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
it is a	40
one of the	37
or san michele	24
there is a	23
there is no	22
but it is	21
and albert museum	20
victoria and albert	20
to have been	19
the work of	18
in the bargello	18
it has been	17
some of the	17
for the cathedral	17
of the madonna	16
we have a	16
luca della robbia	16
in spite of	16
of the cathedral	15
of san lorenzo	14
madonna and child	14
and it is	14
treatment of the	14
the head of	14
as well as	13
it is the	13
in the louvre	13
on either side	13
ascribed to donatello	13
side of the	12
the sense of	12
is full of	12
the fifteenth century	12
a good deal	12
that donatello was	11
the prato pulpit	11
the tomb of	11
the statue was	11
and in the	11
john the baptist	11
would have been	11
the fact that	11
nanni di banco	10
the work is	10
used to be	10
it is not	10
in which the	10
may have been	10
but there is	10
of the same	10
of michael angelo	10
had to be	10
of the sculptor	10
it is true	10
so far as	9
it must be	9
made for the	9
of the evangelists	9
visit to rome	9
of the two	9
the church of	9
that of the	9
on the other	9
the head is	9
from which the	9
miracle of the	9
a work of	9
of the bronze	9
two or three	9
seems to have	9
part of the	9
and the two	8
must have been	8
john the evangelist	8
example of the	8
the madonna and	8
in the same	8
it may be	8
and there is	8
of the altar	8
giovanni da pisa	8
of light and	8
there was no	8
he did not	8
the other hand	8
been ascribed to	8
and so forth	8
on the campanile	8
the statue is	8
it is impossible	8
light and shade	8
pulpits of san	8
is made of	8
on the ground	8
to be the	8
at the same	8
responsible for the	7
the history of	7
have been a	7
the pulpits of	7
charge to peter	7
and the sense	7
in the centre	7
they do not	7
to be seen	7
to make the	7
the bronze doors	7
of the other	7
the same time	7
among the earliest	7
the art of	7
of the relief	7
of his work	7
the courtyard of	7
as in the	7
close to the	7
of which the	7
there are two	7
in this case	7
in order to	7
the bronze david	7
attributed to donatello	7
relief of the	7
by donatello himself	7
to be a	7
either side of	7
and it was	7
in san lorenzo	7
in some ways	7
was to be	7
donatello did not	7
the hand of	7
of the head	7
been attributed to	7
a number of	7
those on the	7
it is now	6
is difficult to	6
the coscia tomb	6
symbols of the	6
the whole composition	6
sense of distance	6
the subject of	6
of the medici	6
courtyard of the	6
of the tomb	6
one of them	6
the work was	6
is one of	6
the portrait of	6
are among the	6
in the church	6
it used to	6
the time of	6
door of the	6
to be placed	6
which has been	6
of the church	6
tomb of giovanni	6
on the cross	6
owing to the	6
of or san	6
spite of the	6
the treatment of	6
in many ways	6
shown in the	6
as to the	6
of the virgin	6
which it is	6
the base of	6
of the three	6
in the marble	6
some of his	6
we see the	6
a later date	6
michael angelo was	6
such as the	6
to the spectator	6
seem to have	6
good deal of	6
a series of	6
to make a	6
he was a	6
intended to be	6
to show the	6
that he was	6
the sacristy of	6
now in the	6
of his day	6
christ on the	6
but he was	6
between the two	6
is impossible to	6
there is nothing	6
to say that	6
most of the	6
portrait of a	6
abraham and isaac	6
it is quite	6
in santa croce	6
the statue of	6
and has been	6
we have the	6
of the renaissance	6
it is difficult	6
jacopo della quercia	6
for which donatello	5
base of the	5
in the martelli	5
has been ascribed	5
be regarded as	5
point of view	5
donatello may have	5
of the campanile	5
the face is	5
with which the	5
to the great	5
in the other	5
the man who	5
at any rate	5
of the fifteenth	5
of bishop pecci	5
the subject in	5
as early as	5
came to be	5
in its way	5
pope john xxiii	5
there can be	5
may be the	5
from the fact	5
the effigy of	5
for the baptistery	5
of the cantoria	5
it would be	5
of the face	5
that it is	5
though it is	5
which is not	5
ceased to be	5
we have no	5
in this respect	5
of the subject	5
and there are	5
to the left	5
the palazzo pubblico	5
donatello was not	5
the body is	5
the child is	5
it is probable	5
the number of	5
the paduan altar	5
the symbols of	5
the marble david	5
of the marble	5
niche of or	5
san lorenzo is	5
one or two	5
with all its	5
in the sacristy	5
is probable that	5
the absence of	5
donatello would not	5
the features are	5
it is an	5
placed on the	5
in any case	5
that it was	5
of the st	5
among the most	5
the figure of	5
of general gattamelata	5
one would expect	5
of the great	5
share in the	5
it was a	5
of the figures	5
a man of	5
the high altar	5
the centre of	5
be found in	5
placed in the	5
has been suggested	5
a group of	5
of the master	5
preserved in the	5
have made a	5
and in a	5
that in the	5
statue of st	5
of the statue	5
and on the	5
of the kind	5
of the figure	5
the relief is	5
at a later	5
it would have	5
figure on the	5
of cardinal brancacci	5
have been made	5
in a niche	5
from the time	5
donatello had to	5
which is the	5
the frieze of	5
the david is	5
the relation of	5
that donatello made	5
so that the	5
john in the	5
head of the	5
from the ground	5
say that donatello	4
but in the	4
all the features	4
the case of	4
of the numerous	4
that some of	4
not for the	4
there was a	4
treated in a	4
to the sculptor	4
the zuccone and	4
of the most	4
from which they	4
lines of the	4
the influence of	4
either end of	4
and it has	4
belonging to m	4
panel of pulpit	4
but we have	4
known as the	4
david and the	4
by the family	4
doubt as to	4
be seen from	4
the most important	4
in the history	4
this is a	4
of the sculpture	4
of the reliefs	4
could be quoted	4
reliefs at padua	4
in the case	4
there is an	4
contrast to the	4
the berlin gallery	4
bronze doors of	4
the bronze has	4
could have been	4
are full of	4
of the saint	4
of the baptist	4
meant to be	4
in the british	4
date of the	4
it is certainly	4
the bronze is	4
what one would	4
has not been	4
none the less	4
does not seem	4
is in itself	4
mino da fiesole	4
centre of the	4
is clear that	4
can be no	4
the mandorla door	4
as regards the	4
a bronze relief	4
is in the	4
canon of art	4
was made at	4
by the sculptor	4
that the statue	4
feet from the	4
not seem to	4
a few years	4
journey to rome	4
been suggested that	4
in the capella	4
is decorated with	4
to suppose that	4
the background of	4
he made a	4
and he was	4
was influenced by	4
the crucifix and	4
analogous to the	4
of pope john	4
is probably the	4
to signor bardini	4
urbano da cortona	4
be remembered that	4
art of the	4
is a work	4
sense of proportion	4
of john xxiii	4
it has the	4
fact that the	4
the modelling of	4
out of the	4
says that the	4
opera del duomo	4
head of st	4
in itself a	4
is a bronze	4
in the fifteenth	4
face of the	4
well as the	4
to show that	4
of the tabernacle	4
qualities of the	4
all that is	4
the figures are	4
of the palazzo	4
on which the	4
the british museum	4
by the most	4
and the marble	4
is now in	4
in the courtyard	4
modelling of the	4
the charge to	4
pagno di lapo	4
meaning of the	4
colossal statue of	4
in the drapery	4
derived from the	4
in the statue	4
in the sixteenth	4
statue does not	4
sense of light	4
of the work	4
madonna in the	4
to which reference	4
of the pulpits	4
and at the	4
doors of the	4
it was made	4
work of the	4
of the day	4
in the santo	4
on the altar	4
san michele niche	4
to determine the	4
which cannot be	4
we find in	4
was placed in	4
no reason to	4
the background is	4
would not have	4
shrine of st	4
of classical art	4
history of art	4
in a less	4
the face of	4
to which donatello	4
but they are	4
the same subject	4
have been attributed	4
at either end	4
is also a	4
on the base	4
leonardo da vinci	4
is rendered with	4
that on the	4
to work in	4
no doubt that	4
but he is	4
david is a	4
character of the	4
of all the	4
sacristy of the	4
it not for	4
the effect of	4
we find the	4
as on the	4
our own day	4
in the st	4
placed in a	4
alinari tomb of	4
and we have	4
the sixteenth century	4
the spirit of	4
figure of a	4
were it not	4
the two figures	4
of the early	4
the size of	4
for there is	4
on the subject	4
the marble is	4
made of terra	4
the christ is	4
of the santo	4
the choir of	4
to be regarded	4
at the base	4
in the berlin	4
work for the	4
on the point	4
length of the	4
this kind of	4
by the same	4
the bust of	4
in the original	4
statues of st	4
it is clear	4
the assistance of	4
figure in the	4
the roman tabernacle	4
end of the	4
was able to	4
plate of bishop	3
donatello and his	3
to donatello and	3
sculpture of the	3
he is called	3
in the first	3
can have been	3
the unity of	3
prophets for the	3
in her hands	3
the speaking babe	3
were to be	3
of art in	3
and that the	3
was far from	3
of the architecture	3
of michelozzo in	3
commission was given	3
the same collection	3
to this day	3
ease with which	3
donatello made two	3
piece of sculpture	3
made by donatello	3
by the master	3
are in the	3
works for the	3
version of the	3
the composition of	3
the two reliefs	3
is a good	3
curly hair and	3
of luca della	3
striking contrast to	3
the case in	3
that he had	3
that is to	3
been assumed that	3
saints on the	3
head of a	3
from the nude	3
evangelist and the	3
by giovanni da	3
on the bronze	3
to see the	3
nose and mouth	3
one would think	3
donatello could not	3
the zuccone is	3
in the niche	3
showing that the	3
tomb of coscia	3
the madonna in	3
george in the	3
the virgin is	3
sculptors of his	3
like that of	3
as it was	3
the length of	3
their position is	3
of italian art	3
from the life	3
where there was	3
on stylistic grounds	3
a sort of	3
on the st	3
those of the	3
the side panels	3
of the palace	3
he seems to	3
the top of	3
to the scene	3
the last of	3
of his contemporaries	3
expect to find	3
had to make	3
depth to the	3
in santa maria	3
and they were	3
the qualities of	3
instead of the	3
in the work	3
seen from the	3
the whole thing	3
been the subject	3
the fourteenth century	3
by luca della	3
the recumbent figure	3
be no doubt	3
to the st	3
in one respect	3
whole thing is	3
which has a	3
the extent of	3
no sign of	3
to be noticed	3
the nature of	3
of this period	3
bronze relief of	3
a portrait of	3
and the st	3
is treated in	3
and may have	3
to the right	3
on the right	3
but in this	3
of these boys	3
in favour of	3
which he worked	3
influenced by donatello	3
a certain point	3
in the baptistery	3
is a relief	3
reason to suppose	3
of the pope	3
of the speaking	3
same subject in	3
frieze of the	3
support to the	3
having been made	3
according to the	3
of the old	3
is taken from	3
the period of	3
in all probability	3
and had to	3
we do not	3
in the absence	3
the equestrian statue	3
could not be	3
versions of the	3
which they were	3
which look like	3
he is not	3
full of character	3
has been attributed	3
is a large	3
at florence is	3
in the casa	3
treated as an	3
it will be	3
about this time	3
in the following	3
the churches of	3
consists of a	3
more of the	3
of the judith	3
the effigy is	3
reliefs of st	3
nothing is more	3
in place of	3
it is in	3
to which he	3
is a most	3
in all these	3
donatello made the	3
the rest of	3
statues of the	3
adhere to the	3
both in the	3
as it is	3
there had been	3
is carved in	3
some of them	3
such as that	3
the tomb was	3
few years ago	3
from the forehead	3
the subject is	3
san lorenzo are	3
of this relief	3
all the more	3
will be seen	3
on to the	3
one of those	3
in which donatello	3
are covered with	3
which has already	3
which it was	3
statue of the	3
the feet of	3
it was placed	3
payment to donatello	3
rest of the	3
he had no	3
the tomb is	3
together with the	3
of being a	3
portion of the	3
to complete the	3
must not be	3
printed in bottari	3
the date of	3
belong to the	3
work of art	3
has been called	3
attention to his	3
the commission was	3
is an interesting	3
donatello must have	3
has to be	3
be the work	3
the two angels	3
high above the	3
task of making	3
was converted into	3
quite sufficient to	3
head of goliath	3
this bust is	3
relief of st	3
the opera del	3
was never quite	3
that michelozzo was	3
sacristy of san	3
donatello and brunellesco	3
had ceased to	3
there is something	3
work of donatello	3
it has no	3
but it shows	3
is none the	3
was entrusted to	3
of the sienese	3
is to say	3
with all their	3
a mass of	3
the sculptors of	3
to imitate nature	3
copied from the	3
of the florentine	3
the bulk of	3
to be considered	3
of his works	3
at the top	3
on the whole	3
one of michael	3
there was most	3
but the statue	3
especially in the	3
must be remembered	3
predecessors of donatello	3
belonging to signor	3
the statue itself	3
the predecessors of	3
da uzzano and	3
now preserved in	3
handed over to	3
too wise to	3
second journey to	3
in berlin is	3
would never have	3
given to donatello	3
and does not	3
is of great	3
the canon of	3
they show the	3
it is very	3
one sees the	3
relation between the	3
the miracle of	3
to make our	3
the san lorenzo	3
of the composition	3
is the most	3
effigy of the	3
we see a	3
for which the	3
church of san	3
according to vasari	3
should have been	3
which to make	3
the refinements of	3
is on the	3
was responsible for	3
is not the	3
in such a	3
the parthenon frieze	3
the relief of	3
that the st	3
a host of	3
alinari miracle of	3
early figures of	3
as a rule	3
over one of	3
in the foreground	3
are not quite	3
marble relief of	3
the reliefs are	3
to justify the	3
michael angelo were	3
the or san	3
judging from the	3
of this group	3
of one who	3
christ mourned by	3
over the dead	3
down to the	3
is more interesting	3
by the florentines	3
the campanile is	3
and the throat	3
of the human	3
quality of the	3
the ground that	3
in the background	3
with which he	3
is no reason	3
have a series	3
in one of	3
on the tomb	3
it is possible	3
relief in the	3
scenes from the	3
of making a	3
first journey to	3
figure of the	3
of the people	3
classical art was	3
have been ascribed	3
possessed by the	3
of what is	3
size of the	3
the martelli palace	3
a sense of	3
to our own	3
that the work	3
it is almost	3
the martelli david	3
in classical times	3
so much of	3
object was to	3
to believe that	3
of the bas	3
to decorate the	3
that donatello would	3
the statue does	3
he made the	3
is the case	3
the home of	3
work on the	3
which donatello was	3
been made by	3
one of which	3
from michael angelo	3
of the boy	3
first visit to	3
on the lower	3
to donatello himself	3
led him to	3
of the quattrocento	3
tradition says that	3
figures of the	3
of the duomo	3
one sees in	3
may well have	3
the evolution of	3
as one sees	3
in the world	3
to that of	3
abraham and the	3
the contrast of	3
was removed from	3
the earliest of	3
affected by the	3
minor works for	3
earl of wemyss	3
comparison with the	3
the limbs are	3
the guild of	3
zuccone and the	3
in the great	3
at or san	3
madonna of the	3
it had been	3
case in the	3
one sees that	3
in this connection	3
the evangelist and	3
donatello was never	3
his work was	3
of a certain	3
to the ground	3
the martelli figure	3
in the casting	3
of italian sculpture	3
a figure on	3
with a long	3
like those on	3
of demarcation between	3
in front of	3
the sacristy doors	3
can only be	3
late in life	3
attributed to him	3
to the most	3
the angel of	3
in certain parts	3
that donatello had	3
is possible that	3
are modelled with	3
to the full	3
man with a	3
italian plastic art	3
in the via	3
line of demarcation	3
bust of the	3
belonging to the	3
just below the	3
the cathedral and	3
the help of	3
much of the	3
from the cathedral	3
be placed in	3
they are not	3
later than the	3
on the cantoria	3
was handed over	3
tomb in the	3
mourned by angels	3
better than donatello	3
and a bronze	3
is that of	3
of the horse	3
belonging to madame	3
was a man	3
that they are	3
which was to	3
contract was made	3
at one time	3
of the sacristy	3
belonged to the	3
model for the	3
the statue has	3
it was to	3
the baptistery gates	3
and the baptist	3
of santa maria	3
has been recently	3
the earl of	3
one feels that	3
his sense of	3
for the church	3
parts of italy	3
his own day	3
is much more	3
to make his	3
where it was	3
the flying putti	3
this case the	3
and the bronze	3
reminds one of	3
the siena font	3
is shown in	3
contemporary with the	3
to have made	3
to the utmost	3
portrait in the	3
to rome in	3
is modelled with	3
of those who	3
it was only	3
in several particulars	3
work in which	3
at this time	3
made by the	3
of the background	3
which occupies the	3
benedetto da maiano	3
the national gallery	3
of one of	3
there should be	3
held to be	3
by donatello to	3
half a dozen	3
in the thick	3
at siena and	3
the life of	3
creation of the	3
it is made	3
madonna in london	3
the first to	3
and some of	3
the same hand	2
is a triumph	2
should have done	2
he was not	2
a figure of	2
the eyes are	2
closely analogous to	2
in his commentary	2
children for the	2
is almost a	2
harmony with the	2
the boy playing	2
would have made	2
the church is	2
the ideal of	2
but the story	2
into a niche	2
the sculpture of	2
made a relief	2
the portrayal of	2
the detail of	2
in many cases	2
has been so	2
work carried out	2
be still more	2
first work for	2
the argument of	2
and the tomb	2
angels in the	2
far from simple	2
in the entombment	2
realism and nature	2
on the cathedral	2
of a very	2
be to the	2
of the heavy	2
matteo degli orghani	2
and the bronzes	2
the nose and	2
in those days	2
of pagno di	2
and analogous in	2
this sense of	2
fleur de lys	2
the argument is	2
the chiselling of	2
typical of the	2
the column of	2
on the east	2
dreyfus has a	2
the origin of	2
the seventeenth century	2
though there is	2
and until the	2
background of the	2
and the canon	2
he was born	2
one could not	2
which support the	2
it cannot be	2
life of st	2
gain by being	2
occupied on a	2
lead one to	2
was obliged to	2
sculpture and painting	2
an angel stands	2
of san giovanni	2
is too small	2
donatello had the	2
in greek art	2
donatello was the	2
no signs of	2
was based on	2
crowned with laurels	2
tombs of pope	2
is seated in	2
the monument had	2
him as a	2
for one or	2
and the entombment	2
super altar by	2
his figures in	2
can be more	2
work of pagno	2
top of the	2
scenes in the	2
the number and	2
of the hands	2
of the clay	2
in the form	2
the life which	2
was occupied on	2
ought to have	2
which is decorated	2
donatello as architect	2
when they are	2
giacomone da faenza	2
in the carmine	2
the magdalen in	2
to carry a	2
and the coat	2
have had a	2
differ from the	2
have been placed	2
his head is	2
son of general	2
only serves to	2
from the old	2
donatello would have	2
in all essentials	2
may be a	2
the tabernacle of	2
was employed as	2
the idea that	2
back the curtain	2
face buried in	2
is all the	2
over the left	2
to the later	2
relief has a	2
the most obvious	2
of the carving	2
padua for the	2
of great interest	2
to the bronze	2
spirit of the	2
during a moment	2
in the relief	2
which must have	2
was opposed to	2
gone too far	2
the whole conception	2
of the pazzi	2
to the relation	2
that we can	2
of the children	2
be treated in	2
influence of the	2
features of the	2
is improbable that	2
of which donatello	2
as they are	2
there would have	2
all over the	2
says in his	2
on a pillow	2
a similar figure	2
be remarked that	2
a commission to	2
made of brick	2
of crucifixion and	2
the second gates	2
giovanni e paolo	2
in the artist	2
the opposite extreme	2
has a special	2
that of his	2
is a child	2
influence on the	2
the face itself	2
feels instinctively that	2
whom we have	2
is not altogether	2
whole composition being	2
a large class	2
is interesting in	2
the personality of	2
less attractive than	2
of a statue	2
the lines of	2
otherwise it is	2
there are several	2
the surface is	2
to the conditions	2
the david and	2
of the surviving	2
signed his name	2
and still more	2
which is a	2
impossible to say	2
can be found	2
than the bronze	2
statue itself is	2
are those of	2
the figures themselves	2
sketch of crucifixion	2
the little prophets	2
was much more	2
his old age	2
in danger of	2
of these reliefs	2
on the san	2
some respects to	2
to his assistants	2
analogous in some	2
in ecclesiis nihil	2
a royal marriage	2
entombment at padua	2
number of works	2
a cast from	2
to which it	2
the marble relief	2
east side of	2
a term of	2
excelled in this	2
of immense power	2
for the purposes	2
we find an	2
the lower part	2
from the st	2
statue was placed	2
a standing figure	2
lower part of	2
the brancacci tomb	2
of the century	2
as being the	2
closely related to	2
the salome relief	2
to see how	2
the sentiment of	2
the florentine cathedral	2
two years later	2
immediately before or	2
his architectural backgrounds	2
there are few	2
sense of impending	2
a trick of	2
the thirteenth century	2
largely responsible for	2
for the renaissance	2
would be an	2
others have been	2
busts of boys	2
so common in	2
the principles of	2
a free hand	2
marks an epoch	2
unity of the	2
no more than	2
the same city	2
is not really	2
is nothing to	2
seen later on	2
and the work	2
signs of the	2
in a lesser	2
of the hand	2
within the range	2
and san lorenzo	2
of the arts	2
egg and dart	2
virgin and child	2
the cathedral at	2
herr richard von	2
find the same	2
par with the	2
to the more	2
della robbia was	2
find in the	2
tomb was made	2
a few of	2
by which a	2
who must be	2
to be finished	2
is a typical	2
of the capital	2
of the building	2
so many sculptors	2
is certainly no	2
with a portrait	2
referred to donatello	2
shows how the	2
the design for	2
are very simple	2
was not the	2
is a marked	2
of antiquity were	2
converted into a	2
is treated with	2
to be called	2
have exhausted the	2
in their art	2
of an older	2
by donatello is	2
with donatello all	2
the slabs were	2
the reputation of	2
the whole question	2
decorated with a	2
the human body	2
the least interesting	2
above the annunciation	2
him to make	2
the bronze figures	2
saints on either	2
nothing of the	2
drapery of the	2
of the chief	2
in his will	2
the conflict of	2
have been employed	2
the surviving figures	2
work which was	2
we come to	2
these slabs were	2
for the bronze	2
and to m	2
are signs of	2
which one notices	2
for the upper	2
one portion or	2
is certain that	2
but the whole	2
was made of	2
saint on the	2
air of a	2
angles of the	2
the lettering on	2
the capella medici	2
the gattamelata monument	2
there is none	2
and the statues	2
idea had been	2
a large marble	2
it only serves	2
series of figures	2
to ascribe to	2
is a portrait	2
work in any	2
the nude in	2
the marble version	2
portrait of donatello	2
which reference is	2
care with which	2
regarded as the	2
a natural and	2
there are signs	2
he should have	2
a large number	2
the first place	2
mentioned in the	2
the germ of	2
and two or	2
in this statue	2
the treatment is	2
use of this	2
that is required	2
in the royal	2
and the head	2
had no such	2
illustrative of the	2
it was also	2
influence of donatello	2
the daniel and	2
of the famous	2
of the profile	2
has already been	2
resting on the	2
went to rome	2
made it a	2
on a large	2
two of the	2
gesture and pose	2
are decorated with	2
at his death	2
live in the	2
in sculpture and	2
medallion portrait of	2
extremities of the	2
la sculpture florentine	2
to make drapery	2
the font at	2
the share of	2
at first sight	2
it is to	2
the former is	2
the basal figures	2
than is the	2
the tombs of	2
was most nude	2
impossible to determine	2
reymond has pointed	2
this relief has	2
knowledge of donatello	2
to the work	2
composition of the	2
compared with the	2
look like the	2
down to us	2
donatello and michelozzo	2
not having been	2
not the case	2
the study of	2
make his figures	2
of which exist	2
miracle reliefs and	2
in the evolution	2
are treated as	2
are contradictions in	2
will be made	2
the muscles are	2
a work which	2
these panels the	2
and only in	2
of the tower	2
the two prophets	2
that of cardinal	2
the palazzo quaratesi	2
to find in	2
see the carving	2
dragging along a	2
not be inferred	2
and michael angelo	2
ut in ecclesiis	2
donatello by lord	2
of the body	2
the master and	2
the midst of	2
the universal form	2
back by a	2
as to which	2
carved in the	2
in the frari	2
more than a	2
four feet long	2
but it must	2
during the year	2
was held to	2
is a small	2
end panel of	2
the purposes of	2
the rules of	2
of the rare	2
that michael angelo	2
tomb of cardinal	2
is shy and	2
was to show	2
clear that donatello	2
to some of	2
the virgin and	2
the flagellation in	2
and the david	2
one can see	2
of his age	2
not be a	2
the bronze boy	2
in idea and	2
buried in his	2
gates for the	2
has been considered	2
reliefs on the	2
the fleur de	2
which were widely	2
except so far	2
as the little	2
lettering on the	2
two figures are	2
is nearly life	2
the incident is	2
a very large	2
of these statues	2
in the stone	2
the pose is	2
and the old	2
of which stand	2
in the halos	2
and did not	2
figures of st	2
of the first	2
but the relief	2
which have been	2
its popularity is	2
than that of	2
apart from the	2
ecce agnus dei	2
angel of st	2
seem to be	2
and shade to	2
figures in relief	2
general gattamelata padua	2
the anatomy of	2
classical in idea	2
or after the	2
to a different	2
to the opposite	2
chaplet of leaves	2
and where the	2
memoriale di molte	2
its position and	2
work of a	2
soon came to	2
the chiselling and	2
the most famous	2
all these reliefs	2
he was never	2
one of these	2
for making a	2
the conditions under	2
pointed out that	2
to apply to	2
this relief is	2
it is said	2
upon which the	2
be placed on	2
connected with the	2
out of doors	2
no right to	2
the maniera tedesca	2
years younger than	2
four or five	2
far as we	2
by his assistants	2
to one of	2
side of which	2
a very simple	2
stage in the	2
is the portrait	2
jeremiah and the	2
centre is the	2
the habbakuk or	2
to the extent	2
do not know	2
some of its	2
in the mouth	2
of the circular	2
the row of	2
have been less	2
he was himself	2
cartel on which	2
the task of	2
half of the	2
the berlin bust	2
shows signs of	2
the only one	2
reappears on the	2
appeal to the	2
in the local	2
the shield in	2
fact that he	2
the paint is	2
made by luca	2
santa maria maggiore	2
which led the	2
niches at the	2
marble reliefs of	2
in a wall	2
the sculptor to	2
is said that	2
in the tomb	2
the problem has	2
morosini in santa	2
andrea delle caldiere	2
of the assumption	2
the use of	2
not to be	2
and with a	2
the art is	2
is the work	2
of sadness and	2
return to florence	2
was made in	2
e le sue	2
it at or	2
in some places	2
on the mandorla	2
in the uffizzi	2
bronze head of	2
for the mandorla	2
the triangular base	2
to the sacristy	2
is covered by	2
placed high above	2
the general idea	2
subject in hand	2
us of the	2
and the ease	2
where he died	2
the frequency with	2
closely allied to	2
in the photograph	2
the niche of	2
the altar at	2
the lips are	2
cannot be identified	2
of great importance	2
be sought in	2
donatello is also	2
many of his	2
explicit on the	2
bulk of the	2
all that it	2
the outcome of	2
san michele sidenote	2
as architect and	2
one point of	2
on the font	2
be cut off	2
suggested that this	2
the commission for	2
has therefore been	2
and finally the	2
by the great	2
the works of	2
came from the	2
was meant to	2
we know nothing	2
does not owe	2
putti on the	2
the bust is	2
by the bronze	2
time of the	2
boy playing the	2
in their turn	2
if he had	2
where donatello has	2
of the artist	2
of the late	2
much that is	2
the back of	2
is even less	2
achievement was to	2
florence there is	2
as he looks	2
is a death	2
their inspiration from	2
and we are	2
to make more	2
of the child	2
be considered an	2
he died in	2
on the or	2
no room for	2
ascribed to him	2
and their position	2
which only exists	2
found in most	2
by the chapter	2
probably the work	2
after their return	2
donatello seems to	2
has been much	2
of the christian	2
for the campanile	2
it is also	2
the madonna being	2
has signed his	2
donatello does not	2
the anonimo morelliano	2
is in london	2
the lives of	2
hold the cartel	2
donatello all is	2
should not be	2
in each case	2
with their hands	2
god the father	2
the saint on	2
statue has been	2
anthony and the	2
all these statues	2
generally known as	2
the ease with	2
held back by	2
chiselling of the	2
one in the	2
their art was	2
not have been	2
that it might	2
and is now	2
would probably have	2
reminding one of	2
in the national	2
feature of the	2
in view of	2
and that michelozzo	2
a man who	2
bust of st	2
was fond of	2
thick curly hair	2
from the beginning	2
place in their	2
were afraid of	2
seen the original	2
is composed of	2
sitting in a	2
influence on sculpture	2
is almost identical	2
as to his	2
the relief on	2
last of the	2
equal to the	2
features of a	2
was widely used	2
more than one	2
maries at the	2
portrayal of tragedy	2
he has a	2
was a work	2
the likeness of	2
little or nothing	2
by lord balcarres	2
the more remarkable	2
there may be	2
works of art	2
never have been	2
font at siena	2
in order that	2
the aragazzi tomb	2
even if the	2
work was far	2
the thick curly	2
of the house	2
as if they	2
back of the	2
at padua is	2
there are contradictions	2
texture of the	2
been made before	2
and expression are	2
agostino di duccio	2
of the individual	2
the mocenigo tomb	2
donatello was responsible	2
connection with the	2
the source of	2
the two heads	2
in the eremitani	2
the former was	2
give it a	2
the most skilful	2
the laws of	2
he had to	2
it to the	2
to donatello is	2
the last judgment	2
one notices in	2
and his most	2
the gonzaga bust	2
the people are	2
at right angles	2
sketch by donatello	2
to compensate for	2
also had the	2
donatello may be	2
there are also	2
the effect that	2
the illustrations are	2
for him at	2
in the commission	2
to the figure	2
with the exception	2
the aid of	2
the appearance of	2
have been small	2
to the difficulty	2
figures on the	2
being the earliest	2
on the coscia	2
richard von kaufmann	2
the bronze statue	2
madonna beneath a	2
replete with classical	2
the cathedral of	2
doubt that donatello	2
everything is subordinated	2
made from a	2
can best be	2
preserved inside the	2
is so well	2
not forget that	2
it was probably	2
claim to be	2
his love of	2
with all his	2
frequency with which	2
nothing more than	2
the mouth and	2
when donatello was	2
these statues is	2
the entombment at	2
statue of judith	2
type of sculpture	2
the dead man	2
cast from the	2
to the modelling	2
belong to a	2
of his statue	2
to support the	2
as a portrait	2
some two hundred	2
had been a	2
the marble original	2
children by donatello	2
at his best	2
have all the	2
of canon morosini	2
work must be	2
of his own	2
having made his	2
unity of purpose	2
would expect from	2
personality of donatello	2
figures for the	2
to nanni di	2
is almost unequalled	2
than has been	2
cannot compare with	2
the earliest in	2
a metal grille	2
ecclesiis nihil indecens	2
by classical motives	2
would not allow	2
the martelli shield	2
they are the	2
return from rome	2
in the face	2
the actual casting	2
he says in	2
treated similarly to	2
examples could be	2
as he is	2
be quoted from	2
not compare in	2
upper part of	2
and they are	2
horses of st	2
pasquino da montepulciano	2
the sway of	2
the power of	2
we can only	2
better than the	2
the campanile and	2
see documents in	2
some time in	2
has been the	2
he was too	2
relation of the	2
all is different	2
of what was	2
plundered by her	2
santa giustina in	2
by means of	2
is quite sufficient	2
in relation to	2
the privilege of	2
and the crowd	2
buonarroti by charles	2
are very remarkable	2
in the details	2
of the model	2
carried out by	2
and the coscia	2
the door of	2
marble version of	2
san giovanni fiorentino	2
it is obvious	2
an architectural work	2
genuine sketch by	2
can be used	2
of pulpit san	2
we have all	2
the descent into	2
second visit to	2
church of the	2
which one finds	2
the title of	2
a broad relief	2
to the statue	2
must be remarked	2
made of bronze	2
the names of	2
are derived from	2
sculpture was rare	2
we know that	2
standing in the	2
of the stone	2
were about to	2
a feature of	2
in soft materials	2
was making the	2
the faults of	2
the action of	2
epoch in the	2
in great numbers	2
called a portrait	2
the lack of	2
the other in	2
ugliness of the	2
so also the	2
not owe its	2
of the dead	2
which we find	2
influenced by his	2
may possibly be	2
know that donatello	2
this came from	2
about whom we	2
the expression is	2
who gave the	2
from the tomb	2
to the papal	2
a lesser degree	2
san michele is	2
and that of	2
of the baptistery	2
marked by the	2
a pair of	2
the ground level	2
monuments in the	2
while the st	2
the signs of	2
palace to the	2
donatello and childhood	2
by a large	2
the carving is	2
the madonna is	2
the exception of	2
cyriac of ancona	2
there is one	2
above them rise	2
up on the	2
was not always	2
frescoes in the	2
and similar statues	2
at pietra santa	2
presence on the	2
be seen a	2
the east side	2
a tinge of	2
which can be	2
have been already	2
of san rossore	2
there was never	2
appreciation of his	2
the base is	2
the siena baptist	2
symbol of st	2
to the power	2
north of the	2
crucifixion and flagellation	2
the medici medallions	2
to be of	2
suited to the	2
a century later	2
in the midst	2
the bronze gates	2
the character of	2
sculptors of the	2
large marble relief	2
as those on	2
of the scene	2
this is the	2
smaller reliefs and	2
the whole relief	2
bellano and the	2
and must be	2
on or san	2
with the assistance	2
have been an	2
one respect only	2
quartiere di sco	2
was made by	2
front of him	2
other children by	2
the hair is	2
been made from	2
a share in	2
conditions under which	2
michelozzo in the	2
any sense a	2
great variety in	2
in any sense	2
which is so	2
in contrast to	2
to the eye	2
out of place	2
brunellesco was the	2
not more than	2
argument of utility	2
and the hair	2
for the st	2
and not for	2
has been left	2
influence extended to	2
high up on	2
cases could be	2
is found in	2
several of the	2
the missing joshua	2
of santa croce	2
holding up the	2
when making the	2
statue was to	2
and the earlier	2
statues of a	2
montepulciano show that	2
nor is it	2
in which he	2
donatello on the	2
be made later	2
the paradox of	2
the shield is	2
by technical ability	2
is subordinated to	2
was never any	2
been upheld by	2
which stands in	2
of the french	2
has pointed out	2
but there are	2
it is one	2
to the earl	2
be the home	2
salome relief at	2
et honorabilius pro	2
it of a	2
on the piazza	2
in rome was	2
of the later	2
payments for work	2
michelozzo and the	2
great door of	2
man who was	2
speaking of the	2
of the actual	2
faults in the	2
he is a	2
giustina in london	2
the shoulder of	2
in all the	2
we see how	2
of their own	2
is so remarkable	2
in his hands	2
decorate the chapel	2
profile to the	2
a sculptor of	2
and the actual	2
upon contemporary art	2
of gothic architecture	2
donatello was a	2
the scheme is	2
in which his	2
and was not	2
niche on or	2
was to make	2
the angles of	2
fiorentino e le	2
the vigour and	2
donatello has carved	2
pulpit san lorenzo	2
crowned with a	2
is no question	2
of stiacciato is	2
of the angel	2
during the last	2
crucifix and annunciation	2
sketch in clay	2
would think that	2
relief on the	2
which the figures	2
is afforded by	2
whole question of	2
on the loggia	2
printed by ballantyne	2
of secondary interest	2
to luca della	2
which are here	2
the bodily form	2
no question of	2
house of lords	2
reference is made	2
distinction which is	2
height of the	2
he holds the	2
there are only	2
they have a	2
we can see	2
it might be	2
portrait of the	2
to belong to	2
he was to	2
ascribe to donatello	2
of donatello on	2
john at siena	2
in which we	2
many of the	2
to make it	2
the madonna with	2
assumed that he	2
opposed to the	2
which donatello has	2
to get a	2
it is more	2
it to be	2
between donatello and	2
beneath a baldachino	2
may be noted	2
donatello had no	2
the pose of	2
both in sculpture	2
he was forty	2
that the second	2
late in the	2
of the rose	2
it is certain	2
in the vanchettoni	2
whom it is	2
was one of	2
link between the	2
is once misspelled	2
the creation of	2
a different category	2
and his school	2
says it was	2
rendered by the	2
at padua the	2
to be found	2
daniel and poggio	2
and one of	2
the essentials of	2
been replaced by	2
he was the	2
his later years	2
some kind of	2
the broad expanse	2
the virgin kneels	2
is supposed to	2
very deep relief	2
the baptist in	2
flanked by two	2
by the broad	2
and personality of	2
work in marble	2
the design of	2
horses on the	2
the armour of	2
could not have	2
in a dark	2
position to the	2
the parent of	2
his work on	2
two of them	2
the most successful	2
as showing the	2
bishop pecci at	2
that the figures	2
against a background	2
on the roman	2
made late in	2
in various parts	2
but this was	2
andrea della robbia	2
connect it with	2
or three of	2
a place in	2
quite out of	2
they are often	2
a similar work	2
alinari madonna and	2
as a composition	2
became one of	2
size is considerable	2
almost ceased to	2
donatello and gothic	2
there are six	2
with plenty of	2
shields bearing the	2
of a lion	2
and the statue	2
two children in	2
but the zuccone	2
the air of	2
san michele the	2
is allowed to	2
drew their inspiration	2
as if it	2
an element of	2
and he may	2
of god the	2
one notices that	2
and dart moulding	2
modelled with a	2
the virgin herself	2
and the virgin	2
two saints on	2
the power and	2
having been broken	2
nothing but the	2
place in the	2
legs and arms	2
achievement of the	2
made a series	2
the house of	2
the sculpture and	2
and the madonna	2
portrait of canon	2
the relation between	2
the side of	2
the great door	2
upwards to the	2
much was left	2
the most interesting	2
it is usual	2
with the other	2
a study for	2
his first visit	2
a chaplet of	2
in harmony with	2
donatello was influenced	2
of his assistants	2
in the opera	2
sees that the	2
notices in the	2
made between and	2
the clue to	2
is stiff and	2
a bronze statuette	2
these have been	2
must be judged	2
none of them	2
in niches at	2
must be referred	2
piece of drapery	2
de la salle	2
is covered with	2
was replaced by	2
an early version	2
in several places	2
of it was	2
and ghiberti in	2
of the statues	2
their size is	2
occupies the centre	2
in the treatment	2
ought to be	2
authority for the	2
pipo of florence	2
arches of the	2
the magdalen was	2
it can be	2
of the annunciation	2
does not help	2
a larger scale	2
be the subject	2
of a young	2
in point of	2
and the general	2
the difference in	2
eremitani at padua	2
shield in front	2
adventitious aid of	2
assumption that donatello	2
now belonging to	2
in most of	2
has been lost	2
but which were	2
undoubtedly by donatello	2
appears to have	2
is a striking	2
the magdalen and	2
very rare cases	2
of the panels	2
alinari san giovannino	2
warm human sentiment	2
is impaired by	2
difficult to see	2
partly owing to	2
realised the unity	2
and with the	2
that he should	2
of a horse	2
each side of	2
made of pietra	2
noticeable in the	2
made the bronze	2
and breast are	2
is not without	2
of florence are	2
of the miracle	2
the cartel on	2
believe that donatello	2
at his command	2
altar by giovanni	2
opponent of the	2
criticism and censure	2
with his pupils	2
qualities which one	2
living outside the	2
the upper part	2
these reliefs are	2
of the arms	2
by the help	2
to the life	2
altar at padua	2
of pietra serena	2
column of trajan	2
spite of its	2
the opposite side	2
the larger figures	2
what they could	2
hands joined in	2
architect of the	2
seen a few	2
they would be	2
is the marble	2
would be seen	2
of what had	2
figure of plenty	2
rome was the	2
hair and the	2
made of wood	2
santa maria novella	2
a considerable share	2
might have been	2
of a prophet	2
scope to the	2
subject in london	2
bronze statue of	2
older than donatello	2
whose sense of	2
and the most	2
the ground where	2
was plundered by	2
one part of	2
this and similar	2
the ground in	2
recorded by vasari	2
must remember that	2
of an assistant	2
were meant to	2
the central position	2
is a thin	2
and the other	2
must therefore be	2
number of statues	2
is an important	2
of which has	2
of the passion	2
a bust of	2
which donatello never	2
it shows how	2
a complicated architectural	2
the second visit	2
the position and	2
tomb plate of	2
of the limbs	2
of the original	2
influenced by the	2
and in many	2
subject of the	2
altar consists of	2
of donatello and	2
representation of a	2
the lille relief	2
looks as if	2
such is the	2
on the aragazzi	2
of this admirable	2
list of the	2
one or more	2
combine to give	2
guild of st	2
should be a	2
pose of the	2
a scroll and	2
uzzano and polychromacy	2
is the best	2
the attention of	2
representations of the	2
it is no	2
but donatello was	2
able to give	2
the eye level	2
that the eyes	2
the colossal statue	2
during the first	2
more like the	2
for all the	2
works of this	2
at least four	2
the band of	2
a few feet	2
the statue and	2
was the most	2
belonging to herr	2
they could from	2
giovanni da becato	2
francesco del mayo	2
are carved with	2
study for the	2
in these panels	2
covered by a	2
nihil indecens relinquatur	2
the sistine chapel	2
broad expanse of	2
in profile to	2
the play of	2
hangs over the	2
that one concludes	2
in northern italy	2
old and tired	2
habbakuk and the	2
was born in	2
sculptor and architect	2
as a technical	2
to the history	2
of the siena	2
outside the town	2
far as the	2
against a wall	2
was inhabited by	2
colour of the	2
subject in the	2
of donatello is	2
which was probably	2
but donatello would	2
coincide with the	2
donatello has been	2
as regards his	2
effigy of pope	2
side panel of	2
be by donatello	2
shrine of santa	2
canon morosini in	2
they differ in	2
caused by the	2
small traces of	2
is true there	2
is a later	2
is now established	2
in the second	2
in all its	2
early in the	2
when working in	2
tombs of this	2
a young man	2
are recorded in	2
opposite side of	2
effigy of a	2
from the front	2
his sojourn in	2
is so closely	2
in the north	2
shown in profile	2
such as one	2
as they were	2
his opinion on	2
purely as a	2
for they are	2
busily engaged in	2
was too wise	2
after a certain	2
until many years	2
was given to	2
in the seventeenth	2
tomb of general	2
for making the	2
the nave of	2
problem has been	2
the london version	2
be inferred that	2
the magdalen has	2
the year in	2
measured by the	2
in one case	2
of the hair	2
magdalen and similar	2
the touch of	2
the berlin museum	2
fragment of a	2
in some respects	2
the bronze relief	2
of the coscia	2
to his own	2
when it is	2
upheld by the	2
representation of the	2
but they have	2
the crivelli tomb	2
in the palazzo	2
con le altre	2
was perhaps the	2
the advent of	2
show more of	2
about four feet	2
he would have	2
had already been	2
a statue with	2
in italian plastic	2
and the gattamelata	2
removed from the	2
and were it	2
the david was	2
inferred that the	2
the human form	2
reappear on the	2
is enhanced by	2
a group in	2
which is in	2
made about this	2
or five feet	2
and one could	2