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 |
---|---|
one of the | 2014 |
and in the | 1188 |
in order to | 1038 |
as well as | 948 |
in the same | 875 |
it is not | 850 |
there is a | 838 |
the church of | 829 |
part of the | 824 |
to have been | 768 |
that he was | 758 |
of the same | 743 |
the work of | 739 |
of the most | 739 |
that he had | 737 |
it is a | 720 |
the works of | 707 |
on the other | 700 |
that of the | 687 |
there is no | 664 |
the art of | 651 |
of the virgin | 627 |
it is the | 602 |
it may be | 595 |
that it is | 591 |
in which the | 568 |
is in the | 563 |
is to be | 559 |
the same time | 552 |
the life of | 543 |
and it is | 542 |
in the year | 538 |
the hand of | 536 |
the death of | 528 |
at the same | 527 |
of the great | 520 |
the end of | 517 |
the name of | 506 |
the head of | 496 |
work of art | 494 |
some of the | 490 |
at that time | 485 |
out of the | 484 |
and of the | 481 |
the house of | 478 |
to be a | 474 |
in the church | 473 |
that it was | 461 |
church of s | 452 |
of his own | 451 |
the time of | 449 |
may be seen | 448 |
of all the | 447 |
it would be | 447 |
according to the | 446 |
to be the | 439 |
of the church | 438 |
but it is | 436 |
i do not | 434 |
he did not | 428 |
the chapel of | 426 |
on the right | 423 |
and the other | 421 |
a work of | 420 |
by the hand | 419 |
in which he | 419 |
so far as | 416 |
side of the | 415 |
as in the | 411 |
the history of | 411 |
of the art | 408 |
is one of | 407 |
on account of | 407 |
the form of | 402 |
a portrait of | 400 |
and on the | 400 |
of the world | 397 |
one of his | 393 |
to be seen | 392 |
would have been | 387 |
of the work | 385 |
on the left | 385 |
as it is | 383 |
in such a | 382 |
the age of | 376 |
he was a | 374 |
now in the | 371 |
by means of | 369 |
it has been | 365 |
in the centre | 358 |
the palace of | 355 |
the beauty of | 353 |
end of the | 349 |
of the artist | 348 |
to the end | 345 |
not to be | 344 |
the portrait of | 343 |
in the world | 341 |
in the first | 340 |
a man of | 339 |
the manner of | 339 |
and all the | 338 |
was to be | 335 |
works of art | 334 |
to be found | 334 |
as has been | 331 |
the power of | 329 |
he painted a | 329 |
those of the | 328 |
the fact that | 328 |
a number of | 327 |
in the middle | 324 |
when he was | 322 |
the other hand | 322 |
seems to have | 319 |
be able to | 317 |
it was a | 313 |
the son of | 312 |
the reason that | 311 |
that he should | 311 |
the court of | 308 |
of the picture | 306 |
more or less | 305 |
of his life | 304 |
account of the | 300 |
this is the | 300 |
a very beautiful | 300 |
in the other | 299 |
as it were | 296 |
which he had | 296 |
the hands of | 295 |
must have been | 294 |
of our lady | 294 |
of the whole | 293 |
in spite of | 293 |
in one of | 291 |
of the old | 286 |
the beginning of | 285 |
of the two | 285 |
as to the | 285 |
of the first | 284 |
the use of | 283 |
as far as | 283 |
chapel of the | 283 |
dance of death | 282 |
that he would | 281 |
the duke of | 281 |
picture of the | 281 |
that is to | 280 |
it was not | 280 |
said to have | 277 |
the whole of | 275 |
and at the | 273 |
the rest of | 272 |
the study of | 269 |
at the end | 269 |
and it was | 268 |
the middle of | 268 |
in the house | 268 |
he had been | 267 |
be seen in | 265 |
to make a | 265 |
in the form | 263 |
the spirit of | 263 |
of the city | 261 |
a picture of | 259 |
are in the | 259 |
that there is | 259 |
it must be | 259 |
a kind of | 258 |
the midst of | 257 |
many of the | 256 |
be found in | 255 |
that in the | 255 |
are to be | 255 |
on one side | 254 |
a pupil of | 254 |
he made a | 254 |
it will be | 253 |
in his own | 253 |
which is the | 252 |
it is said | 252 |
at the foot | 251 |
is to say | 249 |
work of the | 249 |
in the midst | 249 |
of those who | 248 |
by his hand | 248 |
the character of | 247 |
the story of | 246 |
and he was | 246 |
by the same | 245 |
the idea of | 245 |
a sort of | 245 |
it is to | 243 |
the expression of | 243 |
ought to be | 243 |
which it is | 243 |
the present day | 243 |
he would have | 242 |
the centre of | 242 |
the course of | 242 |
the end that | 241 |
he could not | 241 |
portrait of the | 241 |
church of the | 241 |
at the time | 240 |
in front of | 240 |
a series of | 239 |
the walls of | 239 |
of the best | 238 |
he was not | 238 |
one of these | 237 |
head of the | 237 |
portrait of a | 236 |
a young man | 234 |
the royal academy | 234 |
the possession of | 233 |
the collection of | 232 |
the fine arts | 232 |
seen in the | 231 |
of the human | 231 |
as i have | 231 |
of which the | 230 |
to return to | 230 |
it is true | 229 |
a most beautiful | 228 |
a piece of | 228 |
of the royal | 227 |
and that the | 226 |
the case of | 226 |
there was a | 226 |
so as to | 226 |
is said to | 225 |
in addition to | 225 |
and for the | 223 |
court of the | 223 |
and to the | 222 |
in the chapel | 222 |
at the age | 222 |
which i have | 221 |
placed in the | 221 |
for the reason | 221 |
by no means | 220 |
of fine arts | 220 |
held to be | 219 |
the foot of | 219 |
but in the | 218 |
up to the | 218 |
he painted the | 218 |
on either side | 217 |
of the palace | 217 |
of the other | 217 |
the figure of | 216 |
member of the | 215 |
found in the | 215 |
it was the | 215 |
the tomb of | 215 |
that he has | 215 |
on the contrary | 214 |
in the case | 214 |
of one of | 213 |
works of the | 213 |
of the madonna | 213 |
which is a | 213 |
the presence of | 212 |
may be said | 211 |
of light and | 211 |
was in the | 209 |
one of them | 209 |
and with the | 208 |
the style of | 208 |
in all the | 208 |
art of the | 208 |
we do not | 208 |
of the painter | 207 |
it is in | 207 |
the nature of | 206 |
john the baptist | 206 |
the most beautiful | 206 |
is not the | 205 |
could not be | 205 |
if he had | 205 |
of the time | 204 |
him in the | 204 |
of which he | 204 |
by reason of | 204 |
to say that | 203 |
with his own | 203 |
to see the | 203 |
he had a | 202 |
the influence of | 201 |
that they were | 201 |
in the background | 201 |
in like manner | 200 |
that he might | 200 |
seems to be | 200 |
the other side | 200 |
point of view | 200 |
the service of | 200 |
in that city | 199 |
middle of the | 199 |
to make the | 199 |
of his art | 199 |
the appearance of | 199 |
for the most | 199 |
a part of | 198 |
on the ground | 198 |
in the art | 198 |
to that of | 198 |
such a manner | 198 |
with all the | 198 |
in the most | 197 |
as may be | 197 |
the effect of | 197 |
was one of | 196 |
the th of | 196 |
a painter of | 195 |
that they are | 195 |
so that the | 195 |
which he was | 195 |
as much as | 195 |
of which is | 194 |
the school of | 194 |
at the present | 194 |
the face of | 193 |
that he is | 193 |
is not a | 192 |
beauty of the | 192 |
of the works | 192 |
which had been | 192 |
at this time | 191 |
in the foreground | 191 |
the best of | 191 |
of the house | 191 |
is now in | 190 |
the subject of | 190 |
life of the | 190 |
may have been | 190 |
in the louvre | 189 |
the right hand | 189 |
of his works | 188 |
it is only | 187 |
form of a | 187 |
history of the | 186 |
as he was | 186 |
in the air | 185 |
you will find | 185 |
he had not | 185 |
and there is | 185 |
to go to | 184 |
and by the | 184 |
more than a | 184 |
men and women | 184 |
from the life | 183 |
than that of | 183 |
as soon as | 183 |
some of his | 183 |
for it is | 182 |
of his work | 182 |
it seems to | 182 |
of the arts | 181 |
it to be | 180 |
of the greatest | 180 |
the top of | 180 |
the men of | 179 |
and when he | 178 |
a matter of | 178 |
for the sake | 177 |
of such a | 177 |
the first of | 176 |
the sake of | 176 |
that i have | 176 |
of the duke | 175 |
which may be | 175 |
and a half | 175 |
he painted in | 174 |
be said to | 174 |
were to be | 173 |
is a very | 173 |
the body of | 173 |
there was no | 173 |
parts of the | 173 |
that of a | 173 |
the king of | 172 |
in the palace | 172 |
they are not | 171 |
it does not | 171 |
which we have | 171 |
those who have | 171 |
the door of | 171 |
is the most | 171 |
with the greatest | 170 |
on the th | 170 |
of the court | 170 |
of the building | 170 |
with regard to | 170 |
of art in | 170 |
to those who | 170 |
the side of | 170 |
in his hand | 170 |
the act of | 169 |
a group of | 169 |
the result of | 169 |
the city of | 169 |
in the possession | 168 |
of a man | 168 |
down to the | 168 |
of the last | 168 |
of the earth | 168 |
and that he | 168 |
the genius of | 167 |
rest of the | 167 |
in her arms | 167 |
of the new | 167 |
to do with | 167 |
that he could | 167 |
the number of | 167 |
the company of | 166 |
when he had | 166 |
one of which | 166 |
the people of | 166 |
but it was | 165 |
light and shade | 165 |
in a very | 165 |
idea of the | 165 |
well as the | 165 |
knowledge of the | 164 |
is that of | 164 |
of the day | 164 |
the most part | 164 |
have been the | 164 |
it to the | 164 |
he went to | 163 |
time of the | 163 |
of the people | 163 |
in the way | 163 |
the temple of | 163 |
been able to | 162 |
the point of | 162 |
of art is | 162 |
the dance of | 161 |
and in a | 160 |
the british museum | 160 |
he was the | 160 |
had not been | 160 |
character of the | 160 |
of the subject | 159 |
than any other | 159 |
the fifteenth century | 159 |
in the second | 159 |
to be made | 158 |
in the work | 158 |
centre of the | 158 |
has been said | 158 |
of the lord | 158 |
of his time | 158 |
as they are | 158 |
in the manner | 158 |
one of those | 157 |
sense of the | 157 |
the purpose of | 157 |
in company with | 157 |
in the great | 157 |
would not be | 157 |
in the time | 156 |
and that of | 156 |
the most important | 156 |
in the act | 156 |
he is a | 156 |
it should be | 155 |
in the course | 155 |
because it is | 155 |
this is a | 155 |
there is nothing | 155 |
in a picture | 155 |
a short time | 154 |
view of the | 154 |
of the magi | 153 |
those who are | 153 |
foot of the | 152 |
and the same | 152 |
at the head | 152 |
in the hands | 152 |
it had been | 152 |
of which we | 152 |
any of the | 151 |
as it was | 151 |
the arts of | 151 |
to his own | 151 |
door of the | 151 |
most of the | 151 |
beginning of the | 151 |
of the king | 151 |
madonna and child | 151 |
which has been | 151 |
it in the | 151 |
palace of the | 150 |
for the same | 150 |
the daughter of | 149 |
has been related | 149 |
his own hand | 149 |
of which are | 149 |
is said that | 149 |
of the present | 149 |
have been a | 148 |
in the works | 148 |
the sixteenth century | 148 |
in the end | 147 |
of the renaissance | 147 |
da san gallo | 147 |
might have been | 147 |
of the french | 147 |
appears to have | 147 |
front of the | 147 |
was the first | 146 |
in which it | 146 |
the principles of | 146 |
in new york | 146 |
and the most | 146 |
of the ancient | 145 |
to the other | 145 |
of the temple | 145 |
it came to | 145 |
adoration of the | 145 |
the direction of | 145 |
of the sun | 145 |
seem to be | 144 |
do not know | 144 |
in the history | 144 |
house of the | 144 |
the light of | 144 |
figure of the | 144 |
the order of | 143 |
given to the | 143 |
the value of | 143 |
men of the | 143 |
after the death | 142 |
in those days | 142 |
there is an | 142 |
with which the | 142 |
for the first | 141 |
was a very | 141 |
of the four | 141 |
of the above | 140 |
of this kind | 140 |
he does not | 140 |
that it would | 140 |
to the same | 140 |
story of the | 140 |
the mother of | 140 |
raffaello da urbino | 139 |
a great deal | 139 |
i have been | 139 |
the mind of | 139 |
the man who | 139 |
to the great | 139 |
who had been | 138 |
painted for the | 138 |
at any rate | 138 |
painted in fresco | 138 |
and he said | 138 |
who was a | 138 |
with the same | 138 |
in the life | 138 |
seem to have | 138 |
which it was | 138 |
at the beginning | 137 |
not in the | 137 |
of his father | 137 |
came to pass | 137 |
art of painting | 137 |
but there is | 137 |
here and there | 137 |
said to be | 137 |
the painting of | 137 |
to be in | 137 |
of the mind | 137 |
for this reason | 137 |
two or three | 136 |
the seventeenth century | 136 |
as that of | 136 |
which is in | 136 |
we have the | 136 |
of the academy | 135 |
walls of the | 135 |
the eyes of | 135 |
for the purpose | 135 |
the sight of | 135 |
in this way | 135 |
of the universe | 135 |
he would not | 135 |
with which he | 134 |
is not to | 134 |
as will be | 134 |
for a time | 134 |
in a few | 134 |
to paint the | 134 |
expression of the | 134 |
there is the | 134 |
i have said | 134 |
and from the | 133 |
with that of | 133 |
it is impossible | 133 |
at the top | 133 |
to the eye | 133 |
in the temple | 132 |
as we have | 132 |
as one of | 132 |
more and more | 132 |
together with the | 132 |
and this is | 132 |
on the whole | 132 |
of the chapel | 132 |
the habit of | 131 |
of the man | 131 |
of the pope | 131 |
in which they | 131 |
of the figures | 131 |
the statue of | 131 |
nature of the | 131 |
the greater part | 131 |
of their own | 131 |
and one of | 131 |
when it was | 131 |
and the whole | 131 |
the place of | 131 |
it would have | 131 |
name of the | 131 |
the middle ages | 130 |
of this work | 130 |
of the society | 130 |
a sense of | 130 |
a picture by | 129 |
was born in | 129 |
for the church | 129 |
to the work | 129 |
of the figure | 129 |
one or two | 129 |
the sense of | 129 |
of the dead | 129 |
of the body | 129 |
a figure of | 129 |
the size of | 128 |
pictures of the | 128 |
i have seen | 128 |
of a great | 128 |
the representation of | 128 |
if it were | 128 |
which was a | 128 |
with the other | 128 |
the virgin and | 128 |
from the collection | 128 |
of the high | 128 |
an old man | 128 |
spirit of the | 127 |
the practice of | 127 |
belonging to the | 127 |
by way of | 127 |
it is an | 127 |
there is not | 127 |
such as the | 127 |
hand of the | 127 |
on the walls | 126 |
a long time | 126 |
in the last | 126 |
he returned to | 126 |
appears to be | 126 |
the father of | 125 |
study of the | 125 |
regard to the | 125 |
which is now | 125 |
in the picture | 125 |
for some time | 125 |
there are many | 125 |
all the other | 125 |
i am not | 125 |
the arms of | 125 |
of a young | 124 |
the way of | 124 |
the ruins of | 124 |
his hand to | 124 |
in order that | 124 |
i have not | 124 |
form of the | 124 |
in this work | 124 |
even in the | 124 |
on each side | 124 |
no less than | 124 |
virgin and child | 124 |
the picture of | 123 |
a man who | 123 |
as he had | 123 |
the picture is | 123 |
use of the | 123 |
the eighteenth century | 123 |
painters of the | 123 |
it might be | 123 |
leonardo da vinci | 122 |
he wished to | 122 |
this was the | 122 |
the virgin is | 122 |
from the cross | 122 |
and in this | 122 |
of the highest | 122 |
of the fifteenth | 122 |
the part of | 122 |
of art and | 122 |
so long as | 122 |
years of age | 122 |
the first time | 121 |
the altar of | 121 |
had to be | 121 |
that there was | 121 |
of some of | 121 |
the building of | 121 |
many of his | 121 |
not so much | 120 |
master of the | 120 |
to speak of | 120 |
on the subject | 120 |
place in the | 120 |
of the life | 120 |
the title of | 119 |
the work was | 119 |
of the early | 119 |
the height of | 119 |
which he has | 119 |
while he was | 119 |
for many years | 119 |
the design of | 119 |
in the matter | 119 |
in the morning | 119 |
between the two | 119 |
they did not | 119 |
the shape of | 119 |
altar of the | 119 |
seems to me | 118 |
the close of | 118 |
on the side | 117 |
when it is | 117 |
painted in the | 117 |
and with a | 117 |
of the young | 117 |
to paint a | 117 |
of the cross | 117 |
him to the | 117 |
and his wife | 116 |
of his pictures | 116 |
in the distance | 116 |
that is the | 116 |
andrea del sarto | 116 |
the meaning of | 116 |
could not have | 116 |
is true that | 116 |
to have the | 116 |
which they were | 115 |
as long as | 115 |
to have a | 115 |
great number of | 115 |
the left hand | 115 |
to be able | 115 |
the cause of | 115 |
caused him to | 115 |
would not have | 115 |
of the past | 115 |
that are in | 115 |
that they have | 114 |
was a pupil | 114 |
a great number | 114 |
to be placed | 114 |
it is very | 114 |
that we have | 114 |
face of the | 114 |
that he did | 114 |
as a whole | 114 |
the national gallery | 114 |
the back of | 114 |
which they are | 114 |
in the presence | 114 |
on the same | 113 |
in his work | 113 |
to the king | 113 |
of the medici | 113 |
to those of | 113 |
of the country | 113 |
in the hand | 113 |
the most perfect | 113 |
the battle of | 113 |
of what is | 113 |
it is possible | 113 |
a few years | 113 |
either side of | 113 |
in the old | 112 |
the whole work | 112 |
known as the | 112 |
the execution of | 112 |
the society of | 112 |
him to paint | 112 |
to the ground | 112 |
he had to | 112 |
of the three | 112 |
we have seen | 112 |
after he had | 112 |
the love of | 112 |
greater part of | 112 |
of michael angelo | 111 |
more than the | 111 |
of the holy | 111 |
which have been | 111 |
they do not | 111 |
it is that | 111 |
them in the | 111 |
and many other | 111 |
he was in | 111 |
which there is | 110 |
is not so | 110 |
the time when | 110 |
there is in | 110 |
in the city | 110 |
to believe that | 110 |
of the latter | 110 |
as an artist | 110 |
way in which | 110 |
top of the | 110 |
and in his | 110 |
members of the | 110 |
he used to | 109 |
as to be | 109 |
in the garden | 109 |
portraits of the | 109 |
the feet of | 109 |
to which the | 109 |
maria del fiore | 109 |
as a painter | 109 |
of the beautiful | 109 |
it is difficult | 108 |
chapel of s | 108 |
the heads of | 108 |
much of the | 108 |
said unto him | 108 |
with the child | 108 |
the birth of | 108 |
of the year | 108 |
he made the | 108 |
the same master | 108 |
the nineteenth century | 108 |
the difference between | 108 |
in that place | 108 |
of the principal | 108 |
of the fine | 108 |
is the only | 108 |
to be an | 107 |
is full of | 107 |
what has been | 107 |
was born at | 107 |
it as a | 107 |
pictures in the | 107 |
more than one | 107 |
him in his | 106 |
that we are | 106 |
work in the | 106 |
the author of | 106 |
of the sea | 106 |
of the kind | 106 |
attention to the | 106 |
in any other | 106 |
he had made | 106 |
in the british | 106 |
one and the | 106 |
the portraits of | 106 |
in this country | 106 |
will be found | 105 |
but he was | 105 |
the names of | 105 |
some of them | 105 |
by which the | 105 |
in the service | 105 |
him that he | 105 |
appear to be | 105 |
the first to | 105 |
the academy of | 105 |
if it is | 105 |
of the roman | 105 |
reason of the | 104 |
as for the | 104 |
was able to | 104 |
to all the | 104 |
to the right | 104 |
there may be | 104 |
out of his | 104 |
and you will | 104 |
so that it | 104 |
of the finest | 104 |
than in the | 104 |
in the very | 104 |
all that is | 104 |
of the said | 103 |
or in the | 103 |
the world of | 103 |
there is one | 103 |
being able to | 103 |
and when the | 103 |
van de velde | 103 |
supposed to be | 103 |
whole of the | 103 |
and it came | 103 |
a dance of | 103 |
where he was | 103 |
he has been | 103 |
as a rule | 103 |
the excellence of | 103 |
look at the | 103 |
the absence of | 102 |
made in the | 102 |
which is not | 102 |
to make it | 102 |
it was in | 102 |
it is necessary | 102 |
his attention to | 102 |
in a word | 102 |
sir joshua reynolds | 102 |
that had been | 102 |
not able to | 102 |
he began to | 102 |
because of the | 102 |
head of a | 102 |
it cannot be | 102 |
he had no | 101 |
is difficult to | 101 |
of its own | 101 |
the same city | 101 |
caused to be | 101 |
was a great | 101 |
the glory of | 101 |
is called the | 101 |
to the present | 101 |
to the mind | 101 |
figures in the | 101 |
they may be | 101 |
in the following | 101 |
description of the | 101 |
as they were | 101 |
his way to | 101 |
a few days | 101 |
the days of | 101 |
only in the | 100 |
he was born | 100 |
so that he | 100 |
it is now | 100 |
that they had | 100 |
the truth of | 100 |
little more than | 100 |
the work is | 100 |
on the wall | 100 |
in our own | 100 |
of the ancients | 100 |
of the head | 100 |
the hall of | 99 |
and he had | 99 |
i know not | 99 |
because he was | 99 |
to look at | 99 |
the infant christ | 99 |
was a man | 99 |
the child in | 99 |
in so far | 99 |
the painter of | 99 |
of the seventeenth | 99 |
of the grand | 99 |
the reign of | 99 |
death of the | 99 |
in the mind | 99 |
with the most | 99 |
that it should | 98 |
of the sixteenth | 98 |
to which he | 98 |
presented by the | 98 |
on the part | 98 |
b born in | 98 |
works that he | 98 |
effect of the | 98 |
there can be | 98 |
the artist has | 98 |
connected with the | 98 |
something of the | 98 |
in the national | 97 |
well as in | 97 |
due to the | 97 |
but they are | 97 |
to the duke | 97 |
figures of the | 97 |
not only in | 97 |
in the whole | 97 |
was not a | 97 |
we have no | 97 |
history of art | 97 |
so to speak | 97 |
and there are | 97 |
as it may | 97 |
not have been | 97 |
the adoration of | 97 |
is impossible to | 97 |
who was then | 97 |
the state of | 96 |
a state of | 96 |
i did not | 96 |
that the work | 96 |
the land of | 96 |
there are two | 96 |
the base of | 96 |
the quality of | 96 |
for a long | 96 |
of a very | 96 |
after the manner | 96 |
of all that | 96 |
the artist is | 96 |
that he made | 96 |
the production of | 96 |
for a moment | 96 |
at all events | 96 |
him to be | 96 |
which was to | 96 |
the minds of | 96 |
of the emperor | 95 |
to do it | 95 |
the children of | 95 |
representation of the | 95 |
portion of the | 95 |
on the piazza | 95 |
in this respect | 95 |
he was so | 95 |
possession of the | 95 |
after his death | 95 |
so great a | 95 |
this is not | 95 |
on which the | 95 |
set himself to | 95 |
the progress of | 95 |
child in her | 94 |
by the artist | 94 |
in the round | 94 |
is on the | 94 |
of the order | 94 |
like that of | 94 |
for his own | 94 |
is also a | 94 |
it is so | 94 |
as if it | 94 |
is seen in | 94 |
in the collection | 94 |
the creation of | 94 |
a very good | 94 |
of which there | 94 |
from the same | 94 |
of a work | 94 |
exhibited at the | 94 |
said that he | 94 |
order of the | 94 |
account of his | 94 |
the master of | 94 |
the united states | 94 |
of the eighteenth | 94 |
he is not | 93 |
the perfection of | 93 |
to represent the | 93 |
the existence of | 93 |
or at least | 93 |
to give a | 93 |
a manner that | 93 |
to show that | 93 |
with the exception | 93 |
the principal chapel | 93 |
in our book | 93 |
addition to the | 93 |
the memory of | 93 |
it is also | 93 |
the marriage of | 93 |
by those who | 93 |
has not been | 93 |
that it may | 93 |
of that city | 93 |
in consequence of | 92 |
he might have | 92 |
not only the | 92 |
the human form | 92 |
of jesus christ | 92 |
the same place | 92 |
the charge of | 92 |
of the walls | 92 |
it is no | 92 |
that which is | 92 |
in the country | 92 |
may not be | 92 |
owing to the | 92 |
we find the | 92 |
it is as | 92 |
the thirteenth century | 92 |
for which he | 92 |
there are no | 92 |
there is something | 92 |
power of the | 92 |
there are some | 92 |
a pair of | 92 |
is of the | 92 |
to give the | 92 |
that i am | 92 |
will not be | 92 |
at one time | 91 |
the forms of | 91 |
and there was | 91 |
to him that | 91 |
had been a | 91 |
example of the | 91 |
came to the | 91 |
should have been | 91 |
they have been | 91 |
also in the | 91 |
the book of | 91 |
in the early | 91 |
painter of the | 91 |
little by little | 91 |
to each other | 91 |
the object of | 91 |
the same manner | 91 |
taken from the | 91 |
conception of the | 91 |
in the present | 91 |
in the museum | 90 |
of the late | 90 |
can only be | 90 |
that it has | 90 |
we know that | 90 |
may be called | 90 |
in some of | 90 |
in his life | 90 |
to do so | 90 |
in the highest | 90 |
the exception of | 90 |
to one of | 90 |
in connection with | 90 |
the knowledge of | 90 |
which was the | 89 |
that this is | 89 |
for he was | 89 |
and some of | 89 |
the family of | 89 |
part of his | 89 |
of a woman | 89 |
of our own | 89 |
in his youth | 89 |
to this day | 89 |
his right hand | 89 |
picture of a | 89 |
by his own | 89 |
is the same | 89 |
it can be | 89 |
which he is | 89 |
the arrangement of | 89 |
of the wall | 89 |
one of her | 88 |
sides of the | 88 |
of the middle | 88 |
the friend of | 88 |
said that the | 88 |
up to that | 88 |
about the same | 88 |
part of a | 88 |
the remains of | 88 |
him as a | 88 |
is supposed to | 88 |
to the last | 88 |
of works of | 88 |
a statue of | 88 |
but to return | 88 |
the help of | 88 |
be in the | 88 |
for all the | 88 |
of the master | 88 |
figure of a | 88 |
scenes from the | 88 |
midst of the | 88 |
of the spirit | 88 |
was sent to | 87 |
his native city | 87 |
the development of | 87 |
to the most | 87 |
artists of the | 87 |
the virgin mary | 87 |
with those of | 87 |
belongs to the | 87 |
far as the | 87 |
of the others | 87 |
the tower of | 87 |
opposite to the | 87 |
up in the | 87 |
make use of | 87 |
to the left | 87 |
that all the | 87 |
to the world | 87 |
a very great | 87 |
the young man | 87 |
the first place | 87 |
the making of | 87 |
in accordance with | 86 |
that he may | 86 |
to him in | 86 |
he was very | 86 |
is at the | 86 |
to the art | 86 |
of this picture | 86 |
and i have | 86 |
the composition of | 86 |
reference to the | 86 |
was given to | 86 |
the same kind | 86 |
the level of | 86 |
in their own | 86 |
in the third | 86 |
new york gallery | 86 |
which we are | 86 |
arrangement of the | 86 |
and those of | 86 |
i will not | 86 |
and they were | 86 |
in place of | 86 |
manner in which | 86 |
in his native | 86 |
the same way | 85 |
of the louvre | 85 |
it would not | 85 |
the fame of | 85 |
come to the | 85 |
is not only | 85 |
company of the | 85 |
he is the | 85 |
the pictures of | 85 |
far as i | 85 |
gallery of fine | 85 |
have been made | 85 |
in imitation of | 85 |
he had done | 85 |
york gallery of | 85 |
of new york | 85 |
of the age | 85 |
picture in the | 85 |
the line of | 85 |
vast number of | 84 |
that it might | 84 |
should not be | 84 |
that there are | 84 |
to be very | 84 |
painting of the | 84 |
back to the | 84 |
subject of the | 84 |
appear to have | 84 |
that i should | 84 |
painted a panel | 84 |
in all his | 84 |
of which i | 84 |
to be done | 84 |
half of the | 84 |
the lord duke | 84 |
the nativity of | 84 |
of the word | 84 |
madonna in the | 84 |
he had the | 84 |
the surface of | 84 |
them to the | 84 |
it in a | 84 |
the matter of | 83 |
that may be | 83 |
light and shadow | 83 |
hall of the | 83 |
the introduction of | 83 |
the fountain of | 83 |
in the gallery | 83 |
in the arts | 83 |
of the modern | 83 |
many works in | 83 |
these are the | 83 |
one in the | 83 |
himself in the | 83 |
made for the | 83 |
the origin of | 83 |
in another place | 83 |
of the exposition | 83 |
from the first | 83 |
no more than | 83 |
black and white | 83 |
which are in | 83 |
one side of | 83 |
in this case | 83 |
would be a | 83 |
works of this | 83 |
of his genius | 83 |
church of st | 83 |
at the bottom | 83 |
mind of the | 83 |
the high altar | 82 |
the words of | 82 |
the last judgment | 82 |
some of these | 82 |
one hundred and | 82 |
in a short | 82 |
the heart of | 82 |
surface of the | 82 |
the works that | 82 |
of the second | 82 |
to work in | 82 |
they had been | 82 |
and the king | 82 |
corner of the | 82 |
it is of | 82 |
in that of | 82 |
in respect of | 82 |
a variety of | 82 |
the same church | 82 |
by order of | 82 |
the decoration of | 82 |
than those of | 82 |
we have a | 82 |
a copy of | 82 |
spite of the | 82 |
of the company | 82 |
as if the | 82 |
of the family | 82 |
christ in the | 82 |
many of them | 82 |
and died in | 82 |
to that time | 82 |
in the least | 82 |
and in particular | 82 |
nothing of the | 82 |
the office of | 82 |
the period of | 82 |
under the direction | 82 |
away from the | 81 |
of an artist | 81 |
but for the | 81 |
that has been | 81 |
at the salon | 81 |
all the rest | 81 |
it is one | 81 |
we are not | 81 |
to the pope | 81 |
the interior of | 81 |
to the first | 81 |
he seems to | 81 |
of the soul | 81 |
represented in the | 81 |
the attention of | 81 |
is not in | 81 |
in the next | 81 |
the madonna and | 81 |
the human figure | 81 |
is a great | 81 |
the effects of | 81 |
the duomo of | 81 |
have been in | 81 |
be seen from | 80 |
be considered as | 80 |
the details of | 80 |
with respect to | 80 |
of the duomo | 80 |
in the sky | 80 |
of the original | 80 |
that the artist | 80 |
of the school | 80 |
with so much | 80 |
out of a | 80 |
a disciple of | 80 |
all that he | 80 |
whom he had | 80 |
the houses of | 80 |
that they should | 80 |
treatment of the | 80 |
he came to | 80 |
is in a | 80 |
statue of the | 80 |
of a picture | 80 |
we have already | 80 |
which he made | 80 |
the wife of | 80 |
and many others | 80 |
and that is | 80 |
of the nineteenth | 80 |
the nuns of | 80 |
the monks of | 80 |
the position of | 80 |
ought to have | 80 |
of any kind | 80 |
over the door | 80 |
i have already | 80 |
on one of | 80 |
and died at | 79 |
the place where | 79 |
the four seasons | 79 |
art is the | 79 |
of our lord | 79 |
in regard to | 79 |
john the evangelist | 79 |
the painters of | 79 |
from which the | 79 |
returned to florence | 79 |
seated on a | 79 |
in the royal | 79 |
it is by | 79 |
to which they | 79 |
in a manner | 79 |
the laws of | 79 |
the method of | 79 |
supposed to have | 79 |
to him by | 79 |
the choice of | 79 |
a vast number | 79 |
service of the | 79 |
of the greek | 79 |
the kind of | 79 |
according to his | 79 |
of the tower | 79 |
in all its | 79 |
was held to | 78 |
the lines of | 78 |
and full of | 78 |
the same year | 78 |
was buried in | 78 |
in his house | 78 |
is necessary to | 78 |
the first and | 78 |
that is in | 78 |
a member of | 78 |
hands of the | 78 |
in this picture | 78 |
of the gods | 78 |
was the reason | 78 |
that can be | 78 |
this work was | 78 |
belong to the | 78 |
it is probable | 78 |
this may be | 78 |
compared with the | 78 |
in the face | 78 |
it was to | 78 |
with each other | 78 |
ought not to | 78 |
interest in the | 78 |
that i was | 78 |
return to the | 78 |
what he had | 78 |
although he was | 78 |
can be no | 78 |
to the whole | 78 |
the invention of | 78 |
the figures of | 78 |
an expression of | 78 |
set his hand | 78 |
the way in | 78 |
to such a | 78 |
you will see | 78 |
wall of the | 78 |
of which was | 77 |
and a little | 77 |
appeared to be | 77 |
he would be | 77 |
president of the | 77 |
adam and eve | 77 |
it from the | 77 |
each of the | 77 |
to think of | 77 |
executed many works | 77 |
by one of | 77 |
in which we | 77 |
the exhibition of | 77 |
is no doubt | 77 |
to a certain | 77 |
the group of | 77 |
to be painted | 77 |
of his master | 77 |
as if he | 77 |
by the rev | 77 |
level of the | 77 |
by the way | 77 |
to me that | 77 |
instead of the | 77 |
of the italian | 77 |
far as it | 76 |
of the arch | 76 |
our own day | 76 |
the artists of | 76 |
the scene of | 76 |
what is the | 76 |
not to mention | 76 |
the holy family | 76 |
each of these | 76 |
of the period | 76 |
i could not | 76 |
him by the | 76 |
because they are | 76 |
in the latter | 76 |
style of the | 76 |
with a very | 76 |
stories of the | 76 |
to the public | 76 |
what i have | 76 |
presence of the | 76 |
when they were | 76 |
went to rome | 76 |
the same man | 76 |
presented to the | 76 |
as he did | 76 |
in the rijks | 76 |
the loss of | 76 |
a few of | 76 |
the bottom of | 76 |
from the original | 76 |
of the public | 76 |
the significance of | 76 |
and i will | 76 |
of which it | 76 |
where he had | 76 |
the pleasure of | 75 |
has been the | 75 |
she was a | 75 |
the summit of | 75 |
madonna of the | 75 |
he has a | 75 |
must not be | 75 |
a very fine | 75 |
to paint in | 75 |
in competition with | 75 |
fact that the | 75 |
emperor charles v | 75 |
this picture is | 75 |
in the new | 75 |
placed on the | 75 |
has been made | 75 |
god the father | 75 |
the secret of | 75 |
of the scene | 75 |
in the court | 75 |
as if they | 75 |
the means of | 75 |
that she was | 75 |
was placed in | 75 |
to give him | 75 |
on the one | 75 |
the right of | 75 |
the way to | 75 |
one who has | 75 |
at the very | 75 |
because it was | 75 |
made by the | 74 |
of life and | 74 |
be given to | 74 |
of his mother | 74 |
death and the | 74 |
made use of | 74 |
the madonna in | 74 |
in his works | 74 |
those who had | 74 |
that they may | 74 |
in this manner | 74 |
have not been | 74 |
now and then | 74 |
and said unto | 74 |
so that they | 74 |
and that it | 74 |
it did not | 74 |
a collection of | 74 |
the convent of | 74 |
in the style | 74 |
not seem to | 74 |
of the various | 74 |
and the rest | 73 |
value of the | 73 |
the cathedral of | 73 |
it is well | 73 |
himself to the | 73 |
and to be | 73 |
were in the | 73 |
said to him | 73 |
of an old | 73 |
the other is | 73 |
if it be | 73 |
to me to | 73 |
he was able | 73 |
not at all | 73 |
in his art | 73 |
he was an | 73 |
in relation to | 73 |
may be found | 73 |
to take the | 73 |
i have no | 73 |
of this period | 73 |
is a little | 73 |
he executed a | 73 |
and other things | 73 |
body of the | 73 |
come down to | 73 |
the subject is | 73 |
at the sides | 73 |
of form and | 73 |
the painting by | 73 |
a picture in | 73 |
connection with the | 73 |
for the chapel | 73 |
them to be | 73 |
that have been | 73 |
a young woman | 73 |
of the men | 73 |
the architecture of | 73 |
it is clear | 73 |
after the painting | 73 |
the emperor charles | 72 |
they were not | 72 |
the same as | 72 |
there is another | 72 |
of his friends | 72 |
no doubt that | 72 |
he said unto | 72 |
the necessity of | 72 |
nothing to do | 72 |
base of the | 72 |
an example of | 72 |
the upper part | 72 |
examples of the | 72 |
it is certain | 72 |
of the many | 72 |
all the others | 72 |
the weight of | 72 |
that they might | 72 |
which is to | 72 |
as to make | 72 |
attached to the | 72 |
of the east | 72 |
to come to | 72 |
family of the | 72 |
so much as | 72 |
one of whom | 72 |
the figures are | 72 |
he also painted | 72 |
the aid of | 72 |
in proportion to | 71 |
from that of | 71 |
to think that | 71 |
even to the | 71 |
and when they | 71 |
to give it | 71 |
building of the | 71 |
art in the | 71 |
that could be | 71 |
in which a | 71 |
he may be | 71 |
of the nile | 71 |
of any other | 71 |
in her hand | 71 |
that is not | 71 |
is that the | 71 |
as those of | 71 |
portraits from life | 71 |
of our art | 71 |
if it had | 71 |
the completion of | 71 |
into the hands | 71 |
in memory of | 71 |
to the study | 70 |
was not the | 70 |
the manner in | 70 |
covered with a | 70 |
in the vatican | 70 |
altar of s | 70 |
the most illustrious | 70 |
the day of | 70 |
to see it | 70 |
they seem to | 70 |
from time to | 70 |
the space of | 70 |
of these two | 70 |
has been told | 70 |
and he is | 70 |
do you think | 70 |
all that was | 70 |
the prince of | 70 |
time to time | 70 |
to the general | 70 |
in favour of | 70 |
close of the | 70 |
to the artist | 70 |
all sorts of | 70 |
have been able | 70 |
among other things | 70 |
light of the | 70 |
he has made | 70 |
place of the | 70 |
that he executed | 70 |
chapel in the | 70 |
at a time | 70 |
in the academy | 70 |
of a lady | 70 |
to our own | 70 |
a chapel in | 70 |
the greatest of | 70 |
it is all | 69 |
the fall of | 69 |
on his way | 69 |
to whom he | 69 |
belonged to the | 69 |
of a new | 69 |
was not able | 69 |
we must not | 69 |
if they were | 69 |
it with the | 69 |
there has been | 69 |
in their hands | 69 |
to be of | 69 |
picture of our | 69 |
it appears to | 69 |
set to work | 69 |
to which it | 69 |
of the english | 69 |
order to make | 69 |
with a great | 69 |
all of them | 69 |
the museum of | 69 |
upon which the | 69 |
of the national | 69 |
for us to | 69 |
of the face | 69 |
of it in | 69 |
by him in | 69 |
of the good | 68 |
of the composition | 68 |
of the little | 68 |
of a few | 68 |
and all that | 68 |
and if he | 68 |
in the shape | 68 |
at the moment | 68 |
three or four | 68 |
it was painted | 68 |
in the duomo | 68 |
painted a picture | 68 |
and the two | 68 |
the designs of | 68 |
you will be | 68 |
the force of | 68 |
has been a | 68 |
he executed in | 68 |
i am sure | 68 |
in a great | 68 |
new york city | 68 |
that of his | 68 |
be said that | 68 |
number of figures | 68 |
to express the | 68 |
the cardinal of | 68 |
the duc de | 68 |
will be related | 68 |
that no one | 68 |
of the very | 68 |
on the head | 68 |
of his age | 68 |
in a little | 68 |
the opinion of | 68 |
at the royal | 68 |
the fresco by | 68 |
the last of | 68 |
of the artists | 68 |
not long afterwards | 68 |
of it is | 68 |
that i had | 68 |
the grace of | 68 |
is held to | 68 |
height of the | 68 |
the other a | 67 |
great deal of | 67 |
of the tomb | 67 |
nations of the | 67 |
the gallery of | 67 |
reply to circular | 67 |
in the place | 67 |
likely to be | 67 |
are not to | 67 |
antonio da san | 67 |
for him to | 67 |
the construction of | 67 |
it is evident | 67 |
with whom he | 67 |
of the west | 67 |
every part of | 67 |
it is quite | 67 |
of the pictures | 67 |
it is easy | 67 |
with much diligence | 67 |
son of the | 67 |
in the beginning | 67 |
they would have | 67 |
in which is | 67 |
down to us | 67 |
so it is | 67 |
where there is | 67 |
no reply to | 67 |
seemed to be | 67 |
which is so | 67 |
over the whole | 67 |
a desire to | 67 |
is the first | 67 |
the men who | 67 |
duke of urbino | 67 |
work on the | 67 |
with all his | 67 |
of the venetian | 67 |
of the imagination | 67 |
shown in the | 67 |
he must have | 66 |
only to the | 66 |
hand to the | 66 |
painting and sculpture | 66 |
be seen at | 66 |
the most famous | 66 |
to be so | 66 |
of the dance | 66 |
and we are | 66 |
to the house | 66 |
the picture was | 66 |
jacopo da pontormo | 66 |
could have been | 66 |
for the work | 66 |
the foundation of | 66 |
and if you | 66 |
the want of | 66 |
when they are | 66 |
he was to | 66 |
is a picture | 66 |
hundred and fifty | 66 |
he would never | 66 |
of his wife | 66 |
all the world | 66 |
daughter of the | 66 |
copy of the | 66 |
go to the | 66 |
a good deal | 66 |
which the artist | 66 |
and for this | 66 |
and in all | 66 |
by the side | 66 |
relation to the | 66 |
it must have | 65 |
meaning of the | 65 |
in its own | 65 |
that we may | 65 |
the artist to | 65 |
of the child | 65 |
the most interesting | 65 |
acquainted with the | 65 |
in a chapel | 65 |
out in the | 65 |
which can be | 65 |
the type of | 65 |
i should be | 65 |
of all his | 65 |
life in the | 65 |
of the divine | 65 |
the judgment of | 65 |
the last supper | 65 |
be regarded as | 65 |
such a way | 65 |
what is more | 65 |
the colour of | 65 |
end that he | 65 |
made a portrait | 65 |
art is not | 65 |
because he had | 65 |
that part of | 65 |
the strength of | 65 |
in his mind | 65 |
not only to | 65 |
in any way | 65 |
do not think | 65 |
the date of | 65 |
a way that | 65 |
in a certain | 65 |
of the thirteenth | 65 |
lines of the | 65 |
has never been | 65 |
at the back | 65 |
course of the | 65 |
at the base | 65 |
of the earliest | 64 |
the figures in | 64 |
the action of | 64 |
in the name | 64 |
and very beautiful | 64 |
he was always | 64 |
it seemed to | 64 |
with the head | 64 |
piece of the | 64 |
and also the | 64 |
a great measure | 64 |
is a portrait | 64 |
the possibility of | 64 |
means of the | 64 |
the charm of | 64 |
does not appear | 64 |
and this was | 64 |
and they are | 64 |
the attitude of | 64 |
was forced to | 64 |
it is this | 64 |
executed in the | 64 |
of art to | 64 |
of a certain | 64 |
in the open | 64 |
the labours of | 64 |
is probable that | 64 |
that he painted | 64 |
in that work | 64 |
by the great | 64 |
the old man | 64 |
he did the | 64 |
no long time | 64 |
that you have | 64 |
the gates of | 64 |
at a distance | 64 |
a right to | 64 |
where it is | 64 |
in some degree | 64 |
with a few | 64 |
and as the | 63 |
the madonna of | 63 |
we have been | 63 |
of the book | 63 |
saying that he | 63 |
to live in | 63 |
the garden of | 63 |
a master of | 63 |
of a painter | 63 |
or any other | 63 |
of art as | 63 |
among the most | 63 |
edition of the | 63 |
manner of the | 63 |
to be one | 63 |
proved to be | 63 |
surrounded by a | 63 |
in the habit | 63 |
works in the | 63 |
of him in | 63 |
he painted for | 63 |
the soul of | 63 |
an air of | 63 |
of the vaulting | 63 |
but this is | 63 |
for a few | 63 |
of which were | 63 |
they are the | 63 |
imitation of the | 63 |
to the best | 63 |
the commencement of | 63 |
are those of | 63 |
of a single | 63 |
such is the | 63 |
giovanni da udine | 63 |
like those of | 63 |
as a man | 63 |
as he is | 62 |
with which they | 62 |
you will not | 62 |
speak of the | 62 |
the arch of | 62 |
that the whole | 62 |
this kind of | 62 |
him with the | 62 |
was the son | 62 |
in a state | 62 |
to be considered | 62 |
on the way | 62 |
here is a | 62 |
arch of the | 62 |
manner of a | 62 |
and the great | 62 |
to which we | 62 |
the mouth of | 62 |
size of life | 62 |
say that he | 62 |
a period of | 62 |
after the panel | 62 |
of the cathedral | 62 |
appearance of the | 62 |
and a few | 62 |
of this artist | 62 |
of all these | 62 |
of the antique | 62 |
the panel by | 62 |
a very large | 62 |
as a means | 62 |
so far from | 62 |
is no need | 62 |
be one of | 62 |
to see that | 62 |
the air of | 62 |
of men and | 62 |
in which there | 62 |
scene of the | 62 |
to the very | 62 |
there was seen | 62 |
to show the | 62 |
which is very | 62 |
the sides of | 62 |
may still be | 62 |
the image of | 62 |
is due to | 62 |
of the one | 62 |
of so many | 62 |
it would seem | 62 |
the same thing | 61 |
by a great | 61 |
had been made | 61 |
is able to | 61 |
the eye of | 61 |
this picture was | 61 |
went to the | 61 |
the edge of | 61 |
after the fresco | 61 |
the sale of | 61 |
on the opposite | 61 |
all those who | 61 |
and most beautiful | 61 |
that i may | 61 |
a time when | 61 |
work of a | 61 |
lived in the | 61 |
to suppose that | 61 |
in the evening | 61 |
at the entrance | 61 |
of his death | 61 |
are full of | 61 |
i wish to | 61 |
in the original | 61 |
is not possible | 61 |
in one hand | 61 |
of them in | 61 |
may be a | 61 |
to make him | 61 |
only a few | 61 |
in a large | 61 |
with the great | 61 |
the benefit of | 61 |
do not mean | 61 |
the virgin in | 61 |
of the greeks | 61 |
with such diligence | 61 |
his work is | 61 |
duc de berry | 61 |
has always been | 61 |
of the cardinal | 61 |
most beautiful and | 61 |
himself to be | 61 |
masters of the | 61 |
with which it | 61 |
at once to | 61 |
not a little | 61 |
which are the | 61 |
it was his | 61 |
design of the | 60 |
it could not | 60 |
if i had | 60 |
although it is | 60 |
many other things | 60 |
you do not | 60 |
the old testament | 60 |
the triumph of | 60 |
the banks of | 60 |
the world is | 60 |
to follow the | 60 |
was the most | 60 |
the sons of | 60 |
and the lord | 60 |
he was also | 60 |
of his day | 60 |
at the door | 60 |
of the future | 60 |
and a very | 60 |
of the death | 60 |
there was nothing | 60 |
as we are | 60 |
but he is | 60 |
sent to the | 60 |
used in the | 60 |
the conception of | 60 |
what may be | 60 |
if you will | 60 |
the corner of | 60 |
the old masters | 60 |
able to do | 60 |
instead of being | 60 |
as i am | 60 |
to the works | 60 |
his left hand | 60 |
buried in the | 60 |
worthy of praise | 60 |
we are told | 60 |
and of a | 60 |
the passion of | 60 |
the most ancient | 60 |
none of the | 60 |
presented by mrs | 60 |
to take a | 60 |
of color and | 60 |
the variety of | 60 |
in the fine | 60 |
by the most | 60 |
the destruction of | 60 |
a portion of | 60 |
from which he | 60 |
the great masters | 60 |
made his way | 60 |
we see the | 60 |
of the river | 60 |
a friend of | 59 |
fra giovanni agnolo | 59 |
the most remarkable | 59 |
rather than the | 59 |
the language of | 59 |
young man of | 59 |
and to make | 59 |
we have to | 59 |
arms of the | 59 |
to finish the | 59 |
tower of jewels | 59 |
worthy to be | 59 |
had come to | 59 |
two of the | 59 |
still to be | 59 |
i believe that | 59 |
in other words | 59 |
but he had | 59 |
and of his | 59 |
side by side | 59 |
in the proper | 59 |
who have been | 59 |
believe that the | 59 |
on this subject | 59 |
on the altar | 59 |
added to the | 59 |
in the public | 59 |
the holy spirit | 59 |
the man of | 59 |
produced by the | 59 |
the lives of | 59 |
been in the | 59 |
a view of | 59 |
great part of | 59 |
there is also | 59 |
to point out | 59 |
and so well | 59 |
was commissioned to | 59 |
of the mother | 58 |
of the general | 58 |
the essence of | 58 |
all kinds of | 58 |
the artist and | 58 |
the exercise of | 58 |
a native of | 58 |
in fresco in | 58 |
to the people | 58 |
the gate of | 58 |
and so on | 58 |
he died at | 58 |
was not to | 58 |
in the school | 58 |
not one of | 58 |
large number of | 58 |
mother of the | 58 |
early in the | 58 |
way to the | 58 |
with the utmost | 58 |
the likeness of | 58 |
what it is | 58 |
is represented by | 58 |
and then to | 58 |
to make his | 58 |
part in the | 58 |
the imitation of | 58 |
proportion to the | 58 |
to be called | 58 |
which he painted | 58 |
he had already | 58 |
as the first | 58 |
number of the | 58 |
the plan of | 58 |
feet of the | 58 |
and he made | 58 |
a great part | 58 |
and the first | 58 |
him to make | 58 |
i have never | 58 |
i shall not | 58 |
the stories of | 58 |
in comparison with | 58 |
in a work | 58 |
of them are | 58 |
with most beautiful | 58 |
in this place | 58 |
in the past | 58 |
at first sight | 58 |
that she had | 58 |
he will be | 58 |
does not seem | 58 |
the merits of | 58 |
of nature and | 58 |
of the true | 58 |
say that the | 58 |
in the light | 58 |
the proper place | 58 |
is easy to | 58 |
the studio of | 58 |
the sistine chapel | 57 |
in the above | 57 |
in the days | 57 |
there will be | 57 |
the great hall | 57 |
to be more | 57 |
and those who | 57 |
the salon of | 57 |
said unto them | 57 |
a means of | 57 |
to be taken | 57 |
heads of the | 57 |
is the best | 57 |
painter of florence | 57 |
of the sistine | 57 |
now to be | 57 |
no need to | 57 |
he had never | 57 |
first of these | 57 |
in fresco the | 57 |
and what is | 57 |
to be built | 57 |
as he could | 57 |
at the first | 57 |
to have it | 57 |
the masters of | 57 |
of the place | 57 |
his father and | 57 |
it is more | 57 |
to make use | 57 |
in the right | 57 |
a visit to | 57 |
of the town | 57 |
bottom of the | 57 |
end of his | 57 |
of the size | 57 |
in each of | 57 |
years of his | 57 |
there must be | 57 |
can never be | 57 |
and i am | 57 |
he had seen | 57 |
in the two | 57 |
died at the | 57 |
the immaculate conception | 57 |
the middle distance | 57 |
to find the | 57 |
of the former | 57 |
be called the | 57 |
of that church | 57 |
he also made | 57 |
if they had | 57 |
of duke cosimo | 57 |
similar to that | 57 |
and as a | 57 |
of that kind | 57 |
by all the | 57 |
at the academy | 57 |
will be the | 57 |
the dignity of | 57 |
the same subject | 57 |
each of them | 56 |
and executed with | 56 |
what is called | 56 |
to mention that | 56 |
in the cathedral | 56 |
the present time | 56 |
the other in | 56 |
the vision of | 56 |
the siege of | 56 |
from the time | 56 |
collection of the | 56 |
is well known | 56 |
we ought to | 56 |
plan of the | 56 |
there is little | 56 |
of the ground | 56 |
in the composition | 56 |
charge of the | 56 |
but of the | 56 |
his own country | 56 |
while in the | 56 |
known to the | 56 |
the law of | 56 |
will find that | 56 |
the other the | 56 |
is to the | 56 |
used to say | 56 |
work that he | 56 |
and beauty of | 56 |
the mass of | 56 |
man in the | 56 |
in the hall | 56 |
it with a | 56 |
that you are | 56 |
have been found | 56 |
if we are | 56 |
much his friend | 56 |
and so he | 56 |
the coronation of | 56 |
is seated on | 56 |
as the most | 56 |
we are to | 56 |
our lady of | 56 |
the depth of | 56 |
of the dutch | 56 |
well as of | 56 |
on the cross | 56 |
the head and | 56 |
idea of a | 56 |
lies in the | 56 |
my husband had | 56 |
about the year | 56 |
of which they | 56 |
the latter is | 56 |
the first is | 56 |
he was commissioned | 56 |
sight of the | 56 |
had been in | 56 |
the painter has | 56 |
the principal door | 56 |
are seen in | 56 |
of his mind | 56 |
and even the | 56 |
of her husband | 55 |
to his father | 55 |
glory of the | 55 |
features of the | 55 |
he made his | 55 |
on the table | 55 |
part of it | 55 |
an artist of | 55 |
the medium of | 55 |
in order not | 55 |
yet it is | 55 |
it will not | 55 |
which he did | 55 |
and in that | 55 |
in which are | 55 |
seen at the | 55 |
returned to his | 55 |
to him who | 55 |
that some of | 55 |
from the old | 55 |
which he executed | 55 |
of great beauty | 55 |
the fourteenth century | 55 |
the most excellent | 55 |
who had a | 55 |
from the beginning | 55 |
of the state | 55 |
on the back | 55 |
with one hand | 55 |
was that of | 55 |
as a matter | 55 |
in the sense | 55 |
the wall of | 55 |
would have done | 55 |
by the duke | 55 |
i think it | 55 |
of beauty and | 55 |
are now in | 55 |
to him the | 55 |
and with such | 55 |
pope paul iii | 55 |
be placed in | 55 |
but at the | 55 |
of my own | 55 |
at the feet | 55 |
the martyrdom of | 55 |
in the best | 55 |
would be the | 55 |
has been done | 55 |
a knowledge of | 55 |
it in his | 55 |
the intention of | 55 |
his own portrait | 55 |
related in the | 55 |
in his day | 54 |
the world has | 54 |
exhibition of the | 54 |
again and again | 54 |
that he who | 54 |
the outer side | 54 |
appears to me | 54 |
was also a | 54 |
on his own | 54 |
and a great | 54 |
far as to | 54 |
was not only | 54 |
see in the | 54 |
upper part of | 54 |
edge of the | 54 |
all of which | 54 |
taste of the | 54 |
academy of design | 54 |
christ and the | 54 |
difference between the | 54 |
with many other | 54 |
nothing but the | 54 |
the powers of | 54 |
down from the | 54 |
the fact of | 54 |
seemed to me | 54 |
the valley of | 54 |
the greatness of | 54 |
his return to | 54 |
is only a | 54 |
all these things | 54 |
are very beautiful | 54 |
not of the | 54 |
in the human | 54 |
of the passion | 54 |
executed for the | 54 |
devoted himself to | 54 |
a large picture | 54 |
nor is it | 54 |
was much extolled | 54 |
ancient and modern | 54 |
in the upper | 54 |
of many of | 54 |
and went to | 54 |
the authority of | 54 |
the steps of | 54 |
signed and dated | 54 |
to the painter | 54 |
it is still | 54 |
him with a | 54 |
the piazza di | 54 |
order not to | 54 |
he was at | 54 |
on the outer | 54 |
in many of | 54 |
he set himself | 54 |
they are all | 54 |
for want of | 54 |
reason that he | 54 |
for the present | 54 |
there were no | 54 |
that a man | 54 |
on his return | 54 |
may be the | 53 |
the symbol of | 53 |
he died in | 53 |
is by no | 53 |
that there were | 53 |
had not yet | 53 |
the one and | 53 |
are on the | 53 |
from the ground | 53 |
there should be | 53 |
at her feet | 53 |
on the top | 53 |
perino del vaga | 53 |
and the work | 53 |
we come to | 53 |
had made a | 53 |
he should have | 53 |
is a fine | 53 |
one of a | 53 |
he has not | 53 |
of more than | 53 |
was on the | 53 |
those who were | 53 |
the only one | 53 |
and he has | 53 |
more of the | 53 |
that we should | 53 |
larger than life | 53 |
of the florentine | 53 |
piazza di s | 53 |
to us in | 53 |
us in the | 53 |
the science of | 53 |
a very rich | 53 |
attention of the | 53 |
did not know | 53 |
and of all | 53 |
of his most | 53 |
at the corners | 53 |
is very beautiful | 53 |
architecture of the | 53 |