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
at the same time	471
in the church of	400
the church of s	399
by the hand of	377
one of the most	375
on the other hand	309
a work of art	291
is one of the	278
in the form of	248
the end of the	247
that is to say	240
to the end that	235
in the midst of	233
the chapel of the	229
at the age of	219
at the end of	217
for the reason that	213
in the house of	211
in the case of	209
the head of the	200
the middle of the	198
in such a manner	197
the church of the	196
on account of the	186
for the sake of	176
to be found in	172
on the other side	171
at the foot of	170
in the chapel of	170
in the possession of	168
the form of a	168
the rest of the	165
for the most part	164
as well as the	163
is said to have	157
at the present day	155
in the course of	153
in the act of	151
the centre of the	150
as may be seen	148
it is said that	148
in the middle of	148
as has been related	148
the beginning of the	147
seems to have been	147
the time of the	146
the foot of the	146
the life of the	145
the work of the	145
is now in the	144
the court of the	144
of the church of	142
after the death of	142
in the history of	142
in the time of	141
the dance of death	138
in the centre of	136
was one of the	135
on the th of	130
it came to pass	130
of the works of	129
the art of the	127
the palace of the	126
at the head of	125
the beauty of the	122
in the life of	122
the house of the	121
from the collection of	120
in the hands of	120
the name of the	120
on the right hand	119
in the works of	119
the art of painting	118
for the church of	117
it is true that	116
the story of the	116
from the life of	114
the works of the	113
the greater part of	112
of the house of	111
be found in the	111
was a pupil of	110
and in the other	110
on either side of	110
in the presence of	110
may be seen in	109
in front of the	109
of the royal academy	109
is to be found	106
the history of the	106
in the palace of	106
the door of the	105
may be said to	105
a part of the	104
in one of the	104
in the service of	104
at the beginning of	103
to be seen in	103
a great number of	103
of the fifteenth century	103
the whole of the	103
to be able to	103
with his own hand	103
the walls of the	102
of the art of	101
it is to be	101
and it came to	101
in the way of	100
one of the best	100
and on the other	99
in the british museum	99
by reason of the	98
for the first time	98
the top of the	97
said to have been	97
the work of art	97
in the manner of	97
as well as in	97
for the purpose of	96
in the art of	96
it would have been	96
it is impossible to	96
be seen in the	95
the spirit of the	94
on the part of	93
the adoration of the	93
of one of the	93
at the time of	92
it is difficult to	91
child in her arms	91
of the palace of	91
the hand of the	90
of the life of	90
a dance of death	89
of the fine arts	89
the face of the	89
as i have said	89
after the manner of	88
with the exception of	88
in the work of	88
is not to be	87
the midst of the	87
in addition to the	86
adoration of the magi	86
new york gallery of	85
of the sixteenth century	85
gallery of fine arts	85
i do not know	85
york gallery of fine	85
as one of the	84
in so far as	84
in the same city	84
that it is not	84
of light and shade	83
with regard to the	82
the character of the	82
the child in her	82
but to return to	82
up to that time	81
in spite of the	81
the death of the	81
of the seventeenth century	81
for a long time	81
to the end of	80
such a manner that	79
in the collection of	79
was a man of	79
under the direction of	79
appears to have been	78
he painted in fresco	78
the nature of the	78
it may be said	78
the figure of the	77
was held to be	77
and at the same	77
in the same manner	76
that it is a	76
be said to have	76
a portrait of the	75
there can be no	75
in a short time	75
it seems to me	75
which is in the	74
the way in which	74
with the child in	74
but it is not	74
the service of the	73
the head of a	73
a vast number of	73
court of the universe	73
the chapel of s	73
the history of art	73
the hands of the	72
the part of the	72
the company of the	71
that he did not	71
into the hands of	71
in the same place	71
from time to time	70
the virgin and child	70
the side of the	70
to have been the	70
of the nineteenth century	70
on the walls of	70
the form of the	70
the men of the	70
in the national gallery	70
the manner in which	70
of the eighteenth century	69
that it would be	69
was the reason that	69
in order to make	69
picture of our lady	68
in the first place	68
one of the first	68
he painted a panel	68
that he could not	68
the mind of the	68
after the painting by	68
as has been said	67
in the same way	67
no reply to circular	67
to the study of	67
of the four seasons	67
antonio da san gallo	67
was not able to	66
the emperor charles v	66
of a work of	66
on account of his	66
as will be related	66
the close of the	66
a great deal of	66
is held to be	66
in the matter of	66
in the style of	66
on the left hand	66
set his hand to	66
is to be seen	66
about the same time	66
the portrait of the	65
work of art is	65
of which we have	65
of the same kind	65
the end that he	65
of some of the	65
a picture of the	65
in such a way	65
of the order of	65
it is in the	64
of the work of	64
for the chapel of	64
it is probable that	64
in the shape of	63
court of the four	63
at the time when	63
of the duke of	63
of the middle ages	63
which is now in	62
in one of his	62
there is no need	62
in the habit of	62
to that of the	62
the size of life	62
the fact that the	62
are to be found	62
the base of the	61
as has been told	61
end that he might	61
after the fresco by	61
over the door of	61
the altar of the	61
the subject of the	61
the manner of a	60
by means of the	60
by the side of	60
it would not be	60
the possession of the	60
was the son of	60
that it was a	60
after the panel by	60
one and the same	60
the presence of the	60
one of the finest	60
seem to have been	60
at the top of	59
one of which is	59
come down to us	59
that are in the	59
in the name of	59
the course of the	58
that it should be	58
the church of st	58
the building of the	58
on the side of	58
it is not the	58
the level of the	58
the expression of the	58
either side of the	57
held to be a	57
have been able to	57
there is no doubt	57
the first of these	57
a member of the	56
as well as of	56
that there is no	56
so far as it	56
of the court of	56
it is easy to	56
to make use of	56
at the royal academy	56
the use of the	56
the body of the	56
the effect of the	56
than that of the	55
may be seen from	55
as in the case	55
of light and shadow	55
he was able to	55
one of the greatest	55
greater part of the	55
life of the virgin	54
in order not to	54
the surface of the	54
as a matter of	54
which was to be	53
you will find that	53
in the court of	53
it is certain that	53
and one of the	53
that he was not	53
it is not possible	53
it is one of	53
is by no means	53
a young man of	52
in which it is	52
the point of view	52
portrait of a lady	52
the style of the	52
that he was a	52
are not to be	52
made a portrait of	52
the reason that he	52
the feet of the	51
the arrangement of the	51
to have been a	51
and that of the	51
the other side of	51
the power of the	51
that it may be	51
as far as the	51
the height of the	51
it is necessary to	51
in a picture by	51
so far as to	51
the upper part of	50
in a state of	50
of the thirteenth century	50
the family of the	50
a great part of	50
the case of the	50
of the dance of	50
at the feet of	50
to return to the	50
in the museum of	50
in order to be	50
is no need to	49
at the close of	49
are to be seen	49
of the size of	49
one side of the	49
the eyes of the	49
the nuns of s	49
the hall of the	49
to be one of	49
for the use of	49
so far as i	49
the light of the	49
is said to be	49
it is evident that	49
the manner of the	49
it is clear that	49
as that of the	49
on one side of	49
now in the possession	48
that he had been	48
in the proper place	48
in a work of	48
in the face of	48
and he said unto	48
nothing to do with	48
by means of a	48
by the same hand	48
it is not a	48
of which there is	48
not to mention that	48
scenes from the life	47
the sides of the	47
the bottom of the	47
in his native city	47
the life of st	47
in the school of	47
the picture of the	47
is the portrait of	47
the collection of mr	47
the right of the	47
in the city of	47
in the same church	47
in the days of	47
the chapel of st	47
not being able to	47
which there is no	47
of the present day	47
one on either side	47
academy of fine arts	46
in proportion to the	46
as soon as he	46
he seems to have	46
be said to be	46
of the most beautiful	46
the study of the	46
and in the same	46
as if it were	46
with the help of	46
the piazza di s	46
an infinite number of	46
his hand to the	46
on the one hand	46
of the chapel of	46
the nations of the	46
of works of art	46
supposed to have been	46
at the bottom of	46
the attention of the	46
such a way that	46
to do with the	45
on the outer side	45
the painting of the	45
in accordance with the	45
on one of the	45
of the school of	45
the end of his	45
in the use of	45
i do not think	45
by the hands of	45
that it might be	45
under the influence of	45
the order of the	45
other side of the	45
victoria and albert museum	45
with that of the	45
the collection of the	45
to be very beautiful	45
hand of the same	45
was placed in the	45
appear to have been	45
to say nothing of	45
be one of the	45
of the history of	45
of the death of	44
if he had not	44
the tomb of julius	44
the appearance of a	44
the back of the	44
and when he had	44
in new york city	44
in some of the	44
the work of a	44
descent from the cross	44
is that of the	44
the principal chapel of	44
the direction of the	44
at the commission of	44
the end that the	44
the arms of the	44
the glory of the	44
as well as to	43
does not seem to	43
the first of the	43
at the expense of	43
for the nuns of	43
in the same year	43
could not have been	43
for the company of	43
by one of the	43
by the fact that	43
there is not a	43
to the works of	43
the madonna and child	43
i do not mean	43
to be placed in	43
as well as a	43
to the fact that	43
made his way to	43
he had not been	42
of the same size	42
of the virgin mary	42
it is interesting to	42
to be the best	42
the banks of the	42
of the society of	42
in the study of	42
the heads of the	42
that part of the	42
that it was not	42
in the arms of	42
held to be very	42
a large number of	42
but he did not	42
to the art of	42
of the temple of	42
by a great measure	42
on account of its	42
in one of these	41
is a portrait of	41
that he had not	41
he is said to	41
in spite of all	41
the meaning of the	41
it would be a	41
a good number of	41
point of view of	41
on the back of	41
in the fine arts	41
from the time of	41
at the request of	41
to the work of	41
died at the age	41
to those of the	41
on the subject of	40
under the name of	40
one and the other	40
the fact that he	40
it is possible to	40
the master of the	40
in the character of	40
the figure of a	40
sense of the word	40
in our own day	40
the entrance of the	40
in the minds of	40
it is not so	40
and in order to	40
in connection with the	39
the works that he	39
which is to be	39
braccia and a half	39
in the company of	39
upon the th of	39
in the gallery of	39
he set himself to	39
of the company of	39
that is in the	39
the tomb of the	39
the works of this	39
a copy of the	39
of the academy of	39
in the beginning of	39
to one of the	39
of which he was	39
in which he was	39
up to the present	39
by order of the	39
it ought to be	39
and it is a	39
is seen in the	38
not been able to	38
the duke of urbino	38
the summit of the	38
as we have seen	38
so far as we	38
the portrait of a	38
of the human form	38
on the top of	38
years of his life	38
on the death of	38
and all the other	38
a few of the	38
the mother of the	38
and those of the	38
madonna with the child	38
may be found in	38
at the salon of	38
in the hall of	38
the painters of the	38
in the middle distance	38
du duc de berry	38
which are in the	38
from the point of	38
he was not able	38
in the representation of	38
that there is a	38
as if they were	38
as a work of	38
by his own hand	38
at the sight of	37
for the benefit of	37
riches heures du duc	37
heures du duc de	37
a very beautiful work	37
if it had been	37
on each side of	37
but it was not	37
at this same time	37
is supposed to have	37
deposition from the cross	37
the lower part of	37
the progress of the	37
the hand of a	37
acquitted himself very well	37
it was in the	37
a picture of our	37
the madonna of the	37
to say that he	37
are now in the	37
it must have been	37
he was the first	37
the commencement of the	37
may still be seen	37
of so great a	37
the best of the	37
there is also a	37
the corner of the	37
the decoration of the	37
the edge of the	37
to the house of	37
painted in fresco the	37
in the light of	37
in the sixteenth century	37
in spite of his	36
of men and women	36
the practice of the	36
the reason that the	36
he would have been	36
the gallery of the	36
what has been said	36
as much as possible	36
the vaulting of the	36
the shape of the	36
so far as the	36
the size of the	36
the last of the	36
is the work of	36
with the head of	36
much the friend of	36
the scene of the	36
it may have been	36
the interior of the	36
to the duke of	36
the value of the	36
in the duomo of	36
this is one of	36
that it is the	36
and a half in	36
have come down to	36
in regard to the	36
in consequence of the	36
the idea of the	36
as long as he	36
bartolommeo di san marco	36
coronation of the virgin	35
the one and the	35
him that he should	35
of the virgin and	35
the course of his	35
of the monks of	35
will be related in	35
assumption of the virgin	35
it is not to	35
a picture of a	35
the son of a	35
the lord duke cosimo	35
and there is a	35
upper part of the	35
in a series of	35
national academy of design	35
now in the louvre	35
is not possible to	35
that he would not	35
on the opposite side	35
has been related in	35
is that of a	35
that it was the	35
the execution of the	35
of the virgin in	35
the statue of the	35
in one of which	35
portrait of a young	35
and the rest of	35
with the intention of	35
the nativity of christ	35
was not to be	35
as a means of	35
homilies by the rev	35
the opening of the	34
to the age of	34
in the united states	34
will be able to	34
in which it was	34
there may be seen	34
so far as they	34
the company of s	34
the design of the	34
borgo a san sepolcro	34
we do not know	34
as if he had	34
was the first to	34
he painted for the	34
still to be seen	34
as far as i	34
he painted a picture	34
for its own sake	34
of the city of	34
that he had made	34
in the middle ages	34
in the direction of	34
of the most illustrious	34
in the fact that	34
way in which the	34
of the great masters	34
of the fourteenth century	34
executed many works in	34
one of the great	34
on the piazza di	34
it would be difficult	34
on account of their	34
in the spirit of	34
the house of medici	34
of the immaculate conception	34
at a time when	34
more than any other	34
to the height of	34
is seated on a	34
is no doubt that	34
the lines of the	33
was buried in the	33
and this is the	33
which is held to	33
the virgin is seated	33
to be in the	33
hand to the work	33
and it is not	33
ought not to be	33
to the court of	33
on his way to	33
the shape of a	33
palace of fine arts	33
that the art of	33
the marriage of the	33
the valley of the	33
the position of the	33
caused him to paint	33
the son of the	33
is the expression of	33
great part of the	33
of those who have	33
and was buried in	33
a portrait of a	33
as far as possible	33
the rest of his	33
the wall of the	33
but i do not	33
the mouth of the	33
the completion of the	33
but it must be	33
the church of san	33
it is a very	33
one of the earliest	33
some of the most	33
from the hand of	33
on the point of	33
the convent of the	33
giuliano da san gallo	33
i do not say	33
but there is no	32
it is possible that	32
it must be remembered	32
the weight of the	32
can be no doubt	32
it is only in	32
was to be placed	32
he used to say	32
in the mind of	32
the exception of the	32
is a matter of	32
the altar of s	32
which was a very	32
him to paint a	32
in the convent of	32
of raffaello da urbino	32
it has been said	32
from the old testament	32
in his right hand	32
b member of the	32
he was forced to	32
the siege of florence	32
christ on the cross	32
and when he was	32
of the king of	32
that is to be	32
on the altar of	32
in the eyes of	32
as will be told	32
each side of the	32
both within and without	32
of a young man	32
and in the centre	32
over and over again	32
monks of monte oliveto	32
of the beauty of	32
in which there is	32
in the temple of	32
he made a portrait	32
of a dance of	32
through the medium of	32
presented by the artist	32
the idea of a	32
the arch of the	32
the same time that	32
the age of seventy	32
madonna and child with	32
with those of the	32
any of the others	32
the angel of the	32
it would be impossible	32
a good deal of	32
into the possession of	32
is said that the	32
in the person of	31
than any of the	31
in fresco in the	31
the name of a	31
may be called the	31
the temple of the	31
as if it had	31
of art in the	31
a seat of the	31
in the seventeenth century	31
such a manner as	31
in order that the	31
with respect to the	31
if he did not	31
and for this reason	31
on the left is	31
there is in the	31
for the altar of	31
not be able to	31
of the last century	31
the left of the	31
in favour of the	31
his native city of	31
be placed in the	31
the taste of the	31
and placed in the	31
the distribution of the	31
the age of fifty	31
at the base of	31
the author of the	31
the place where the	31
is supposed to be	31
may be able to	31
hand as one enters	31
one of the two	31
in black and white	31
that he should have	31
that were to be	31
in the open air	31
foot of the cross	31
it was not until	31
and some of the	31
is not in the	31
the fall of the	31
in the sacristy of	30
to him by the	30
he went to rome	30
the works of art	30
to be the most	30
which is on the	30
which was held to	30
the excellence of the	30
would not have been	30
the construction of the	30
gave his attention to	30
in his left hand	30
of which it is	30
of the holy spirit	30
for the same reason	30
in the museum at	30
of the picture is	30
in the eighteenth century	30
the names of the	30
the figures of the	30
of the tower of	30
of leonardo da vinci	30
new and cheaper edition	30
in the dresden gallery	30
the steps of the	30
of the most eminent	30
may be said that	30
would have been a	30
the high altar of	30
and the king said	30
of the virgin is	30
the tower of jewels	30
all the rest of	30
may be considered as	30
to the best of	30
fra bartolommeo di san	30
the imagination of the	30
the back of a	29
it was necessary to	29
and there is no	29
by his hand that	29
the result of the	29
but it is a	29
he was commissioned to	29
the king of france	29
as soon as the	29
dance of death in	29
at the instance of	29
the exhibition of the	29
in the other a	29
have a right to	29
in keeping with the	29
in comparison with the	29
the monks of monte	29
like that of the	29
that are to be	29
course of his life	29
the sake of the	29
under the title of	29
in the academy of	29
in the painting of	29
of the human body	29
not to be found	29
the best of his	29
as it has been	29
the genius of the	29
the life of christ	29
the building of s	29
a portrait of himself	29
by the duke of	29
portrait of a man	29
a god the father	29
of the power of	29
is a work of	29
the men of that	29
was at that time	29
the garden of the	29
made a beginning with	29
in the ruins of	29
part of the work	29
the truth of the	29
to the time of	29
it is better to	29
which was much extolled	29
the office of works	29
in the composition of	29
the difference between the	29
i know not what	29
that there is nothing	29
the appearance of the	29
of the passion of	29
so as to make	29
if he had been	29
with a view to	29
the most beautiful and	29
the flight into egypt	29
a chapel in the	29
painted a portrait of	28
he was one of	28
as a young man	28
not to speak of	28
of the same subject	28
from the original by	28
would be difficult to	28
in as far as	28
the people of the	28
with which it is	28
not only in the	28
the right hand of	28
a madonna with the	28
in the arrangement of	28
a certain number of	28
he was born in	28
with the aid of	28
the place of the	28
to the memory of	28
of the old masters	28
is the result of	28
say nothing of the	28
an endless number of	28
of the madonna in	28
no need to make	28
a sense of the	28
in an attitude of	28
of the th century	28
nations of the east	28
in imitation of the	28
the influence of the	28
when we come to	28
be seen at the	28
he was the son	28
no long time passed	28
both the one and	28
in a few days	28
massacre of the innocents	28
which is one of	28
little more than a	28
other parts of the	28
far as i know	28
the life of a	28
at the corner of	28
the coronation of the	28
the sculpture of the	28
in order to see	28
on the banks of	28
thrown to the ground	28
it could not be	28
to the king of	28
the action of the	28
seated on a throne	28
the ends of the	28
the origin of the	28
in the garden of	28
the principal door of	28
lower part of the	28
adoration of the shepherds	28
born and died at	28
the death of his	28
the same time he	28
it may be that	28
one of the chief	28
the composition of the	28
in company with the	28
to those who have	28
in the land of	28
the architecture of the	28
of the time of	28
the eye of the	28
was the daughter of	27
of the principal chapel	27
a man of great	27
in his own way	27
what may be called	27
on a level with	27
in the reign of	27
which is a very	27
even as in the	27
the panel of the	27
reason to believe that	27
in his old age	27
that was to be	27
the end that it	27
the church of santa	27
he was a man	27
at the court of	27
may have been the	27
the age of forty	27
to be seen at	27
on the right of	27
held to be the	27
of a series of	27
to be a very	27
the midst of a	27
have nothing to do	27
after the design of	27
the age of sixty	27
nations of the west	27
the victoria and albert	27
assumption of our lady	27
she was a pupil	27
in the power of	27
to the present day	27
which are very beautiful	27
is true that the	27
in the sistine chapel	27
in the month of	27
long time passed before	27
from a painting by	27
the figures in the	27
the doors of the	27
which is very beautiful	27
brought it about that	27
one above the other	27
at the death of	27
in the first instance	27
for a short time	27
the massacre of the	27
well as in the	27
by reason of his	27
at the present time	27
andrea dal monte sansovino	27
the children of the	27
the representation of the	27
the form of an	27
that it has been	27
and said unto him	27
member of the academy	26
the arts of design	26
of the same master	26
the thickness of the	26
the end of a	26
by the same artist	26
the court of abundance	26
that they may be	26
the invention of the	26
is due to the	26
to the effect that	26
the descent of the	26
in that of the	26
related in the life	26
and with the other	26
was much his friend	26
the national academy of	26
to have been painted	26
the sight of the	26
a manner as to	26
that some of the	26
and in the end	26
in the houses of	26
to him that he	26
in the fifteenth century	26
the treatment of the	26
than in any other	26
in the lap of	26
was to be a	26
of the human race	26
and it is the	26
of whom we have	26
of the family of	26
which was very beautiful	26
and to the end	26
it will not be	26
in spite of its	26
did not wish to	26
a few years ago	26
in the guardaroba of	26
painted a picture of	26
similar to that of	26
commissioned him to paint	26
the time when the	26
of the last judgment	26
the sacristy of s	26
who was much his	26
be seen from the	26
which may be seen	26
the age of thirty	26
the corners of the	26
they seem to be	26
the same time the	26
are by no means	26
the society of arts	26
that he had in	26
that he would have	26
when he was a	25
it seems to be	25
he returned to his	25
this part of the	25
the attitude of the	25
it appears to me	25
as a painter of	25
the best of all	25
to say that the	25
it would seem that	25
the works of those	25
the entrance to the	25
of one of his	25
the passion of christ	25
our lady with the	25
he was born at	25
in which is the	25
to be the first	25
of the greatest of	25
at the back of	25
of the most important	25
not in the least	25
are seen in the	25
he caused to be	25
of the setting sun	25
have not been able	25
in the studio of	25
he also painted a	25
of the human figure	25
end of his life	25
and that he was	25
in a chapel of	25
the shores of the	25
the centre of a	25
the descent from the	25
down from the cross	25
seems to me that	25
from the fact that	25
ought to have been	25
the royal academy in	25
that he should be	25
that he would be	25
the son of god	25
it is now in	25
early in the morning	25
in many of the	25
would not be possible	25
to be given to	25
has been called the	25
that he wished to	25
of the nature of	25
in the figure of	25
and on the left	25
in the arts of	25
were held to be	25
in the office of	25
so long as the	25
to speak of the	25
he said unto them	25
that he would never	25
as much as the	25
that there was no	25
as it may be	25
is a very beautiful	25
with the spirit of	25
have been in the	25
the world of art	25
of the spirit of	25
to go to the	25
at the entrance of	25
at the height of	25
does not appear to	25
a view of the	25
the perfection of the	25
of the duc de	25
in the place of	25
be related in the	25
is not so much	25
to be a good	25
the character of a	25
angel of the lord	25
of those who are	25
the choir of the	25
that he was the	25
the ceiling of the	25
at that time in	24
of the italian renaissance	24
part of the picture	24
on the way to	24
and other things of	24
in order to learn	24
there is nothing in	24
in order to show	24
in the execution of	24
in the highest degree	24
in the cathedral of	24
some of which are	24
at the sale of	24
in the pieve of	24
the close of his	24
the houses of the	24
in the hope of	24
the wardens of works	24
long as he lived	24
fra sebastiano viniziano del	24
it is necessary that	24
it may be seen	24
to the conclusion that	24
we must not forget	24
that he had a	24
might be able to	24
into the service of	24
the students of the	24
in respect of the	24
made a most beautiful	24
been one of the	24
with the assistance of	24
must be remembered that	24
descent of the holy	24
and the name of	24
in the hand of	24
with the works of	24
for it is a	24
which could not be	24
is represented in the	24
in place of the	24
of which there are	24
of the most remarkable	24
the heart of the	24
the features of the	24
the art of sculpture	24
by the help of	24
which he had made	24
every part of the	24
by the name of	24
in the heart of	24
the return of the	24
sebastiano viniziano del piombo	24
on one side and	24
marriage of the virgin	24
in order to give	24
of the high altar	24
to tell the truth	24
of the men who	24
not be possible to	24
an idea of the	24
the lives of the	24
to have been in	24
to those who are	24
in the sense of	24
the life of s	24
the time when he	24
to the top of	24
in the words of	24
in the nature of	24
he appears to have	24
and that it is	24
in the hague gallery	24
now to be seen	24
story of the magi	24
fra giovanni da fiesole	24
said to be the	24
the front of the	24
art in ancient egypt	24
that he had no	24
in the thirteenth century	24
with the rest of	24
in the attitude of	24
which was in the	24
the painter of the	24
had caused to be	24
i should like to	24
there is a very	24
the members of the	24
of such a kind	24
of an old man	24
and the beauty of	24
in the expression of	24
the same time to	24
the development of the	24
is a picture of	24
was a very beautiful	24
the interior of a	24
of the emperor charles	24
it seemed to me	24
of which i have	24
that the work was	24
to be made in	24
will be found to	24
the work of his	24
of the same man	24
in which they are	24
has come down to	24
the ruins of the	24
and it was not	23
and you will see	23
as a kind of	23
in which they were	23
as those of the	23
of the cathedral of	23
as one enters the	23
in addition to his	23
in the principal chapel	23
and a portrait of	23
the court of palms	23
which we have spoken	23
he painted a s	23
on the day of	23
and it may be	23
the age of twenty	23
need to make mention	23
this as it may	23
at the first glance	23
on the occasion of	23
at the very moment	23
to a certain extent	23
and in the background	23
a manner that it	23
the office of the	23
far as it is	23
it must not be	23
the days of the	23
is now to be	23
works that he executed	23
the friars of s	23
in the production of	23
in the following manner	23
may be seen at	23
without the porta a	23
to him in the	23
the masters of the	23
pupil of her father	23
for the tomb of	23
word of the lord	23
to return to florence	23
the th of august	23
is in the museum	23
in the space of	23
not one of the	23
the expression of a	23
it would be well	23
but there is a	23
of the rising sun	23
the characteristics of the	23
with one of the	23
the period of the	23
it is to the	23
the artists of the	23
it may not be	23
but at the same	23
sacred and legendary art	23
was by no means	23
at the command of	23
the works of others	23
with a most beautiful	23
of a number of	23
it seems as if	23
the result of a	23
the fabric of s	23
the roof of the	23
there seems to be	23
that i do not	23
it is not necessary	23
for the purposes of	23
it is well known	23
nanni di baccio bigio	23
by the aid of	23
but it is the	23
it is the most	23
of the arts of	23
than those of the	23
see note on p	23
the director of the	23
to paint a picture	23
at the moment of	23
what he had done	23
at that time to	23
of the arts in	23
the beauty of a	23
caused it to be	23
the knowledge of the	23
the most beautiful of	23
and of the other	23
and you will find	23
for my own part	23
the early part of	23
the court of flowers	23
the word of the	23
we are told that	23
a place in the	23
be this as it	23
works by his hand	23
rest of his life	23
the expression of his	23
that they did not	23
the foundation of the	23
if we are to	23
would be impossible to	23
in which he is	23
the strength of the	23
by the death of	23
the vault of the	23
pupil of his father	23
chapel in the church	23
the rules of art	23
of the human mind	23
a chapel in s	23
died in the year	22
of the work is	22
may be seen a	22
the miracle of the	22
by him in the	22
which there is a	22
in the practice of	22
there was to be	22
he said unto him	22
the daughter of the	22
are said to have	22
of the british museum	22
and other suchlike things	22
in which he has	22
of the head of	22
with an air of	22
one of his most	22
by the use of	22
as well as for	22
far as we can	22
of the lord duke	22
we are able to	22
and it is only	22
this is not the	22
on the right is	22
of all the arts	22
the foot of a	22
the duc de berry	22
the fine arts palace	22
and when they had	22
there is nothing to	22
he was in the	22
in the absence of	22
of his life in	22
death of the virgin	22
he painted in the	22
have been found in	22
right hand as one	22
towards the end of	22
to paint in the	22
from the hands of	22
the city of florence	22
the introduction of the	22
one enters the church	22
to believe that the	22
the study of art	22
in the manner that	22
part of the art	22
in any of the	22
that he was able	22
for the rest of	22
was purchased by the	22
placed in the church	22
it seems to have	22
of catherine augusta depeyster	22
executed with much diligence	22
and at the foot	22
him to make a	22
not seem to be	22
for the monks of	22
there is a picture	22
as a symbol of	22
a half in height	22
the title of the	22
by means of his	22
of the men of	22
the plan of the	22
in a great measure	22
in one hand and	22
the disposition of the	22
of our lady in	22
but it does not	22
a matter of fact	22
the memory of the	22
he was buried in	22
in the campo santo	22
as a man of	22
the assumption of our	22
are still to be	22
in harmony with the	22
filippo di ser brunellesco	22
the right hand as	22
the purpose of the	22
that they should be	22
as well as that	22
the first half of	22
the fashion of the	22
of the nuns of	22
the th of may	22
works of the great	22
it will be seen	22
of the hospital of	22
with his own hands	22
not seem to have	22
effect of the whole	22
to enter into the	22
lady with the child	22
was a painter of	22
it is related that	22
be able to do	22
the habit of a	22
in the choice of	22
a great variety of	22
in the background a	22
the madonna in the	22
it is believed that	22
and in the church	22
the most important of	22
made a very beautiful	22
the martyrdom of st	22
mention has been made	22
the book of the	22
of alexander the great	22
in which he had	22
to me to be	21
at the door of	21
put an end to	21
it does not appear	21
the date of the	21
the tombs of the	21
could not be more	21
has been able to	21
it seemed to him	21
when the work was	21
very much his friend	21
he would not have	21
the great hall of	21
with the greatest diligence	21
that it is impossible	21
the stories of the	21
the hands of a	21
the fact that they	21
the dignity of the	21
the time of his	21
with a vast number	21
what is called the	21
of the united states	21
it was one of	21
in some of his	21
john the baptist and	21
use of him in	21
of the royal family	21
exhibited at the royal	21
a panel for the	21
the house of messer	21
on the side towards	21
of the most famous	21
to the service of	21
the other in the	21
is reported to have	21
he set his hand	21
the best and most	21
it was to be	21
for the duke of	21
in the making of	21
to account for the	21
was given to the	21
from the works of	21
palace of varied industries	21
it will be found	21
the greater number of	21
the age of eighty	21
the life of that	21
the same kind of	21
men and women of	21
of the blessed virgin	21
in the valley of	21
to such an extent	21
our lady of the	21
house of the medici	21
the very moment when	21
bequest of catherine augusta	21
of the people of	21
in relation to the	21
in a very beautiful	21
for one of the	21
who lived in the	21
the worship of the	21
is represented by a	21
which is said to	21
to the level of	21
it is not only	21
the collection of lord	21
i have tried to	21
he was commissioned by	21
to our own day	21
for it is not	21
died in new york	21
he would have done	21
whatever may have been	21
to the students of	21
in the end he	21
pennsylvania academy of fine	21
the name of his	21
of painting and sculpture	21
on the wall of	21
some of the best	21
of a young girl	21
nothing could be more	21
the details of the	21
the use of a	21
was commissioned by the	21
i will venture to	21
far as i can	21
and some of his	21
thus saith the lord	21
is one of those	21
at that time was	21
as if he were	21
in the one case	21
a table covered with	21
portrait from life of	21
in the sight of	21
the arts of the	21
principal chapel of the	21
from that of the	21
and in like manner	21
in the decoration of	21
the whole of his	21
that this is the	21
that it would not	21
must have been a	21
one or other of	21
may be seen by	21
in a certain sense	21
the cause of the	21
to the nature of	21
so that it is	21
the fact that it	21
the sack of rome	21
palace of the medici	21
from the beginning of	21
was commissioned to make	21
reached the age of	21
it is possible for	21
the words of the	21
of sir joshua reynolds	21
the beauty of nature	21
of the value of	21
many of his works	21
was buried in s	21
by far the most	21
he was obliged to	21
to be regretted that	21
the whole of that	21
that there should be	21
has nothing to do	21
the waters of the	21
a picture in the	21
a representation of the	21
in each of these	21
a fine example of	21
one hundred and fifty	21
the center of the	20
the existence of the	20
in the right hand	20
the possession of his	20
in the tomb of	20
from the top of	20
in front of him	20
a man of genius	20
one of these is	20
that as it may	20
the academy of st	20
an account of the	20
of a man who	20
is in the possession	20
he died at the	20
there are to be	20
on the summit of	20
door of the church	20
it is not easy	20
supposed to be the	20
like those of the	20
fra giovanni agnolo montorsoli	20
with the dance of	20
in the background is	20
the greeks and romans	20
the faces of the	20
to work in the	20
in the picture of	20
the commission for the	20
by means of which	20
of death in the	20
the design for the	20
it is obvious that	20
on the inner side	20
so as to be	20
beautiful to a marvel	20
the means by which	20
to the character of	20
is a sort of	20
painted in fresco a	20
seems to be a	20
his hand that are	20
he was a pupil	20
i have not been	20
in the refectory of	20
in a few years	20
so went to work	20
that we do not	20
a man with a	20
was born in the	20
the side of a	20
altar of the church	20
the charge of the	20
a portrait from life	20
the column of progress	20
in order to avoid	20
of the national academy	20
of the venetian school	20
to the practice of	20
there is a great	20
from one of the	20
the expressions of the	20
it was a great	20
it is not in	20
on which account he	20
it to be a	20
as if they had	20
of one of these	20
said that he was	20
so beautiful and so	20
if they had been	20
of many of the	20
on his return from	20
the remains of the	20
in memory of the	20
the principles of the	20
we shall find that	20
of the duomo of	20
the house of a	20
in the royal academy	20
that one of the	20
with a piece of	20
a choir of angels	20
the artist and the	20
as a portrait painter	20
beyond the reach of	20
the arches of the	20
a short time before	20
president of the society	20
he also made a	20
he had made a	20
by a number of	20
as far as it	20
the affairs of the	20
the fame of the	20
to have been born	20
the minds of the	20
be that as it	20
delivered to the students	20
the request of the	20
on the head of	20
to the expression of	20
it is well to	20
in the summer of	20
i have no doubt	20
this is a very	20
which are to be	20
for the work of	20
well as of the	20
the consideration of the	20
the same may be	20
it appeared to him	20
in the first of	20
side of the court	20
of pope clement vii	20
of works of s	20
students of the royal	20
to look at the	20
a beginning with the	20
from day to day	20
the palace of s	20
in which the virgin	20
presentation at the temple	20
end that it might	20
in fresco on the	20
came to pass that	20
with an expression of	20
and in the third	20
of the heirs of	20
history of art in	20
on the one side	20
to which he had	20
is proved by the	20
i wish you to	20
this point of view	20
end of the trail	20
a knowledge of the	19
on which is a	19
be no doubt that	19
he was not a	19
the last years of	19
that the work of	19
the colour of the	19
at the very time	19
there has been a	19
in the territory of	19
that it seems to	19
as works of art	19
is more or less	19
the number of the	19
set up in the	19
which were to be	19
of adam and eve	19
it must be acknowledged	19
as long as the	19
of the reign of	19
according to the custom	19
which is beside the	19
great works of art	19
the degree in which	19
in a picture of	19
the favour of the	19
the loss of the	19
because it is not	19
in order that he	19
of the children of	19
that there was a	19
when he came to	19
in the library of	19
make use of it	19
the apartments of the	19
society of american artists	19
in the other the	19
a deposition from the	19
of some of his	19
exhibited at the academy	19
will be found in	19
was a disciple of	19
of the name of	19
it seems to us	19
an example of the	19
he painted the panel	19
of the three kings	19
distribution of the prizes	19
which he had been	19
it is a great	19
the early age of	19
as large as life	19
it must be admitted	19
during the reign of	19
the excellence of his	19
to one of his	19
it is only a	19
one of the principal	19
be made in the	19
under the discipline of	19
one of his own	19
in the pictures of	19
at that time a	19
at the early age	19
the relation of the	19
court of the ages	19
the destruction of the	19
said that he had	19
and a number of	19
to the custom of	19
of the holy family	19
may be seen the	19
a number of figures	19
that i did not	19
in the world of	19
is known to have	19
by which it is	19
of no great size	19
it was the custom	19
the foundations of the	19
who was born in	19
which it has been	19
by the presence of	19
the head of holofernes	19
the school of the	19
painted the panel of	19
of the same church	19
of a young woman	19
the th of september	19
to him that the	19
he had a great	19
of the holy ghost	19
been related in the	19
they are to be	19
the matter of the	19
the th of july	19
better than any other	19
are of the same	19
work of art as	19
the avenue of palms	19
one of his best	19
the quality of the	19
about the middle of	19
which belongs to the	19
in many of his	19
and i do not	19
we may be sure	19
for the love of	19
of which he had	19
in the second place	19
the drawing of the	19
the hand of man	19
taken down from the	19
related in the proper	19
the woman of samaria	19
as well as he	19
a visit to the	19
it cannot be denied	19
dance of death at	19
woman taken in adultery	19
painted the chapel of	19
by the men of	19
caused him to make	19
figure of the virgin	19
in that part of	19
may be regarded as	19
of which is a	19
that the works of	19
the figure of christ	19
the beauty of art	19
of the most interesting	19
of the fact that	19
after the designs of	19
to be seen by	19
to think that the	19
the end that they	19
saying that he had	19
at one and the	19
is still to be	19
the virgin in the	19
early part of the	19
to go to rome	19
among the ruins of	19
a man of the	19
have been the first	19
he could not have	19
has the appearance of	19
the door of s	19
i am not sure	19
on the distribution of	19
caused to be built	19
would be able to	19
the property of the	19
as an example of	19
of the most perfect	19
the course of a	19
to the right of	19
give his attention to	19
and the woman of	19
in its relation to	19
to the number of	19
a pupil of his	19
the presence of a	19
in his own country	19
who was very much	19
first half of the	19
at the house of	19
he made his way	19
we must remember that	19
i have been able	19
similar to those of	19
in the guise of	19
that this was the	18
the whole length of	18
to paint a panel	18
nativity of jesus christ	18
it would appear that	18
so it is said	18
the lord said unto	18
as we have said	18
to have been made	18
as a sort of	18
that if he had	18
the martyrdom of s	18
works of art are	18
that he was in	18
portraits from life of	18
the fury of the	18
of the macaber dance	18
to enable him to	18
in the nineteenth century	18
in the kingdom of	18
in the neighbourhood of	18
the portraits of the	18
has been said that	18
to the people of	18
the outer side of	18
as it had been	18
of the dutch school	18
we see in the	18
is a most beautiful	18
had nothing to do	18
the help of the	18
in the cloister of	18
no long time after	18
we ought not to	18
in all his works	18
of the building of	18
do not think it	18
the object of the	18
of marble in the	18
of the madonna and	18
pier francesco di jacopo	18
were to be seen	18
one of the few	18
was much the friend	18
that he might be	18
over the whole of	18
the porta a s	18
the baptism of christ	18
are for the most	18
to the lord duke	18
in the sense that	18
that is on the	18
for the beauty of	18
is a figure of	18
and the other a	18
and there was a	18
sermon on the mount	18
the hand of raffaello	18
principal chapel of s	18
a certain amount of	18
is not easy to	18
of the artist is	18
member of the society	18
we know that the	18
on his own account	18
of gold and silver	18
and as soon as	18
have been one of	18
the sale of the	18
art of the painter	18
and if he had	18
the way to the	18
don bartolommeo della gatta	18
to be the same	18
and it is now	18
the rise of the	18
the site of the	18
one of which was	18
as the work of	18
the th of june	18
i shall say nothing	18
jesus and the woman	18
then a young man	18
the symbol of the	18
there is but one	18
was commissioned to paint	18
the convent of s	18
in the pursuit of	18
he might have been	18
if they did not	18
so much of the	18
are the work of	18
the dome of the	18
the simplicity of the	18
the principle of the	18
the line of the	18
the face of a	18
to be an artist	18
he is able to	18
in his life of	18
so that we may	18
with which they are	18
a good example of	18
of view of the	18
will be seen that	18
of the infant christ	18
the importance of the	18
may be seen to	18
a more or less	18
it has been the	18
in the field of	18
in the gallery at	18
when he was in	18
in our national gallery	18
i think it is	18
that he should make	18
portrait of a gentleman	18
in this work he	18
towards the close of	18
of the guild of	18
the model of the	18
by a kind of	18
to which i have	18
and many of the	18
a man who was	18
with which they were	18
on the left of	18
the beginning of a	18
at the salon des	18
a piece of marble	18
may be said of	18
to return to his	18
the birth of the	18
the men and women	18
is not necessary to	18
a few years later	18
in a kind of	18
of the sistine chapel	18
of christ in the	18
the art of design	18
for the decoration of	18
the work of this	18
a year or two	18
in the likeness of	18
was the first who	18
the soul of the	18
fountain of el dorado	18
a quarter of a	18
florence in the year	18
together with many other	18
parts of the world	18
of the siege of	18
his way to rome	18
there is only one	18
it is not enough	18
of christ and the	18
and particularly in the	18
he made a very	18
at the entrance to	18
the time of pope	18
that it could not	18
the idea of beauty	18
so that it was	18
of pope paul iii	18
to be executed in	18
have the appearance of	18
same may be said	18
on the face of	18
in the wallace collection	18
of the mother of	18
at least in the	18
on the ground that	18
a very rare work	18
are held to be	18
the very nature of	18
and that it was	18
the whole of this	18
a man and a	18
the greatest of the	18
one of the many	18
he did the same	18
the monastery of the	18
on his return to	18
of the old testament	18
so as not to	18
to the men of	18
the borders of the	18
the voice of the	18
coronation of our lady	18
there is a fine	18
do not say that	18
to finish the work	18
the father of the	18
chapel of the high	18
as is proved by	18
there is no evidence	18
is one of his	18
there is a certain	18
the body of a	18
in the opinion of	18
he painted a madonna	18
who at that time	18
and that is the	17
he was invited to	17
to the life of	17
the very time when	17
the library of s	17
in his youth he	17
the mother of christ	17
in the hope that	17
in which he lived	17
face to face with	17
you will find the	17
in more than one	17
it would be better	17
the lords of the	17
and from that time	17
painted the portrait of	17
of the man who	17
in the building of	17
is said that he	17
of which it was	17
had the appearance of	17
finished the course of	17
of the tomb of	17
is by the hand	17
being one of the	17
have been made by	17
in addition to this	17
and the lord said	17
took him into his	17
the mystery of the	17
on a visit to	17
to the beauty of	17
he might be able	17
to be made of	17
of all that is	17
has a right to	17
is far from being	17
of death and the	17
works that he had	17
may or may not	17
it was he who	17
of andrea del sarto	17
he would have liked	17
to which it is	17
the sight of a	17
it is no marvel	17
a very beautiful picture	17
above the level of	17
the assumption of the	17
the pictures of the	17
was allotted to him	17
the wife of the	17
and it has been	17
for the good of	17
francesco di jacopo di	17
in the line of	17
was placed on the	17
where there is the	17
the de montor collection	17
of our lady with	17
so that he may	17
museum of fine arts	17
giovanni da castel bolognese	17
by the people of	17
of pope leo x	17
that of any other	17
is a kind of	17
some idea of the	17
with a very beautiful	17
of the legion of	17
is shown in the	17
the prince of wales	17
i am sure that	17
the beauty of his	17
was the work of	17
in the round and	17
in the construction of	17
such a thing as	17
but it would be	17
the whole history of	17
that had ever been	17
a short time he	17
in order to obtain	17
in the left hand	17
the same master painted	17
the nuns of the	17
by andrea del sarto	17
would have liked to	17
the beauties of the	17
he came to the	17
each other in the	17
with the greatest possible	17
used to say that	17
the son of man	17
at some distance from	17
to the extent of	17
for this reason he	17
there was a great	17
he had been a	17
to the use of	17
and by the same	17
the capitol at washington	17
the creation of the	17
i will give you	17
he was a great	17
the church of england	17
the outside of the	17
to be regarded as	17
the same way as	17
considered one of the	17
one of them is	17
he executed many works	17
nothing better could be	17
the land of egypt	17
it is not surprising	17
and he would have	17
centre of the picture	17
of etching and etchers	17
but he was not	17
the group of the	17
that they might be	17
be given to the	17
it appears to be	17
we have reason to	17
he returned to florence	17
might have been expected	17
to the eyes of	17
is a group of	17
with the art of	17
answered and said unto	17
in any other way	17
part of the body	17
who was then a	17
under the protection of	17
after the likeness of	17
in the beauty of	17
in a way that	17
one or the other	17
of the idea of	17
they would have been	17
one hundred and twenty	17
appeared to him that	17
setting his hand to	17
not far from the	17
of john the baptist	17
with the name of	17
the tigris and euphrates	17
madonna in the sky	17
there is no reason	17
as far as they	17
do not believe that	17
from what has been	17
they seem to have	17
if it were not	17
of the principles of	17
that he has been	17
principal door of the	17
to be a painter	17
in the other is	17
the breath of life	17
which ought to be	17
entered the school of	17
the work was finished	17
to the royal academy	17
in the interior of	17
he had been in	17
francesco da san gallo	17
b no reply to	17
make use of him	17
in every part of	17
and at the end	17
better to be seen	17
which he made a	17
in matters of art	17
i do not believe	17
is perhaps the most	17
the exercise of the	17
and in spite of	17
of the marriage of	17
it is enough to	17
to the present time	17
made up his mind	17
one of the three	17
the ark of the	17
and the mother of	17
the likeness of the	17
the interest of the	17
christ and the virgin	17
of art is the	17
that he had to	17
or for some other	17
not appear to have	17
if i were to	17
the case of a	17
the point of the	17
in the byzantine style	17
has been said above	17
must be admitted that	17
the death of her	17
which he executed in	17
the presentation of the	17
the curve of the	17
there is to be	17
it is the same	17
from the de montor	17
that nothing better could	17
to paint the chapel	17
portrait of the artist	17
of color and form	17
himself in such a	17
of black and white	17
the beauty of this	17
with reference to the	17
up his mind to	16
the reason that in	16
the tower of the	16
the conversion of s	16
he left behind him	16
of the convent of	16
high altar of the	16
on a larger scale	16
was very much his	16
the floor of the	16
of a man of	16
the side towards the	16
he made a beginning	16
piece of the high	16
the skill of the	16
art of the past	16
passion of jesus christ	16
was to be seen	16
the society of american	16
in a few months	16
the opinion of the	16
executed a number of	16
from the design of	16
with a number of	16
church of the servi	16
is the story of	16
with a sense of	16
at a distance of	16
the virgin and the	16
the sound of the	16
the friend of the	16
this is the only	16
the length of the	16
it to be the	16
there is a little	16
with a good number	16
of the duchess of	16
a very rich and	16
seems to me to	16
figure of a man	16
seems to be the	16
whole length of the	16
in allusion to the	16
of him in the	16
it may be called	16
in the chamber of	16
order that he might	16
play of light and	16
the east and west	16
the heat of the	16
of our lady and	16
was a very good	16
with such diligence and	16
in the centre is	16
on the st of	16
and others of the	16
lords of the philistines	16
seen at the present	16
the salon des artistes	16
has been said of	16
of the first rank	16
in the annals of	16
to which they were	16