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	72
greek inscriptions in brit	70
that is to say	64
in the british museum	62
the head of the	54
on the other hand	41
on the right is	40
is one of the	38
the back of the	37
on the right of	35
one of the most	35
the upper part of	35
the end of the	35
the gate of hell	34
on account of the	34
the burghers of calais	33
a part of the	33
on the left of	32
in the midst of	31
the middle of the	31
seated on a chair	31
in the right hand	31
the right of the	31
on the left is	31
as well as the	30
the base of the	29
the top of the	29
on each side of	29
as i have said	29
the foot of the	29
the centre of the	28
in front of the	27
the lower part of	27
for the most part	27
the right is a	26
each side of the	26
in the act of	24
in his left hand	24
upper part of the	24
at the end of	24
the left of the	24
in his right hand	24
relief is bounded by	23
and at the same	23
of the temple of	23
in the centre of	23
for the sake of	23
the relief is bounded	23
in her left hand	23
academy of fine arts	23
appears to have been	23
at the foot of	22
the left is a	22
is seated on a	22
the time of the	22
in the form of	22
in the presence of	22
of one of the	22
in the course of	21
of the middle ages	21
the side of the	21
in the left hand	21
the head of a	21
victoria and albert museum	21
with his left hand	20
to be found in	20
reclines on a couch	20
it is impossible to	20
the name of the	20
lower part of the	20
on the left a	19
the spirit of the	19
the age of brass	19
i do not know	19
the man with the	19
the hand of a	19
the right side of	19
the figure of the	19
in the church of	19
the surface of the	19
back of the head	19
it seemed to me	19
the art of the	19
with the right hand	19
at the head of	18
the figure wears a	18
a great deal of	18
is a table with	18
girt at the waist	18
of the west pediment	18
frieze of the parthenon	18
it seems to me	18
was one of the	18
i do not remember	18
and part of the	18
turned to the right	17
the academy of fine	17
in the history of	17
the subject of the	17
the figure on the	17
in the time of	17
the form of the	17
in the case of	17
with his right hand	17
the edge of the	17
foot of the couch	17
to that of the	16
of the human body	16
the rest of the	16
wears a long chiton	16
the face of the	16
of light and shade	16
it is to be	15
moving to the right	15
the sculptures of the	15
in her right hand	15
the left side of	15
the group of the	15
cast from the original	15
the frieze of the	15
at the back of	15
of the eighteenth century	15
of or san michele	15
the greater part of	15
this part of the	15
turned to the left	15
the beginning of the	15
with the left hand	15
to be able to	15
the way in which	14
clasps the hand of	14
a work of art	14
a cast from the	14
of the east pediment	14
of the fifth century	14
for the attachment of	14
a portion of the	14
with the broken nose	14
to one of the	14
of the burghers of	14
is now in the	14
that i did not	14
seated on a stool	14
man with the broken	14
the church of san	14
at the time of	14
the body of a	14
on his left arm	14
over the left shoulder	13
that it would be	13
it is probable that	13
the front of the	13
on the east side	13
the character of the	13
it would have been	13
a draped female figure	13
the right arm of	13
on the north side	13
part of the frieze	13
put an end to	13
in the same way	13
a woman is seated	13
a table with food	13
came to my studio	13
as soon as he	13
is to be found	13
in the open air	13
with her left hand	13
the midst of the	13
one of the figures	13
before him is a	13
is bounded by two	13
than that of the	12
for a long time	12
him is a table	12
of the british museum	12
the beauty of the	12
the history of the	12
of the grand duke	12
that i do not	12
seems to have been	12
on the top of	12
by luca della robbia	12
in one of the	12
in the middle of	12
of a sepulchral relief	12
i have already said	12
right side of the	12
the fine arts palace	12
left side of the	12
the study of the	12
it is difficult to	12
i was obliged to	12
wears a chiton with	11
of the fifteenth century	11
of the nineteenth century	11
the neck to the	11
the expression of the	11
right arm of the	11
is a cast from	11
the madonna and child	11
that i could not	11
so as to be	11
of luca della robbia	11
fourth earl of aberdeen	11
of the head of	11
bounded by two pilasters	11
from the time of	11
of the seventeenth century	11
the chapel of the	11
with her right hand	11
the work of the	11
fifth earl of aberdeen	11
with that of the	11
part of the body	11
next on the right	11
on the south side	11
surmounted by a pediment	11
it has been suggested	11
on the right side	10
the site of the	10
the society of dilettanti	10
over which is a	10
a pediment with acroteria	10
right of the slab	10
as well as in	10
as soon as i	10
has been suggested that	10
on one of the	10
sepulchral lekythos with relief	10
the original at athens	10
a bowl in his	10
and some of the	10
there can be no	10
in the first place	10
the right and left	10
upper part of a	10
hand raised to her	10
east side of the	10
but there is no	10
broken off at the	10
of a female figure	10
the head is wanting	10
with the exception of	10
the part of the	10
he said to me	10
portico of the erechtheion	10
the temple of apollo	10
of the relief is	10
the fifth earl of	10
be found in the	10
in the face of	10
the door of the	10
that it should be	10
and presented by the	10
the hair falls in	10
the close of the	10
by andrea della robbia	10
it was necessary to	10
the nations of the	10
of the figure of	10
the work of michaelis	10
the age of bronze	10
a part of a	10
pediment of the parthenon	10
from the original at	10
on either side of	10
to go to the	10
the drapery of the	10
the end of a	10
supposed to have been	10
is bounded by pilasters	10
that he did not	10
and is about to	9
as far as the	9
part of the figure	9
the remainder of the	9
is surmounted by a	9
the model of the	9
the fourth earl of	9
it is true that	9
on the part of	9
as if he had	9
as drawn by carrey	9
appears to be a	9
tablet with votive relief	9
woman is seated on	9
by the fifth earl	9
that the statue was	9
the same time the	9
the appearance of the	9
in position on the	9
as if they were	9
of the north side	9
the composition of the	9
the height of the	9
there is nothing to	9
to belong to the	9
by the fourth earl	9
a good deal of	9
was at that time	9
the mind of the	9
in the fine arts	9
i answered that i	9
in spite of the	9
the treatment of the	9
in the centre is	9
the figures of the	9
the soul of the	9
of a draped figure	9
the heads of the	9
for one of the	9
the time of stuart	9
in regard to the	9
in the mind of	9
in the fifteenth century	9
so far as i	9
the riverside art series	9
seems to me that	9
on the right a	9
bounded by pilasters and	9
at the side of	9
from the neck to	9
under the right arm	9
as i have already	9
may be supposed to	9
the time of carrey	9
the ground of the	9
it is in the	9
it is as if	9
and one of the	9
on the base of	9
of the works of	9
of the fine arts	9
of the art of	9
of a male figure	9
the depths of the	9
in the court of	9
and this is the	9
lower part of a	9
the nape of the	9
as if it were	9
face to face with	9
seem to have been	9
presented by the fifth	9
the form of a	9
i should not have	9
the court of the	9
to speak of the	8
has fallen on his	8
in this part of	8
now in the louvre	8
and placed in the	8
the head of no	8
nape of the neck	8
the action of the	8
of the right hand	8
the history of art	8
surmounted by an entablature	8
have been able to	8
in the work of	8
in the museum at	8
the ends of the	8
it is certain that	8
the fingers of the	8
to say that the	8
the cardinal of portugal	8
it is not the	8
in the studio of	8
is in the act	8
he did not know	8
it is possible that	8
but there is nothing	8
and that of the	8
saint john the baptist	8
the position of the	8
of the body is	8
the opening of the	8
and monuments of anc	8
the author of the	8
the left arm of	8
on the opposite side	8
mythology and monuments of	8
from time to time	8
of the south side	8
it may have been	8
man reclines on a	8
triumph of the cross	8
i said to myself	8
in the elgin room	8
the date of the	8
before the time of	8
the whole of the	8
one of the few	8
pulpits of san lorenzo	8
to be placed in	8
the body of the	8
figure on the left	8
there is no reason	8
in an attitude of	8
was a man of	8
of the gate of	8
a figure of a	8
to say the truth	8
opposite side of the	8
from the fact that	8
of the work of	8
part of the right	8
is a group of	8
des gens de lettres	8
top of the head	8
the length of the	8
milet et le golfe	8
that i was not	8
the poet and the	8
on the edge of	8
a few days after	8
but it is a	8
on a large scale	8
excavations on the acropolis	8
a little of the	8
told me that he	8
i went to the	8
the opposite side of	8
the effect of the	8
the first of the	8
it is easy to	8
bent at the elbow	8
right hand raised to	8
et le golfe latmique	8
on the left side	8
the interior of the	8
but i did not	8
of the academy of	8
the memory of the	8
that it is a	8
of the madonna and	8
for the first time	8
fragment of a relief	8
is seen in the	8
to the grand duke	8
in the way of	8
from the left shoulder	8
if it had been	8
springing from acanthus leaves	7
said to have been	7
the triumph of the	7
left arm of the	7
on the back of	7
the figure of a	7
he was able to	7
in the treatment of	7
to put an end	7
like that of the	7
in the same direction	7
the presence of the	7
the statue of balzac	7
it seemed as if	7
the choragic monument of	7
a small piece of	7
the remains of the	7
not in the least	7
is the work of	7
the attachment of a	7
christ on the cross	7
of the monument to	7
that some of the	7
in the hope of	7
the symbols of the	7
the hand of the	7
you will find that	7
if i had not	7
are for the most	7
on the extreme right	7
she wears a long	7
of the female figure	7
by mino da fiesole	7
be supposed to have	7
of the man of	7
so far as to	7
can be no doubt	7
of a young woman	7
the fact that the	7
the right hand of	7
of the head is	7
of the same subject	7
we do not know	7
it is said that	7
the east side of	7
the south side of	7
right side of a	7
in the garden of	7
seated on a rock	7
the couch is a	7
a man reclines on	7
he is about to	7
in the manner of	7
the life of the	7
church of or san	7
that there was a	7
that the grand duke	7
with the right leg	7
the size of the	7
stands on the left	7
the foundation of the	7
which was to be	7
her left hand she	7
the metopes of the	7
with the name of	7
the modelling of the	7
at the base of	7
as soon as possible	7
on the side of	7
on the left arm	7
to have been a	7
his left arm is	7
one of the best	7
bust of a young	7
of ilaria del carretto	7
on the head of	7
the pulpits of san	7
to me that i	7
angle of the pediment	7
on the outside of	7
the meaning of the	7
to the end of	7
figure wears a chiton	7
broken off above the	7
on his right knee	7
he is a man	7
his right hand he	7
the left end of	7
half turned to the	7
there are traces of	7
in which it was	7
frieze of the theseion	7
in the department of	7
the th of april	7
south side of the	7
a long chiton with	7
are preserved in the	7
temple of apollo at	7
at the time when	7
the columns of the	7
like that of a	7
the temple of zeus	7
commonly known as the	7
i have said that	7
bead and reel moulding	7
is the inscription greek	7
it is not so	7
to the british museum	7
the grand duchess maria	7
the left hand is	7
so as to leave	7
the excavations on the	7
of the left hand	7
the work of rodin	7
the face of a	7
and the sense of	7
in the national museum	7
in the temple of	7
and as soon as	7
earl of aberdeen in	7
with an expression of	7
the idea of the	7
of the man with	7
broken off below the	7
it is necessary to	7
the figures in the	7
as far as possible	7
it was in the	7
relief with banquet and	7
to the memory of	7
the light of the	7
in the west pediment	7
pilasters and an entablature	7
chiton girt at the	7
in the possession of	7
on the frieze of	7
the sculptor of the	7
but i do not	7
the left hand of	7
as if it had	7
what appears to be	7
in the beginning of	7
under the influence of	7
in the rue de	7
in this case the	6
the outside of the	6
the floor of the	6
he was born in	6
the affair of the	6
the angle of the	6
and the head and	6
the relief is a	6
ground of the relief	6
to think of the	6
figure moving to the	6
of the head and	6
front of the body	6
in the riverside art	6
the air of a	6
to the spirit of	6
stands on the right	6
to the art of	6
as if they had	6
the destruction of the	6
was to be the	6
of the most beautiful	6
equestrian statue of gattamelata	6
but it was not	6
he told me that	6
temple of zeus at	6
it has been thought	6
in a state of	6
the art of rodin	6
if they had been	6
the place of the	6
end of the couch	6
east pediment of the	6
a chiton with sleeves	6
as well as a	6
by donatello in the	6
the arrangement of the	6
do not wish to	6
looking to the right	6
the church of or	6
on the ground that	6
east frieze of the	6
the monument of the	6
and those of the	6
the appearance of a	6
the hands of the	6
if i had been	6
side of the frieze	6
statue of michael angelo	6
arm of the lapith	6
is the case in	6
the statue of the	6
hand he holds a	6
with one of the	6
to me as if	6
it had not been	6
i did not know	6
in profile to the	6
relief is surmounted by	6
i am not a	6
traces of red colour	6
of zeus at olympia	6
in the spirit of	6
the nature of the	6
it must be remembered	6
her right hand to	6
the relief is surmounted	6
of the cardinal of	6
by pilasters and an	6
to be seen in	6
should be able to	6
raised to her veil	6
the east pediment of	6
figure on the right	6
will tell you that	6
the legs of the	6
it is only a	6
the order of the	6
fragment of a sepulchral	6
the harmony of the	6
of light and shadow	6
by means of the	6
part of a draped	6
to the right of	6
is that of the	6
on account of its	6
the attributes of the	6
so much the better	6
base of the tazza	6
he would not have	6
that this is a	6
the works of art	6
the heart of the	6
he gave me a	6
the publication of the	6
i know not what	6
on the ground of	6
the north side of	6
court of the universe	6
on the site of	6
in painting and sculpture	6
at the beginning of	6
is seated on the	6
the works of the	6
as i have before	6
of the end of	6
that i ought to	6
is said to have	6
is that of a	6
in the name of	6
the quality of the	6
the sculpture of the	6
i should like to	6
it may be that	6
of a votive relief	6
of the church of	6
at a later date	6
part of a female	6
the edges of the	6
now in the british	6
the course of the	6
that he does not	6
the work of an	6
model of the parthenon	6
the right hand is	6
the ecole des beaux	6
by the side of	6
has not yet been	6
of the lapith is	6
side of the parthenon	6
came to see me	6
the work of a	6
with a feeling of	6
and there is no	6
bowl in his left	6
the grace of the	6
under the direction of	6
woman seated on a	6
on the right and	6
left hand of the	6
shall be able to	6
is part of the	6
the left of this	6
a few years ago	6
a pupil of the	6
up and down the	6
that the head is	6
arm of female figure	6
is supported by a	6
the angel of the	6
the manner in which	6
the execution of the	6
to the left of	6
the result of his	6
cast of a metope	6
sculptures of the parthenon	6
to tell the truth	6
i do not say	6
his right hand to	6
the sides of the	6
to such a degree	6
the point of view	6
the commission for the	6
at a time when	6
the right foot of	6
from the temple of	6
in consequence of the	6
the studio at meudon	6
of the age of	6
there was a great	6
may have been the	6
at the moment when	6
of this figure is	6
part of the chiton	6
head of a youth	6
the period of the	6
who had come to	6
the count of syracuse	6
seemed to me that	6
to the extent of	6
does not seem to	6
the charm of the	6
the universal exhibition at	6
is part of a	6
do not know what	6
of the capital of	6
arm of the centaur	6
is none the less	6
there are remains of	6
long chiton with sleeves	6
it ought to be	6
that i should have	6
of the group of	6
of the left thigh	6
a burgher of calais	6
upper part of an	6
effects of light and	6
of the figure is	6
the right of this	6
christ after the resurrection	6
it is one of	6
in the excavations on	6
the head and shoulders	6
for a short time	6
at the age of	6
the courtyard of the	6
the right thigh of	6
so far as the	6
the center of the	6
above is a pediment	6
and is now in	6
the greater number of	6
pediment with acroteria and	6
the edge of a	6
choragic monument of lysicrates	6
the collection of sculptures	6
in their left hands	6
be supposed to be	6
as that of the	6
symbols of the evangelists	6
of the right arm	6
of the spirit of	6
the creation of the	6
it is useless to	6
be no doubt that	6
side of the relief	6
figure of a boy	6
to return to my	6
is a female figure	6
of greek and roman	6
the story of the	6
a representation of the	6
the arms of the	6
the entrance to the	6
north side of the	6
to the right and	6
of the upper part	6
on the next slab	6
appear to have been	6
right hand he holds	6
a woman seated on	6
monument to victor hugo	6
it is clear that	6
in such a way	6
point of view of	6
chapel of the madonna	6
there were to be	5
and in consequence of	5
each other in the	5
in opposition to the	5
i set to work	5
figure of a woman	5
the use of the	5
so far as we	5
of a young man	5
to be part of	5
san piero di bagno	5
the pediment of the	5
to the left with	5
in accordance with the	5
to be an artist	5
me to go to	5
who has fallen on	5
the symbol of the	5
it may not be	5
of the body and	5
has been thought that	5
the sign of the	5
i have made a	5
the centre is a	5
the church of the	5
collection of sculptures from	5
the cain and abel	5
of the frieze is	5
of the victor hugo	5
the day of the	5
i will speak of	5
each end of the	5
end of the trail	5
been ascribed to donatello	5
department of greek and	5
the emperor of russia	5
the representation of a	5
it would be a	5
was at this time	5
raises her right hand	5
and on the left	5
and upper part of	5
the bust of the	5
this figure has been	5
it seems probable that	5
his left foot on	5
publication of the work	5
i run away from	5
of the stone is	5
the parts of the	5
is surmounted by an	5
seemed to me as	5
feet from the ground	5
which appears to have	5
is by no means	5
probably held a sword	5
he wears a chiton	5
the fact that he	5
out his right hand	5
is clad in a	5
the museum of the	5
was a pupil of	5
as if he were	5
seems to be a	5
in the piazza di	5
the column of progress	5
as in the case	5
on the ground in	5
and in order to	5
it is of the	5
to enable me to	5
floor of the pediment	5
the right is an	5
and i should have	5
of the th century	5
to me that the	5
on the left are	5
the outline of the	5
the exhibition of the	5
to the study of	5
the man who awakens	5
be part of the	5
who awakens to nature	5
position on the temple	5
to the beauty of	5
tomb of ilaria del	5
right hand are wanting	5
imitation of the antique	5
that he was to	5
the slabs of the	5
in the opinion of	5
a male figure reclines	5
the style of the	5
does not wish to	5
on the right are	5
the case of the	5
has been able to	5
in the study of	5
the matter of that	5
so far as it	5
luca della robbia in	5
with the genius of	5
but it did not	5
who seems to be	5
a number of works	5
told me that she	5
to the house of	5
must be remembered that	5
at a right angle	5
of a draped female	5
if i mistake not	5
and i remember that	5
of the figure on	5
is the art of	5
on the tomb of	5
he was a young	5
in a few days	5
in its proper place	5
the eyes of the	5
the direction of the	5
in the line of	5
a draped male figure	5
as one of the	5
at the salon of	5
an example of the	5
is nothing but a	5
two pilasters surmounted by	5
of some of the	5
to come and see	5
be seen in the	5
on the west side	5
one of the chief	5
the imagination of the	5
over the back of	5
and a part of	5
his head thrown back	5
the case in the	5
the president of the	5
niche of or san	5
the side of a	5
and i had to	5
the left of slab	5
group on the left	5
the neck of the	5
the first of these	5
with banquet and serpent	5
come out of the	5
the figures on the	5
i should have been	5
are the remains of	5
which is in the	5
surface of the marble	5
been the subject of	5
is a part of	5
of the male figure	5
chiton with sleeves and	5
the imitation of nature	5
it will be seen	5
one day when i	5
for the purpose of	5
from the top of	5
it used to be	5
of the fourteenth century	5
of the western pediment	5
the artist who made	5
that the artist was	5
a block of marble	5
of the temple at	5
of a sort of	5
branch of a tree	5
of the rue de	5
hand lower corner of	5
of the laws of	5
the structure of the	5
say that it is	5
in the art of	5
legs from the knees	5
of which only the	5
a group of two	5
a fragment of a	5
of the birth of	5
to show that the	5
the bottom of the	5
he was a man	5
in the sacristy of	5
the right leg drawn	5
was presented to the	5
on the left shoulder	5
on the parthenon frieze	5
is the secret of	5
the right arm was	5
a cup in his	5
of the archaic period	5
into the hands of	5
side of the portico	5
fragment of sepulchral relief	5
the head of one	5
are traces of red	5
in the management of	5
in the most beautiful	5
with those of the	5
the massacre of the	5
fragments of the parthenon	5
and of which the	5
and said to me	5
compared with that of	5
known to have been	5
is bound with a	5
soon as he saw	5
head of the horse	5
the person who had	5
the piazza di san	5
a metope from the	5
and it may be	5
more than a hundred	5
opinion as to the	5
that he was a	5
the present state of	5
of relief with banquet	5
the sacristy of the	5
the failure of the	5
the right hand raised	5
a nude male figure	5
on her left arm	5
did not wish to	5
but at the same	5
there is no evidence	5
west side of the	5
in the eighteenth century	5
be the work of	5
of a metope from	5
some of the most	5
of the sixteenth century	5
in the one case	5
for the insertion of	5
site of the temple	5
trunk of a tree	5
statue of cardinal forteguerri	5
intended to be seen	5
seated on a throne	5
by the society of	5
from the point of	5
even though it be	5
i return to my	5
belonged to one of	5
since the time of	5
was a sort of	5
me to speak of	5
as well as to	5
it my duty to	5
in the salon of	5
that i should be	5
by two pilasters surmounted	5
in the least to	5
are to be found	5
is to be seen	5
and the statue of	5
a bust of the	5
his right hand on	5
when drawn by carrey	5
two pilasters and an	5
head of a horse	5
of the top of	5
for the matter of	5
bust of victor hugo	5
denotes the sound of	5
it is a work	5
they may have been	5
elgin and phigaleian marbles	5
a store at portsmouth	5
the act of rising	5
there is also a	5
and it has been	5
sculpture in the round	5
the design of the	5
with the intention of	5
similar to the preceding	5
the fountain of energy	5
and that he would	5
to take me to	5
the study of nature	5
of the cathedral at	5
if he did not	5
the museum at naples	5
fragment of a votive	5
figure of a youth	5
of one of these	5
of a man who	5
and that he had	5
a certain number of	5
the art of sculpture	5
man who awakens to	5
he did not wish	5
and the strength of	5
be that of a	5
by the presence of	5
in order to give	5
part of the drapery	5
i do not wish	5
that he could not	5
the school of the	5
i do not think	5
that this is the	5
exhibited in the elgin	5
he seems to have	5
of the figures in	5
it would be impossible	5
complete in the time	5
is now at athens	5
over the left arm	5
not know how to	5
the capital of a	5
the walls of the	5
me an order for	5
figure seated on a	5
i was making the	5
and as he was	5
necessary for me to	5
the removal of the	5
the head of an	5
is a work of	5
in the collection of	5
since the publication of	5
at the bottom of	5
guide to elgin room	5
i will tell you	5
hand she holds a	5
at the top of	5
of being able to	5
from the collection of	5
a diminutive figure of	5
is a diminutive figure	5
with a bowl in	5
of the madonna del	5
the madonna del soccorso	5
diminutive figure of a	5
the very soul of	5
the angles of the	5
the capital of the	5
which must have been	5
to say to me	5
figure of a girl	5
the grand duke to	5
in the cathedral of	5
whom i had known	5
the horse of no	5
the right leg is	5
is derived from the	5
standing to the front	5
for the body of	5
is a man of	5
the words of the	5
is a pediment with	5
battle between greeks and	5
highness the grand duke	5
of the thirteenth century	5
raphael and the fornarina	5
but i could not	5
in order to understand	5
that it is the	5
greater part of the	5
greek and roman antiquities	5
the type of the	5
that i have made	5
the construction of the	5
similar to that of	5
the moment when the	5
it is not possible	5
nations of the occident	5
of the drapery of	5
massacre of the innocents	5
of the altar is	5
first half of the	5
is cast from the	5
that it may have	5
the goddess of the	5
that i had not	5
which may have been	5
the collection of ancient	4
to the elgin room	4
now in the museum	4
in the execution of	4
the size of life	4
was to be seen	4
which we do not	4
other parts of the	4
in the sixteenth century	4
with acroteria and rosettes	4
in the temenos of	4
the two groups of	4
and i could not	4
arm from the wrist	4
was not to be	4
i had not the	4
of the city and	4
that i have seen	4
but on the contrary	4
the effigy of the	4
view of part of	4
which is now in	4
it may be said	4
but she did not	4
that it may be	4
and as i have	4
from the middle of	4
the acropolis of athens	4
porch of san zenone	4
he was a great	4
signs of the zodiac	4
the left arm is	4
as if i had	4
have been attributed to	4
as a matter of	4
base of the neck	4
that the subject is	4
of the centaur is	4
moving rapidly to the	4
of part of a	4
the exception of the	4
it would be better	4
the image of the	4
in the studio cambi	4
and the left hand	4
the prince of leuchtenberg	4
part of a figure	4
the piazza della signoria	4
and lower part of	4
the figure appears to	4
preserved in the british	4
one would say that	4
i wish you to	4
one of the finest	4
some of the figures	4
one of the little	4
and it must be	4
metopes of the parthenon	4
was the only one	4
the portrait of a	4
fragment from the right	4
said that he was	4
the object of the	4
in very high relief	4
from the depths of	4
in that case the	4
of a group of	4
the secretary of the	4
he spoke to me	4
torso of a standing	4
of the frieze of	4
the creation of man	4
which was in the	4
where it now stands	4
is probable that the	4
to which it is	4
is in the form	4
the function of the	4
is the bilingual inscription	4
the importance of the	4
in connection with the	4
in the evening he	4
the folds of the	4
national museum at athens	4
i did not understand	4
and seems to be	4
floats in the air	4
the monument of lysicrates	4
his stay in brussels	4
looking to the left	4
to any one who	4
the action of this	4
the end of this	4
the fifth century b	4
the hair is gathered	4
the left shoulder of	4
is still in position	4
it seems as if	4
of art and the	4
i had gone to	4
and over the left	4
as may be seen	4
seated on a plinth	4
bound with a taenia	4
of the parthenon sculptures	4
about this time the	4
the violence of the	4
that on the right	4
to have been dedicated	4
if he had been	4
the strength of the	4
a lover of art	4
this is the only	4
of which we have	4
not appear to be	4
and more than all	4
a glimpse of the	4
placed in a niche	4
bound with a diadem	4
the tomb of giovanni	4
the subject was a	4
to which i have	4
there is little doubt	4
her veil with her	4
for the purposes of	4
the head and the	4
he who does not	4
the time of lord	4
he was about to	4
has been ascribed to	4
the dress is a	4
the right hand and	4
the head is lost	4
the following are the	4
whatever may be the	4
feast of the sacrifice	4
of the sixth century	4
of the statue is	4
to the eighteenth century	4
of pope john xxiii	4
he wished to see	4
her left hand raised	4
the statue of david	4
fragment of the right	4
was the first to	4
couch is a table	4
in a thick mass	4
the meaning of this	4
is about to strike	4
of the renaissance and	4
that it did not	4
it is possible to	4
of opinion as to	4
are to be seen	4
in the age of	4
and the life of	4
said that he had	4
of the body of	4
what i have said	4
as well as that	4
over the body of	4
and the monument to	4
a quarter of an	4
he said that he	4
of the institute of	4
draped figure broken off	4
like those on the	4
one day he came	4
the dress of a	4
have been made to	4
the good fortune to	4
have served for the	4
of the city of	4
an end to all	4
the grand duke leopold	4
the top of a	4
with part of the	4
seated in a chair	4
one or the other	4
fell to the ground	4
her right hand she	4
of the fountain of	4
and the marble david	4
cup in his left	4
side of the head	4
and on the other	4
what was the reason	4
the palace of the	4
associated with that of	4
galleries of the louvre	4
the whole thing is	4
the heads of both	4
as he saw me	4
on the right the	4
left hand raised to	4
fragment of relief with	4
bowl in his right	4
as to be able	4
makes it probable that	4
to deal a blow	4
two or three times	4
is all the more	4
would not have been	4
if you do not	4
the galleries of the	4
whose name i do	4
in the career of	4
what does it matter	4
i am certain that	4
a snake is coiled	4
in the center of	4
to have been made	4
to believe that the	4
as we have seen	4
was surrounded by a	4
at the academy of	4
in a short time	4
to give you the	4
and it is possible	4
of all his works	4
the mother of tomorrow	4
old gravestones in ireland	4
the temple of the	4
been supposed that the	4
as soon as the	4
that it was a	4
he would have been	4
hand of a woman	4
be one of the	4
me that he had	4
tomb of the cardinal	4
the east frieze of	4
and it will be	4
the statues in the	4
before the couch is	4
some of his friends	4
for the church of	4
the chicago art institute	4
of the columns of	4
standing to the left	4
in the french school	4
there may be a	4
a considerable number of	4
presented to the british	4
it happened one day	4
who lived in the	4
the tower of labor	4
is in itself a	4
it is evident that	4
at an early hour	4
the last judgment of	4
in the luxembourg gardens	4
in the cemetery of	4
a few of the	4
may be said to	4
the antiquities of athens	4
in favour of the	4
you may be sure	4
in the works of	4
of his life as	4
not only in the	4
during the course of	4
as is the case	4
from that time on	4
we know that the	4
from below the knee	4
the colossal statue of	4
that the work was	4
of a standing female	4
the material in which	4
his work at the	4
and most of the	4
head is broken off	4
the model for the	4
the right arm and	4
of the man who	4
i am sure that	4
side of a head	4
casts from fragments of	4
i did not think	4
the ground with his	4
near the foot of	4
palace of the exhibition	4
love of the beautiful	4
the genius of the	4
slabs of the frieze	4
standing to the right	4
and the statue was	4
for some time past	4
poet and the life	4
to the figure of	4
statue of pius ii	4
one on each side	4
in addition to the	4
the feet of the	4
in a gesture of	4
that he would not	4
are derived from the	4
the bead and reel	4
to the school of	4
it was the first	4
of which he was	4
for the monument to	4
the infant jesus and	4
of count del benino	4
the temple of artemis	4
it probable that the	4
the power of athena	4
back turned to the	4
from the wrist to	4
the tomb of the	4
with sleeves and a	4
it was a great	4
the grand duchess marie	4
in the panathenaic procession	4
hundreds and hundreds of	4
have belonged to one	4
as a sort of	4
art of the middle	4
it is absolutely necessary	4
the daughter of icarus	4
in order to make	4
been attributed to donatello	4
to the defenders of	4
it may therefore be	4
carried away by the	4
a short time before	4
the power of the	4
centre of the pediment	4
only for the sake	4
the genius of war	4
by the hand of	4
is the law of	4
in a store at	4
the equestrian statue of	4
male figure from the	4
the venus of milo	4
has been called the	4
were it not for	4
to be one of	4
records of the woolwich	4
the crown of the	4
it happened that i	4
left hand she holds	4
to have been the	4
a great number of	4
drawing gives the head	4
and the right arm	4
in the duomo of	4
the value of the	4
in form of a	4
piazza della signoria and	4
the fountain of el	4
the nymph of the	4
but he was not	4
for the study of	4
are in the british	4
the right are two	4
in the courtyard of	4
it may be assumed	4
one of the many	4
to be the most	4
the possession of the	4
more to do with	4
well as that of	4
of works of art	4
so kind as to	4
had been able to	4
served for the attachment	4
in the background of	4
as a sign of	4
not being able to	4
one of a series	4
in the company of	4
figure reclines on a	4
recline on a couch	4
to be in the	4
the upper part is	4
the authority of a	4
and i was so	4
monument to claude lorraine	4
is shown by the	4
the same way as	4
the back of her	4
the madonna in the	4
of the two figures	4
it is not without	4
the knees are wanting	4
the style of louis	4
the first days of	4
with tools of men	4
the head is broken	4
the risk of being	4
in various parts of	4
the man on the	4
hair falling on the	4
the head of st	4
heads of the horses	4
a figure on the	4
this point of view	4
part of a city	4
and i said to	4
capital of one of	4
west frieze of the	4
imitation of beautiful nature	4
it did not matter	4
in the depths of	4
towards the central group	4
i remember to have	4
said i to myself	4
grand duchess maria of	4
before them is a	4
the head and arms	4
the sculptors of the	4
a few months ago	4
return to my mother	4
chiton of fine texture	4
in the elgin collection	4
who departed this life	4
that it is to	4
the son of the	4
we may assume that	4
and it is the	4
greece by the fourth	4
the bed of the	4
the hand of god	4
must have been raised	4
there is no doubt	4
held in the right	4
one of the greatest	4
under the name of	4
the time when i	4
a fragment at athens	4
and the other a	4
a man of the	4
side of the altar	4
from a sepulchral relief	4
i shall have to	4
in a foreign land	4
that it was not	4
in the neighbourhood of	4
would have been to	4
the fountain of ceres	4
to me to be	4
i said to him	4
of the th of	4
cast from a fragment	4
a view of the	4
egg and dart moulding	4
a signal to the	4
to do with the	4
of the guild of	4
or san michele niche	4
pediment of the temple	4
of the person who	4
universal exhibition at vienna	4
over and over again	4
fallen on his right	4
of a young girl	4
i was no longer	4
the tip of the	4
is no reason to	4
left end of the	4
the people of the	4
seems to show that	4
do not know whether	4
he is one of	4
the career of rodin	4
have been found in	4
do you think that	4
stand to the front	4
remains of the figure	4
the monument to claude	4
and that it is	4
the return of the	4
as to leave the	4
if it had not	4
is a fragment of	4
fallen on his knees	4
left is a female	4
is not possible to	4
asked me if i	4
in the place de	4
as much as i	4
a large number of	4
the spirit of our	4
and there is nothing	4
to be that of	4
well as in the	4
the roof of the	4
in the churchyard at	4
in a few words	4
neck to the knees	4
and in the evening	4
the art of painting	4
west angle of the	4
it was one of	4
the state of the	4
this work of mine	4
was bounded by pilasters	4
torso from the neck	4
go on to the	4
cast in bronze of	4
i told you in	4
no more about it	4
me the favour to	4
am in danger of	4
the house of commons	4
far as i can	4
only the lower part	4
it is none the	4
to assure myself of	4
for the grand duke	4
the memory of thomas	4
to him that i	4
and the head of	4
it is doubtful whether	4
and said that he	4
and now in the	4
and in that case	4
one of the great	4
the fall of the	4
it is part of	4
i had come to	4
but there is a	4
hand of a seated	4
has been thought to	4
leg from the knee	4
early part of the	4
of san lorenzo is	4
the head of this	4
the miracle of the	4
michael angelo and tintoret	4
the error into which	4
to you that the	4
of the house of	4
male figure reclines on	4
to be a good	4
the figure of an	4
corner of the relief	4
the novelty of the	4
on a couch with	4
from the left of	4
necessary for him to	4
wears a short chiton	4
in marble of the	4
this kind of work	4
of a series of	4
from this point of	4
you will see the	4
the scene on the	4
sense of light and	4
six columns at the	4
by order of the	4
it is the very	4
on the floor of	4
that i had to	4
the feast of the	4
to my mother at	4
the level of the	4
to pass judgment on	4
capital of a pilaster	4
and the work was	4
right hand and a	4
the trunk of a	4
i am taken for	4
the sake of the	4
a long time before	4
the one on the	4
the judgment of the	4
of all that is	4
to the close of	4
i shall be able	4
the language of the	4
on a chair with	4
presented to the museum	4
of the hotel biron	4
as he was a	4
to make a bust	4
bed of the pediment	4
position on the pediment	4
season of the year	4
in the habit of	4
that it is only	4
right hand is extended	4
to the development of	4
the first half of	4
at that time the	4
rays of the sun	4
it has been said	4
with which he is	4
my father to take	4
in place of the	4
had the good fortune	4
with the aid of	4
right leg drawn back	4
are exhibited in the	4
in the absence of	4
studies for the balzac	4
you will find it	4
soon as i had	4
the name of my	4
scenes from daily life	4
on the occasion of	4
of apollo at phigaleia	4
one of my colleagues	4
the result of the	4
is the soul of	4
i am in danger	4
the department of greek	4
the drapery of a	4
true it is that	4
my mother at florence	4
a standing female figure	4
he was one of	4
the idea of a	4
at each end of	4
as though it had	4
cain and his wife	4
it has not the	4
the th in the	4
lying on the ground	4
came to be regarded	4
on account of my	4
heraldic lion of florence	4
the line of the	4
the attention of the	4
is seen on the	4
end to all this	4
of sculptures from kertch	4
be a part of	4
from one of the	4
removal of the david	4
holds her veil with	4
before him stands a	4
have a little patience	4
the last of the	4
is worn so as	4
of the horses of	4
that it was necessary	4
front of the church	4
walked up and down	4
not seem to have	4
a gesture of adoration	4
do me the favour	4
a couch with a	4
the representation of the	4
of the same kind	4
the life of contemplation	4
a man who has	4
in some of the	4
the priestess of culture	4
be able to do	4
the meeting of st	4
centre of the composition	4
and that i had	4
falling on the shoulders	4
raised to her chin	4
close of the fifth	4
i am speaking of	4
no doubt that the	4
one of these is	4
to the point of	4
torso of female figure	4
at the door of	4
the movement of a	4
may have belonged to	4
the father of the	4
of the beauty of	4
and if it had	4
the church of s	4
duchess maria of russia	4
by reason of the	4
at that time i	4
way in which the	4
at the school of	4
from the left arm	4
pilasters and an architrave	4
in which there is	4
on the right leg	4
centaur by the hair	4
in such a hurry	4
a joint on the	4
the church of st	4
holes for the attachment	4
the relation of the	4
the excellence of his	4
the same time to	4
fingers of the left	4
that greek art is	4
in the churchyard of	4
of the two men	4
is not that of	4
and it was a	4
name i do not	4
seated at the foot	4
be placed in the	4
the faces of those	4
to be regarded as	4
a group of the	4
the background of the	4
nations of the orient	4
we find in the	4
the work of donatello	4
but in order to	4
the statue of st	4
the only one that	4
for the statue of	4
in thinking that the	4
i should be able	4
must have belonged to	4
figure appears to be	4
of shadow and light	4
made up of two	4
by two pilasters and	4
thing to be done	4
set to work on	4
one of the oldest	4
of the woolwich district	4
just as he was	4
which belongs to the	4
museum of fine arts	4
and that is the	4
was converted into a	4
were placed in the	4
to a certain extent	4
the sphinx on the	4
the depths of his	4
and you will find	4
i set myself to	4
is made up of	4
of the figures on	4
in the hands of	4
me more and more	4
of the statues of	4
figure is seated on	4
head and shoulders of	4
surmounted by a large	4
monument to the defenders	4
to show it to	4
to understand that the	4
at the petite ecole	4
the charge to peter	4
either side of the	4
infant jesus and st	4
the heraldic lion of	4
in the volume on	4
was one of those	4
a group of a	4
to my studio to	4
the national museum at	4
portion of the right	4
of the chair is	4
the description of it	4
by a series of	4
and that i was	4
of the horse of	4
to make a statue	4
after the death of	4
he received me with	4
joint on the left	4
it is not in	4
for the benefit of	4
side of the acropolis	4
the worship of the	4
tuscan sculpture of the	4
the early part of	4
turned to the front	4
the world of the	4
left of the slab	4
behind her is a	4
of the archaic temple	4
by the fact that	4
is due to the	4
of the parthenon frieze	4
which he is about	4
it was necessary for	4
by the figure of	4
hair falls on the	4
in the western pediment	4
had it not been	4
is not to be	4
in the eyes of	4
in this way i	4
so far as he	4
fountain of el dorado	4
worn so as to	4
works of art in	4
long hair falling on	4
to be seen from	4
of the athenian acropolis	4
the career of the	4
the defenders of the	4
with palm turned upwards	4
her right arm is	4
free from the ground	4
but it is now	4
the signs of the	4
head of the couch	4
the laws of the	4
with the right arm	4
on his return from	4
the source of the	4
and especially in the	4
in order to comprehend	4
the evangelist and the	3
in greece by the	3
third of an inch	3
work that i had	3
that he should not	3
vowel a denotes the	3
cup in the left	3
in conformity with the	3
still in position on	3
the municipal council of	3
for the hugo monument	3
originally surmounted by a	3
study of expression from	3
the voices of the	3
by the help of	3
brought from greece by	3
not wish to be	3
right of this slab	3
as he did to	3
panel from the column	3
such a way as	3
the summit of the	3
a male figure from	3
at the waist and	3
in the meantime the	3
have a series of	3
works of this period	3
these figures and the	3
in the original series	3
on which is a	3
his right arm to	3
that i should not	3
the equilibrium of the	3
told him that i	3
the faces of the	3
subject of the frieze	3
style of louis xv	3
with all the force	3
i contented myself with	3
weight of the body	3
exhibition at paris in	3
fragment of votive relief	3
father to take me	3
of the sculpture of	3
figure wearing a chiton	3
of the off horse	3
a fold of drapery	3
in the following terms	3
the head is in	3
of the figure and	3
of gravestones old and	3
edge of the sea	3
he was looking at	3
his right arm is	3
stands in an attitude	3
of the north frieze	3
that the arms were	3
but he seems to	3
soul of the artist	3
new judgment of solomon	3
what one would expect	3
was placed in a	3
are the period of	3
the centaur by the	3
base of the victor	3
on the th of	3
with the type of	3
of the east portico	3
was afterwards in the	3
he is a sculptor	3
of the human soul	3
was a long one	3
the public baths of	3
on the crown of	3
the christ after the	3
the choice of the	3
portals of el dorado	3
wears the dress of	3
warrior on the left	3
which is decorated with	3
and to have been	3
from the earl of	3
in the villa albani	3
for a spear thrust	3
his opinions about the	3
to go into the	3
of the fragment is	3
of a standing figure	3
not the result of	3
the other wears a	3
from the churchyard at	3
might have been expected	3
minor works for the	3
not seem to be	3
the reader is referred	3
to the right is	3
as in the other	3
and the grace of	3
of this work of	3
left side of a	3
be inferred that the	3
great deal of study	3
there is no other	3
and it is now	3
falls in a thick	3
to give a general	3
the truth of this	3
of the divine poet	3
at the exposition of	3
to shew that the	3
the right arm is	3
little doubt that the	3
of the series of	3
so that it was	3
he was to be	3
that the figure is	3
day when i was	3
and parts of the	3
the song of the	3
chiton and a mantle	3
that it has been	3
figure standing to the	3
so that they were	3
which we find in	3
the central part of	3
plate of bishop pecci	3
to get rid of	3
two or three years	3
it may be noted	3
for this kind of	3
to him on the	3
of the power of	3
judgment of michael angelo	3
with the authority of	3
the head and hands	3
by the earl of	3
of the acropolis at	3
the work was not	3
a short time in	3
of draped female figure	3
the boston museum of	3
in the acropolis museum	3
or at least to	3
are the most important	3
right or to the	3
the remains of a	3
on the spot where	3
as an example of	3
of the base of	3
drew their inspiration from	3
either end of the	3
it may have belonged	3
the news of the	3
the choice of subject	3
his studio in the	3
a group in plaster	3
i did not make	3
we are reminded of	3
the forms of the	3
often came to my	3
belongs to one of	3
that one of the	3
the keys of the	3
from the upper part	3
of the great masters	3
the subjects of the	3
gave it to me	3
the strength of an	3
when i was a	3
leaning on a staff	3
as long as there	3
this side of the	3
his right hand the	3
have not been accepted	3
wished to see it	3
fell in love with	3
in all parts of	3
and is one of	3
was working on the	3
it is a little	3
oldest temple at selinus	3
of the speaking babe	3
to see me and	3
and i do not	3
to the completion of	3
she wears a chiton	3
the date of his	3
not be able to	3
which there is no	3
with whom i had	3
of a figure standing	3
was stolen from me	3
of the seventh century	3
of the fleurs du	3
to have held a	3
it was well that	3
highness count of syracuse	3
of the hugo monument	3
the monument of claude	3
the price of the	3
the outline of a	3
minister of public instruction	3
but it is difficult	3
a list of the	3
may have been a	3
out of the sea	3
the central group is	3
statue was to be	3
able to finish the	3
hand corner of the	3
places his right hand	3
is a relief of	3
and the work of	3
the artist who had	3
may be well to	3
resting on left knee	3
ringhiera of the palazzo	3
the model in plaster	3
and if you will	3
in the month of	3
as it would seem	3
book of common prayer	3
only so far as	3
intended to be placed	3
but for all this	3
the depth of their	3
and the upper part	3
the fact that they	3
right hand she holds	3
of the religion of	3
of both figures are	3
on the one side	3
fragment of a head	3
collection of lord elgin	3
part of a sepulchral	3
one on the right	3
gave me the order	3
it happened to me	3
of the temple is	3
raises her left hand	3
list of the principal	3
visit to my studio	3
as a young man	3
did not know what	3
poet and the muse	3
the tomb at cadyanda	3
cannot be made out	3
and told me that	3
the head is worked	3
to catch a glimpse	3
against a background of	3
it has been argued	3
raises his right hand	3
casts in the british	3
john the evangelist and	3
side of the tomb	3
bronze doors of the	3
the perfume of the	3
the ringhiera of the	3
a colossal statue of	3
has been attributed to	3
from the right side	3
in a niche in	3
last judgment of michael	3
is scarcely to be	3
the british museum by	3
the oldest temple at	3
table of the muses	3
a chiton girt at	3
the law of the	3
the lines of the	3
as the head of	3
part of his work	3
was able to save	3
a cast from life	3
his left hand he	3
a figure wearing a	3
a cast is exhibited	3
and it would have	3
the manner of the	3
by the author of	3
the smallness of the	3
the death of my	3
who was in the	3
the beautiful in nature	3
that of the renaissance	3
sacristy of san lorenzo	3
renaissance and the eighteenth	3
the statue was made	3
of which it was	3
spite of all the	3
must belong to the	3
falls down the back	3
of which is in	3
probably one of the	3
about half an hour	3
the earl of wemyss	3
the lower corner on	3
are not to be	3
it was impossible to	3
than if he had	3
go back to the	3
at that time he	3
formerly in the collection	3
the expenses of his	3
of a city on	3
and a mantle which	3
of an inch for	3
head of one of	3
had given the commission	3
do not realize that	3
do not know for	3
but it is impossible	3
that she comes to	3
of the relief are	3
arm of the chair	3
the consent of the	3
one of the two	3
the genius of creation	3
it not for the	3
by giovanni da pisa	3
at the present day	3
miscellanea genealogica et heraldica	3
by a pediment with	3
veil with her left	3
to have belonged to	3
raised to hurl spear	3
christ mourned by angels	3
both without and within	3
between greeks and amazons	3
a place in the	3
and as to the	3
the result of a	3
be inferred from the	3
in the arrangement of	3
the relation between the	3
about which a snake	3
to be judged by	3
which i did not	3
nothing to do with	3
desire to see the	3
by means of their	3
and director of the	3
i made a sketch	3
monument of the poet	3
that they are not	3
he drew from them	3
work of the sculptor	3
above the head of	3
the ideas of the	3
the order for the	3
at the height of	3
to those of the	3
i shall return to	3
infusion of color into	3
so far from my	3
i ought to have	3
in spite of its	3
that has not yet	3
group of a lapith	3
he had never seen	3
has been generally recognised	3
that it is almost	3
held a sword in	3
north frieze of the	3
the figure in the	3
now in the bargello	3
has passed through the	3
right hand of a	3
is seated at the	3
was satisfied with the	3
but enough of this	3
clad in a long	3
to make a model	3
the hand of an	3
that of the so	3
had a great deal	3
was bent at the	3
hour of the day	3
it might be called	3
calais a burgher of	3
arms of the throne	3
luca della robbia was	3
his drawing of the	3
and with a good	3
it was not until	3
his left hand on	3
of the human form	3
i do not speak	3
of hundreds and hundreds	3
to the conclusion that	3
which is worn so	3
it became necessary to	3
right thigh of a	3
is little doubt that	3
character of duke camerini	3
the left leg is	3
in the national gallery	3
been a subject of	3
it has been conjectured	3
of the feet of	3
with left hand resting	3
i came to understand	3
the death of the	3
piazza di san biagio	3
be said that the	3
generosity of count del	3
the eighteenth century and	3
as compared with that	3
the parthenon and the	3
it can hardly be	3
with a part of	3
lower corner on the	3
an order for the	3
be the subject of	3
they are able to	3
were to be seen	3
such a degree that	3
raphael and michael angelo	3
shield on the left	3
lower half of draped	3
round the neck of	3
at the public expense	3
the whole question of	3
sacristy of the duomo	3
in the bronze room	3
all the strength of	3
but in the meantime	3
the mother of the	3
the west end of	3
of this figure has	3
in the museum of	3
are supported by sphinxes	3
in a tone of	3
to think that the	3
was removed from the	3
in my youth i	3
band across the forehead	3
belong to the close	3
gate of hell is	3
of the right upper	3
i wished to see	3
in front of his	3
the opera del duomo	3
for the open air	3
figure of the man	3
will be able to	3
the form of an	3
the antique and the	3
made a bust of	3
that it might be	3
is treated in a	3
as soon as she	3
a band across the	3
seemed as if it	3
been drawn back to	3
the love of his	3
my father and mother	3
cup in her left	3
with the grand duke	3
the surfaces of his	3
the depth of the	3
the positions of the	3
for it to be	3
a memorial monument to	3
but he is not	3
when it is not	3
the body of this	3
for me to speak	3
been the first to	3
of the first figure	3
defend himself with his	3
to the expression of	3
in the same collection	3
in the great hall	3
she told me that	3
from the heights of	3
the satyr on the	3
of the wave pattern	3
and importance of the	3
we do not even	3
in the south of	3
the saint john the	3