had	2
one piece of work	2
bears the impress of	2
but many of his	2
i give it up	2
only of which is	2
is by far the	2
facsimile reproductions in colour	2
the son of the	2
right hand placed on	2
she had a profound	2
your portrait painted by	2
of a letter of	2
a chain of gold	2
in the fact that	2
principles of colour to	2
of christ healing the	2
in an arm chair	2
to the man who	2
there was only one	2
it is that gives	2
and were it not	2
painted her as a	2
the size of the	2
heads of women on	2
were to be found	2
and the mother and	2
christ at the table	2
with one of his	2
such ease that he	2
the artist must not	2
the landscapes of rembrandt	2
of etchings by rembrandt	2
of his beloved daughter	2
he seemed to have	2
fur cap on his	2
thousand florins a year	2
in the later works	2
into his principles and	2
his hands and a	2
with his left hand	2
ary and his mother	2
the magic of his	2
red chair holding a	2
boy by the hand	2
the citizen and golfer	2
wanted to go to	2
than any of the	2
the art of his	2
head of an elderly	2
belongs to peter de	2
rembrandt is in the	2
just as good as	2
take him to the	2
to fill in the	2
the burial of christ	2
museum of fine arts	2
because you love the	2
do not seem to	2
come down to us	2
the biggest man in	2
his attention is directed	2
and as he had	2
similar to this print	2
on the opposite side	2
down from the cross	2
picture that was to	2
with regard to rembrandt	2
a young man who	2
chapter iv epochs in	2
light as the body	2
or as nearly as	2
jerome at his devotions	2
not much of a	2
that they ought to	2
in the museum of	2
as long as he	2
caught the spirit of	2
on a large cap	2
source of life in	2
the director of the	2
abraham offering up his	2
of the united states	2
the cause of literature	2
the great artists of	2
in the same way	2
he won the confidence	2
years after his death	2
not do anything but	2
extracted from the register	2
with a fur cap	2
and the kind of	2
the last figure is	2
hands and a high	2
with a mass of	2
sideways on his head	2
titus in a red	2
was sent to the	2
they made their way	2
which very young men	2
a drawing by rembrandt	2
the table with the	2
many of his pictures	2
art of the great	2
in the manner of	2
that he might have	2
as it is now	2
the wan light of	2
to die at home	2
cottage with white palings	2
a tuft of beard	2
of the mill of	2
a view of buildings	2
rembrandt was born in	2
spirit of the artist	2
placed on her breast	2
whether it is a	2
as the darkness gathered	2
the portrait of himself	2
is in the act	2
to have had a	2
the hotel de ville	2
the home of lafayette	2
though it were a	2
punch and judy show	2
the entrance to the	2
the hands of his	2
it is probable that	2
one in the collection	2
had a good time	2
harmony of a part	2
photo courtesy of the	2
of mantua and his	2
stick in his hands	2
is the figure of	2
from the time of	2
a mass of dark	2
demanded that he should	2
museum of history and	2
by the best masters	2
of a hundred pounds	2
in the life of	2
his right hand a	2
with wonder and admiration	2
tintoret and paul veronese	2
is quite possible that	2
lives make dull biographies	2
have added to the	2
at the gate of	2
few strokes of the	2
his father used to	2
a single one of	2
the back of a	2
in his later years	2
are to be found	2
peter paul rubens was	2
the belief that the	2
the painting of the	2
the church of san	2
now let us turn	2
to his wife and	2
hands on a staff	2
into his head that	2
was not a great	2
nothing but draw pictures	2
was just as good	2
and a woman walking	2
the light of the	2
this is one of	2
the shoulders are covered	2
the progress of his	2
is remarkable for a	2
calling to some one	2
for the possession of	2
to the last of	2
these two great artists	2
on the city wall	2
with the cross of	2
mirror reversal of the	2
he saw things clearly	2
anything but draw pictures	2
taking down from the	2
enter upon an investigation	2
battle of wad ras	2
titian was sent for	2
and show what he	2
study of the great	2
and a loaf of	2
rubens was a true	2
effects of light and	2
and went back to	2
men never come singly	2
can now be seen	2
married the daughter of	2
is no reason why	2
we ought to bear	2
we have been told	2
the morning of the	2
was a true diplomat	2
the cross of the	2
years of age he	2
after a few years	2
the banks of which	2
the subject of a	2
were too great for	2
and in the centre	2
by the hands of	2
that it was his	2
feather in his cap	2
the head and hands	2
was in the air	2
interior of the mill	2
of history and technology	2
upon the subject of	2
i have seen a	2
all this time the	2
the magnificence of the	2
and it may not	2
before edwin landseer was	2
in which he lived	2
a taste of his	2
the head only of	2
be able to read	2
or the in the	2
young man in the	2
is not to be	2
served an apprenticeship with	2
with which he was	2
as nearly as he	2
both arms on the	2
his principles of colour	2
ought not to be	2
wonder is it that	2
a sketch of a	2
way in which the	2
first few years of	2
and set him to	2
after nature by rembrandt	2
in the year sixteen	2
the scene is remarkable	2
gratitude to jacob kainen	2
of what has been	2
is a form of	2
and the people who	2
of which i have	2
long as he could	2
the picture to the	2
leaning on a stone	2
purpose of giving a	2
of which sits a	2
he would be an	2
in front of them	2
man who can do	2
of the dry point	2
of murillo and velasquez	2
mouth a little open	2
resting both arms on	2
painting the portrait of	2
lower part of the	2
did not trouble to	2
the mouth is open	2
prided himself on being	2
in this respect he	2
that the fleming was	2
he saw the christ	2
to the church of	2
the hope of the	2
light and shade when	2
of the advantage of	2
his way to italy	2
the school of holland	2
and the expression of	2
modern school of spanish	2
a long white beard	2
which is a cottage	2
corner of the picture	2
work in the fields	2
a short beard and	2
works of michael angelo	2
a mass of half	2
of the most aristocratic	2
and awe at the	2
presents to his friends	2
between the two thieves	2
saw things clearly and	2
hand is placed on	2
who is leaning forward	2
a look of love	2
but it is not	2
belongs to the people	2
to the great principles	2
upon an investigation of	2
be expressed by a	2
the high estimation in	2
he had reached the	2
the head of an	2
between david and absalom	2
yet there is a	2
so it was that	2
in his old age	2
portrait of jan antonides	2
the duke and duchess	2
of which may be	2
the print room of	2
the best works of	2
a small picture of	2