trigram

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

trigram	frequency
one of the	275
part of the	214
on the right	188
on the left	178
the head of	137
side of the	129
to the right	126
it is a	123
to have been	115
in order to	114
that of the	103
it is not	102
it is the	101
there is a	99
the right hand	99
as well as	99
and in the	95
i do not	94
to the left	94
of the parthenon	91
the british museum	91
but it is	87
there is no	87
the work of	83
his right hand	79
at the same	79
that i had	77
the left hand	77
it has been	76
that it is	75
the same time	74
the grand duke	73
some of the	73
of the great	72
part of a	72
out of the	72
the art of	71
of the head	71
greek inscriptions in	71
on the ground	71
inscriptions in brit	70
that is to	69
of the figure	68
of the most	68
in which the	67
i did not	66
of the temple	66
the statue of	65
is to say	65
on the other	65
the end of	65
the time of	65
seated on a	64
in the same	64
end of the	64
as i have	64
upper part of	64
and it is	63
is to be	63
in the british	62
on account of	62
is in the	61
to be a	61
it may be	61
that it was	60
a part of	60
of which the	59
that he was	59
head of the	58
he did not	58
of the frieze	57
the temple of	56
that he had	56
may have been	55
his left hand	55
the figure of	55
the head is	55
the relief is	54
so as to	54
would have been	53
of the same	53
it would be	53
this is the	52
the right arm	52
it was a	51
her left hand	51
is one of	51
of the relief	51
that i was	51
and of the	51
as in the	51
of the body	50
of the artist	50
on the contrary	50
as to the	50
to be the	50
so far as	50
the name of	49
at that time	49
the back of	48
of the work	48
the form of	48
as soon as	48
appears to be	48
the hand of	48
in front of	47
i could not	47
parts of the	47
account of the	47
of the two	47
the age of	46
the upper part	46
be able to	46
which is the	46
i have said	45
the spirit of	45
he was a	45
the church of	45
luca della robbia	45
to make a	45
on each side	44
front of the	44
in the right	43
the subject of	43
and on the	43
there was a	43
the left of	43
the right is	43
the right of	42
lower part of	42
the head and	42
turned to the	42
it was not	42
her right hand	42
as it is	42
in the centre	41
must have been	41
the other hand	41
according to the	41
of his work	41
as far as	41
those of the	41
was to be	41
john the baptist	40
to do so	40
a group of	40
the study of	40
fragment of a	40
that i should	40
a sort of	40
the left arm	39
and at the	39
the base of	39
the top of	39
of fine arts	39
the eighteenth century	39
gate of hell	39
back of the	39
figure of a	38
of the pediment	38
the works of	38
a female figure	38
foot of the	37
his left arm	37
a man of	37
i went to	37
of the right	37
a series of	37
of michael angelo	36
of the figures	36
the body of	36
he does not	36
to be seen	36
in the first	36
that of a	36
of the man	36
it is true	36
the left shoulder	36
the gate of	36
the face of	35
of all the	35
the fact that	35
one of these	35
now in the	35
it must be	35
the idea of	35
burghers of calais	35
more or less	35
not to be	35
the centre of	35
to make the	35
of the world	35
of one of	35
which has been	34
of this figure	34
that i have	34
to be found	34
said to me	34
character of the	34
the presence of	34
the left is	34
of the antique	34
the monument to	34
or san michele	34
right of the	34
was in the	34
the history of	34
the middle of	34
and the other	34
it was the	34
the lower part	34
of the madonna	33
it is to	33
and i was	33
appears to have	33
figure of the	33
portion of the	33
the west pediment	33
seems to have	33
to see the	33
of the greek	33
two or three	33
and part of	33
frieze of the	33
and all the	33
at the time	33
the burghers of	33
head of a	33
seemed to me	33
seems to be	32
with the right	32
the foot of	32
on a chair	32
of the sculptor	32
as he was	32
the midst of	32
base of the	32
in the midst	32
each side of	32
but there is	32
belong to the	32
of the human	32
in spite of	32
by means of	32
it seems to	32
the side of	32
of the lapith	31
to that of	31
the power of	31
from the left	31
middle of the	31
of the earth	31
on a couch	31
the statue was	31
works of art	31
is that of	31
to the front	31
be found in	31
to me that	30
of the west	30
and there is	30
of the monument	30
a number of	30
for the most	30
the beginning of	30
the sense of	30
of the first	30
and it was	30
of the centaur	30
well as the	30
the laws of	30
to say that	30
do not know	30
of a figure	30
the course of	30
which is a	30
and that the	30
group of the	30
it in the	30
work of the	29
but in the	29
i should have	29
figure on the	29
the right leg	29
at the back	29
the life of	29
the right side	29
the character of	29
i had not	29
there is nothing	29
the hair is	29
placed in the	29
we do not	29
that he has	29
the north side	29
of those who	29
the beauty of	29
it will be	29
top of the	29
art of the	29
a long chiton	28
a short time	28
the group of	28
which had been	28
of the couch	28
and i have	28
found in the	28
of the whole	28
centre of the	28
for me to	28
of the dead	28
with his left	28
the tomb of	28
surmounted by a	28
that is the	28
as it was	28
of the erechtheion	28
of the old	28
is seated on	28
the man who	28
he has been	28
right is a	27
the effect of	27
of the academy	27
it had been	27
this is a	27
a male figure	27
of his own	27
that i could	27
it should be	27
one of those	27
the fine arts	27
spirit of the	27
to go to	27
a great deal	27
of the beautiful	27
the expression of	27
a work of	27
at the end	27
on his left	27
i was not	27
i have already	27
his right arm	27
the most part	27
of the east	26
of the building	26
the act of	26
the edge of	26
it did not	26
the death of	26
of the church	26
to speak of	26
left of the	26
as if to	26
the strength of	26
edge of the	26
it is impossible	26
a piece of	26
as it were	26
the middle ages	26
the left side	26
the fifteenth century	26
which i have	25
he is a	25
in the face	25
of the day	25
right side of	25
madonna and child	25
of the renaissance	25
of light and	25
in the air	25
surface of the	25
in the louvre	25
we have a	25
such as the	25
in her left	25
was obliged to	25
sculpture of the	25
is not the	25
the figure is	25
that he is	25
was one of	25
he was not	25
the memory of	25
and with the	25
supposed to be	25
of the cathedral	25
the south side	25
of the face	25
more and more	25
to my studio	25
on the subject	25
not in the	25
are to be	25
in the form	25
a long time	25
of the middle	25
of the people	24
been able to	24
it to the	24
of his art	24
place in the	24
of the subject	24
like that of	24
in the studio	24
he has a	24
is bounded by	24
drawn by carrey	24
you will find	24
to the ground	24
i had a	24
in the background	24
there was no	24
i wished to	24
in the meantime	24
of the master	24
of the neck	24
the period of	24
have been a	24
at the foot	24
in the museum	24
in the left	24
of the group	24
at this time	24
fragment of relief	24
more than a	24
form of the	24
which it is	24
in his right	24
the surface of	24
of the slab	24
in all the	24
as i was	24
in his left	24
in the act	24
the appearance of	24
a few days	24
on either side	23
the human body	23
the collection of	23
cast from the	23
a statue of	23
the sake of	23
earl of aberdeen	23
hand of a	23
relief is bounded	23
and with a	23
wears a chiton	23
in the presence	23
the influence of	23
from the original	23
for some time	23
in the world	23
treatment of the	23
arm of the	23
they are not	23
it seemed to	23
i had been	23
for the sake	23
seen in the	23
in regard to	23
as if it	23
a man who	23
in the most	23
the charm of	23
the result of	23
would not have	23
academy of fine	23
expression of the	23
that in the	23
left is a	23
reclines on a	22
the sculptures of	22
in one of	22
and to the	22
when i was	22
which have been	22
between the two	22
with that of	22
of female figure	22
at the waist	22
is full of	22
they do not	22
time of the	22
of the left	22
the words of	22
andrea della robbia	22
is about to	22
a cast from	22
it does not	22
with the left	22
name of the	22
a figure of	22
it is in	22
in low relief	22
was able to	22
fragment of the	22
mino da fiesole	22
of which is	22
if he had	22
in this way	22
did not know	22
back to the	22
the genius of	22
if i had	22
of the cross	22
work of art	22
of a woman	22
with all the	22
of the drapery	22
there is an	22
it is only	22
seems to me	22
draped female figure	22
most of the	22
of the gothic	22
victoria and albert	21
on the frieze	21
the action of	21
and albert museum	21
presented by the	21
at the head	21
in which he	21
that they are	21
have been the	21
of a young	21
the school of	21
to see me	21
the remains of	21
age of brass	21
of the hair	21
with the same	21
the frieze of	21
the figures of	21
president of the	21
with his right	21
one of them	21
in the church	21
and that of	21
the most beautiful	21
this figure is	21
ought to be	21
light and shade	21
the man with	21
a table with	21
cast of a	21
return to the	21
one of his	21
i had to	21
of this work	21
he would have	21
the east pediment	21
beauty of the	21
which i had	21
in the course	21
the heads of	21
to me to	21
in such a	21
she wears a	21
it is as	21
the bust of	21
of the city	20
example of the	20
of the present	20
it is now	20
i have seen	20
but it was	20
and in a	20
a bust of	20
went to the	20
in high relief	20
model of the	20
up in the	20
a young man	20
study of the	20
of the other	20
relief with banquet	20
the left a	20
the secret of	20
a sepulchral relief	20
of the sea	20
in the bargello	20
of a tree	20
i said to	20
the soul of	20
is a table	20
close to the	20
that i am	20
as much as	20
known as the	20
the rest of	20
the work is	20
at once to	20
is impossible to	20
belonging to the	20
which is not	20
man with the	20
the number of	20
face of the	19
is not so	19
in the case	19
one of my	19
over the left	19
as if he	19
fragments of the	19
and a mantle	19
has not been	19
hand of the	19
to look at	19
the position of	19
of the horse	19
the hands of	19
in the marble	19
which he was	19
in the least	19
part of his	19
sculptures of the	19
i have been	19
derived from the	19
the academy of	19
in the great	19
side of a	19
on the acropolis	19
appear to be	19
had not been	19
this was the	19
the figure on	19
of such a	19
as i had	19
as an artist	19
in his own	19
left side of	19
of a great	19
of the tomb	19
angle of the	19
of the sun	19
remains of the	19
it is of	19
of the statue	19
from the ground	19
and that he	19
representation of the	19
because it is	19
point of view	19
had to be	19
down to the	19
was the first	19
had come to	19
figure wears a	19
the work was	19
on one side	19
would be a	19
so that the	19
i will not	19
it to be	19
of the marble	19
all the more	19
attached to the	19
of the north	18
a portion of	18
was a great	18
there is the	18
even in the	18
the fifth century	18
owing to the	18
about this time	18
history of the	18
to have a	18
the figure wears	18
to the public	18
as long as	18
i am not	18
right arm of	18
the case of	18
came to the	18
a draped figure	18
girt at the	18
and that i	18
that it would	18
the point of	18
the son of	18
the rue de	18
and he was	18
nanni di banco	18
statue of the	18
great deal of	18
to take the	18
in the garden	18
that it should	18
way in which	18
the love of	18
as if they	18
may be the	18
of the altar	18
of his works	18
of the theseion	18
here and there	18
in his hand	18
of the eighteenth	18
the monument of	18
the th of	18
do not remember	18
of the procession	18
the first of	18
in the shop	18
than that of	18
for the cathedral	18
the door of	18
to see it	18
belongs to the	18
the place of	18
that he would	18
those who have	18
the greater part	18
half of the	18
the grand duchess	18
in the evening	18
was born in	18
it would have	18
of the best	18
a good deal	18
is the most	18
moving to the	18
are in the	18
of the model	18
in a few	18
of the burghers	18
on the east	18
is the first	17
wears a long	17
that had been	17
in the original	17
figures of the	17
could not be	17
he had been	17
of san lorenzo	17
of his life	17
all that is	17
none the less	17
of the british	17
of these two	17
of a man	17
i have never	17
that the statue	17
to return to	17
on the head	17
they are the	17
of the horses	17
connected with the	17
the meaning of	17
from which the	17
might have been	17
pediment of the	17
in the middle	17
the composition of	17
church of san	17
subject of the	17
on a stool	17
of the grand	17
the whole of	17
it was in	17
of a draped	17
them in the	17
an expression of	17
in order that	17
he could not	17
on the north	17
at the top	17
to show that	17
end of a	17
bust of the	17
i began to	17
but he was	17
the birth of	17
if it were	17
and there are	17
of the woman	17
which it was	17
was not a	17
a chiton with	17
a kind of	17
a few words	17
in which i	17
he made a	17
that the artist	17
to one of	17
the nineteenth century	17
the east side	17
in the history	17
told me that	17
in the time	17
some of his	17
of the second	16
on a rock	16
if it had	16
the attachment of	16
in this respect	16
the open air	16
that the work	16
stands on the	16
right and left	16
corner of the	16
when he was	16
it was necessary	16
it is difficult	16
not wish to	16
the house of	16
the most important	16
is difficult to	16
he would not	16
of the lower	16
in a word	16
him is a	16
as that of	16
me that i	16
he holds a	16
the body is	16
on the south	16
the science of	16
made for the	16
and when i	16
as they are	16
it is that	16
came to my	16
work on the	16
a fragment of	16
the right and	16
the figures are	16
and this is	16
he is not	16
him in the	16
the artist who	16
in which it	16
order of the	16
life of the	16
temple of apollo	16
to represent the	16
and one of	16
the salon of	16
to the great	16
on the shoulders	16
the front of	16
the person who	16
preserved in the	16
works of the	16
which he has	16
the hair falls	16
on the top	16
which he had	16
of the three	16
probable that the	16
whom i had	16
that i did	16
chapel of the	16
i should not	16
that has been	16
the nature of	16
the law of	16
which is in	16
and some of	16
on his right	16
away from the	16
the drapery of	16
rest of the	16
the date of	16
in consequence of	16
greater part of	16
the force of	16
as to be	16
to do with	16
of the art	16
in the round	16
in its place	16
and by the	16
the height of	15
put an end	15
together with the	15
only in the	15
the depths of	15
the desire to	15
and has been	15
the mind of	15
she holds a	15
in the procession	15
up to the	15
door of the	15
that we have	15
far as the	15
which was to	15
the cause of	15
of the sculpture	15
view of the	15
being able to	15
the style of	15
in her right	15
surmounted by an	15
of the soul	15
and this was	15
and that it	15
the portrait of	15
form of a	15
is part of	15
the quality of	15
of or san	15
with all its	15
on to the	15
on which the	15
first of all	15
of the fifth	15
the treatment of	15
the statue is	15
of a youth	15
beginning of the	15
to be able	15
i return to	15
to be placed	15
the subject was	15
have been made	15
in this case	15
of the last	15
the madonna and	15
the way in	15
of it is	15
the broken nose	15
of their own	15
of the south	15
of which was	15
the central group	15
the absence of	15
but i have	15
the site of	15
idea of the	15
be supposed to	15
for it is	15
is seen in	15
of which he	15
it is very	15
drawing of the	15
with both hands	15
and has a	15
the forms of	15
the execution of	15
of the virgin	15
a draped female	15
to those who	15
is of the	15
the story of	15
he wears a	15
could not have	15
that on the	15
of the stone	15
to the figure	15
this part of	15
to be an	15
in the other	15
of an artist	15
the depth of	15
that there is	15
to the same	15
he was to	15
he came to	15
that they were	15
is on the	15
in any case	15
midst of the	15
of the french	14
with the broken	14
supported by a	14
the fountain of	14
there can be	14
the parthenon frieze	14
it is possible	14
of the upper	14
jacopo della quercia	14
it cannot be	14
i wish to	14
of this slab	14
many of the	14
the two figures	14
the hope of	14
especially in the	14
in the piazza	14
for the attachment	14
in the work	14
in the old	14
and for the	14
on the parthenon	14
know how to	14
were to be	14
may be seen	14
the representation of	14
of the sculptures	14
the size of	14
is surmounted by	14
the sign of	14
a woman is	14
the right foot	14
he had to	14
that this is	14
that there was	14
i know not	14
it may have	14
of the florentine	14
the arts of	14
clasps the hand	14
the manner of	14
work in the	14
of the public	14
be seen in	14
the symbol of	14
in the open	14
him as a	14
is now in	14
the model of	14
fragment from the	14
i have made	14
to the end	14
on the base	14
should not be	14
left arm is	14
bounded by pilasters	14
the city of	14
the only one	14
of which i	14
meaning of the	14
so to speak	14
i have not	14
in favour of	14
which is now	14
i had the	14
it is an	14
seem to have	14
and the right	14
the same way	14
he had a	14
a bit of	14
of the royal	14
the cathedral of	14
one or two	14
as for the	14
all the arts	14
by the same	14
and that is	14
i had made	14
the author of	14
of a relief	14
again and again	14
in all its	14
sculpture in the	14
a pair of	14
that have been	14
relief of the	14
it might be	14
to come to	14
of the chariot	14
of the composition	14
of the original	14
placed on the	14
there are no	14
to give me	14
of a horse	14
to which the	14
of a sepulchral	14
the mother of	14
in the following	14
for a long	14
bounded by two	14
the first time	14
the right shoulder	14
of the gods	14
to say to	14
woman is seated	14
nothing but the	14
of the works	14
and as i	14
of the exhibition	14
that i would	14
he seems to	14
and the two	14
length of the	14
of the spirit	14
which was the	14
has not yet	14
side by side	14
an end to	14
the use of	14
the seventeenth century	14
body of a	14
relief on the	14
the artist has	14
the exhibition of	14
the creation of	14
part in the	14
is the only	13
the length of	13
commonly known as	13
those who are	13
next on the	13
is broken away	13
the figures in	13
or of the	13
table with food	13
regard to the	13
and you will	13
from the time	13
a few years	13
now at athens	13
he went to	13
of a female	13
taken from the	13
of the family	13
the close of	13
of this group	13
i answered that	13
a bowl in	13
in the churchyard	13
the line of	13
he had not	13
the triumph of	13
they had been	13
have made a	13
with which the	13
due to the	13
under the right	13
i should be	13
studio at meudon	13
standing to the	13
sculptors of the	13
portrait of a	13
in my studio	13
some of them	13
the outline of	13
of the early	13
are traces of	13
the remainder of	13
but he is	13
it is said	13
the ends of	13
position of the	13
soon as he	13
the direction of	13
is that the	13
and the head	13
supposed to have	13
with those of	13
of a statue	13
it is probable	13
shown in the	13
on one of	13
of the seventeenth	13
as a whole	13
to the artist	13
of the capital	13
statues of the	13
hand raised to	13
the chapel of	13
the bottom of	13
if it is	13
i made a	13
the young artist	13
at the elbow	13
by which the	13
of the acropolis	13
speak of the	13
it is more	13
right hand raised	13
if they were	13
right hand to	13
to give it	13
it was to	13
in the national	13
the court of	13
at the academy	13
of the country	13
the harmony of	13
on his knees	13
the capital of	13
in the second	13
i was obliged	13
is probable that	13
from the life	13
sculptor of the	13
a desire to	13
the man of	13
as they were	13
used to be	13
this kind of	13
to give a	13
of the bas	13
that it may	13
have belonged to	13
his head is	13
go to the	13
depths of the	13
the part of	13
the left leg	13
and full of	13
leg of the	13
the goddess of	13
of art in	13
in the very	13
show that the	13
the outside of	13
presented to the	13
the light of	13
before him is	13
piece of sculpture	13
of the greatest	13
the world of	13
to be in	13
with her left	13
has been suggested	13
to make it	13
the subject is	13
in the morning	13
the statues of	13
from that time	13
ascribed to donatello	13
of the past	12
be placed in	12
in the rue	12
the sculpture of	12
the western pediment	12
surrounded by a	12
all sorts of	12
a short chiton	12
by a pediment	12
for him to	12
conception of the	12
to which i	12
raised to her	12
to suppose that	12
the stone is	12
to his own	12
in the stone	12
of the greeks	12
i remember that	12
in the elgin	12
director of the	12
of the national	12
from the right	12
the west side	12
the foundation of	12
who was a	12
of the arts	12
has been the	12
it can be	12
which he is	12
it is necessary	12
in the south	12
and if you	12
the walls of	12
of a head	12
the neck to	12
nations of the	12
set to work	12
right arm is	12
said that he	12
it is also	12
and i will	12
that we are	12
date of the	12
in the mind	12
her left arm	12
such is the	12
and presented by	12
say that the	12
and they were	12
was no longer	12
been suggested that	12
the best of	12
at the base	12
is the inscription	12
reisen in lykien	12
is like a	12
as may be	12
on the same	12
over which is	12
the opposite side	12
as if i	12
the lines of	12
the day of	12
which we have	12
of the nose	12
of which a	12
the object of	12
to work in	12
of the exposition	12
the same subject	12
of the bronze	12
close of the	12
a matter of	12
by lord elgin	12
at the moment	12
of luca della	12
return to my	12
the other a	12
to think of	12
on the back	12
sense of the	12
by two pilasters	12
the society of	12
of the ancients	12
should have been	12
by luca della	12
this is not	12
the left foot	12
appear to have	12
itself in the	12
as regards the	12
a pediment with	12
at the side	12
type of the	12
with her right	12
figures in the	12
chiton with sleeves	12
that he did	12
in the way	12
the museum at	12
to be made	12
have already said	12
seem to be	12
left hand and	12
body of the	12
the order for	12
michael angelo and	12
so full of	12
part of this	12
puvis de chavannes	12
you will see	12
the elgin room	12
had been a	12
line of the	12
you will be	12
sides of the	12
composition of the	12
that you have	12
according to his	12
than in the	12
style of the	12
the first place	12
and he is	12
position on the	12
imitation of nature	12
as a sculptor	12
at the left	12
death of my	12
exhibited in the	12
of my life	12
guide to graeco	12
the north frieze	12
he gave me	12
and i said	12
not only in	12
the source of	12
fine arts palace	12
intended to be	12
the lapith is	12
cast from life	12
i used to	12
of the fifteenth	12
in the north	12
and in consequence	12
up and down	12
the type of	12
no doubt that	12
of what is	12
a bearded man	12
belonged to the	12
the sculptor has	12
and the statue	12
the right thigh	12
and of a	12
movement of the	12
at the sides	12
the fingers of	12
these are the	12
part of it	12
that i do	12
his right knee	12
group on the	12
torso of a	12
him that i	12
and as a	12
the truth of	12
from the first	12
the joy of	12
out of a	12
gave me a	12
of a boy	12
a little more	12
has been a	12
he has done	12
is a man	12
the sixteenth century	12
the earl of	12
the possession of	11
a sign of	11
the symbols of	11
to make his	11
in the fine	11
in the manner	11
to belong to	11
is a good	11
tomb of the	11
court of the	11
where it was	11
will be found	11
the day after	11
seated on the	11
of the person	11
left arm of	11
when it is	11
came to me	11
equestrian statue of	11
of which we	11
is not a	11
original at athens	11
lines of the	11
is a cast	11
me that he	11
for one of	11
the importance of	11
a young woman	11
examination of the	11
and the figure	11
on the marble	11
in connection with	11
the female figure	11
we have the	11
painting and sculpture	11
he told me	11
nothing of the	11
light of the	11
tell you that	11
behind his back	11
to me as	11
this work of	11
the nations of	11
head is wanting	11
the eyes of	11
to be cast	11
a woman seated	11
use of the	11
of all that	11
the excellence of	11
pilasters and an	11
of the kind	11
features of the	11
was discovered in	11
bound with a	11
to be called	11
which cannot be	11
is only a	11
to give you	11
the work in	11
author of the	11
be said that	11
cast in bronze	11
for the moment	11
the things that	11
can be no	11
the aid of	11
that he may	11
me to make	11
to such a	11
of the nineteenth	11
my poor wife	11
to be of	11
will tell you	11
figure in the	11
to show the	11
is probably the	11
and michael angelo	11
the prato pulpit	11
i found myself	11
he said to	11
placed in a	11
not at all	11
on which is	11
as on the	11
of a new	11
work of rodin	11
what he has	11
with which he	11
return to florence	11
of the following	11
the first to	11
in that case	11
an example of	11
at last i	11
to the most	11
fifth earl of	11
of the chair	11
of this kind	11
the united states	11
like those of	11
but there are	11
i go to	11
the development of	11
a sense of	11
of the door	11
of a certain	11
it has the	11
portions of the	11
thanks to the	11
of the year	11
can only be	11
so it is	11
either side of	11
i had no	11
at the hotel	11
is as if	11
as if the	11
opposed to the	11
and a little	11
look at the	11
are remains of	11
of which are	11
of the chiton	11
years of age	11
has been thought	11
age of bronze	11
the place where	11
of the four	11
statue of balzac	11
draped male figure	11
has been called	11
monument of lysicrates	11
soul of the	11
that the figure	11
examples of the	11
of the famous	11
he was born	11
i was in	11
the order of	11
to whom i	11
and having a	11
look at them	11
each of these	11
it would seem	11
off at the	11
but a few	11
the time when	11
of the fine	11
in the court	11
part of an	11
of a lion	11
the ground of	11
of greek sculpture	11
and i should	11
if they had	11
which they are	11
they have been	11
i was so	11
of the eastern	11
in the distance	11
or at least	11
a drawing by	11
what was the	11
to whom the	11
a corner of	11
the state of	11
ought not to	11
the features are	11
was about to	11
of the little	11
is a very	11
drapery of the	11
as if in	11
of the many	11
to look for	11
must not be	11
robert ingersoll aitken	11
copied from the	11
you do not	11
and i had	11
he wished to	11
of the deceased	11
i saw the	11
the people of	11
is not to	11
that he should	11
bead and reel	11
instead of the	11
place of the	11
plan of the	11
that donatello was	11
the conception of	11
to be done	11
ought to have	11
be in the	11
of the young	11
a quantity of	11
as he had	11
shows that the	11
appearance of the	11
to show you	11
the value of	11
in the west	11
was a man	11
fourth earl of	11
is nothing but	11
i shall not	11
neck to the	11
of the christian	10
of the flesh	10
where he had	10
contrast to the	10
imitation of the	10
of the place	10
to find a	10
to him to	10
pediment with acroteria	10
of the medici	10
that all the	10
of the english	10
who has been	10
bent at the	10
in the meanwhile	10
an old man	10
because of the	10
from the neck	10
the way of	10
he is the	10
sight of the	10
and could not	10
wearing a chiton	10
soon as i	10
poet and the	10
we find the	10
her right arm	10
one of which	10
description of the	10
of this great	10
to which it	10
but they are	10
his left foot	10
in those days	10
at my studio	10
not seem to	10
to all the	10
the petite ecole	10
should not have	10
the legs of	10
as i am	10
and said to	10
of the th	10
to see him	10
of the universe	10
for this reason	10
said that the	10
sign of the	10
there are some	10
to have the	10
of apollo at	10
and it has	10
in the pediment	10
by no means	10
the sound of	10
he had no	10
there is another	10
the production of	10
formerly in the	10
the last of	10
can be seen	10
who had been	10
for the first	10
with the exception	10
the description of	10
the crown of	10
des beaux arts	10
the commission for	10
in the country	10
a small piece	10
it is quite	10
right hand and	10
for the work	10
of the time	10
was found in	10
not know what	10
and did not	10
is a work	10
and if it	10
as drawn by	10
of a male	10
i had already	10
in the future	10
the centaur is	10
of the statues	10
and the left	10
quality of the	10
work of a	10
in place of	10
it to him	10
to find the	10
right hand is	10
the exception of	10
as a rule	10
and the monument	10
i shall be	10
that some of	10
the face is	10
in the streets	10
in the beginning	10
is necessary to	10
consists of a	10
i know that	10
is shown in	10
and i could	10
we see the	10
when he had	10
of an old	10
in any way	10
of santa croce	10
wished to see	10
the sculptor of	10
of some of	10
he will not	10
by the hair	10
work of michaelis	10
excavations on the	10
in the fifteenth	10
and right hand	10
have been in	10
mind of the	10
in all these	10
legs of the	10
as a man	10
the time that	10
we have seen	10
bowl in his	10
it is therefore	10
the elgin collection	10
by the fifth	10
in an attitude	10
size of the	10
the heart of	10
height of the	10
for this work	10
of the gate	10
i told him	10
of which only	10
when i had	10
the faces of	10
far as i	10
well as in	10
able to do	10
in like manner	10
above his head	10
of the base	10
when it was	10
of art and	10
them with the	10
and he has	10
there are two	10
and his school	10
the frieze is	10
and as he	10
have had the	10
of a child	10
miracle of the	10
visit to rome	10
that he could	10
the arms of	10
hair falls in	10
and is about	10
it is evident	10
on the side	10
if you will	10
in san lorenzo	10
is said to	10
of the central	10
is also a	10
the body and	10
looking to the	10
the east frieze	10
the neck of	10
said to be	10
my father to	10
the gates of	10
say that it	10
given to the	10
the impression of	10
is a group	10
the tower of	10
the harpy tomb	10
the feet of	10
the male figure	10
similar to that	10
is crowned with	10
seemed to him	10
i returned to	10
and i remember	10
has fallen on	10
the modelling of	10
lekythos with relief	10
from below the	10
the imagination of	10
the weight of	10
so that i	10
so that it	10
face to face	10
copy of the	10
had not the	10
and i am	10
a mass of	10
east side of	10
i have always	10
was necessary to	10
seen on the	10
broken off at	10
the next slab	10
in the greek	10
it with the	10
sepulchral lekythos with	10
of the ancient	10
of the evangelists	10
not one of	10
the original at	10
the arms are	10
at a later	10
the air of	10
to which he	10
by andrea della	10
elgin room guide	10
figures on the	10
only a few	10
in the via	10
right hand he	10
one on the	10
traces of red	10
portico of the	10
site of the	10
the fifth earl	10
any one who	10
little of the	10
by the great	10
to me the	10
what i have	10
in his hands	10
one who is	10
and from the	10
riverside art series	10
as has been	10
a representation of	10
the design of	10
ends of the	10
it to me	10
a pupil of	10
i would not	10
may be supposed	10
the imitation of	10
at each end	10
and placed in	10
the next day	10
had gone to	10
though it is	10
columns of the	10
and is now	10
the authority of	10
bust of a	10
to the eye	10
to say the	10
society of dilettanti	10
in addition to	10
of the future	10
said to have	10
have not been	10
cast of the	10
was made of	10
right foot of	10
as a model	10
and they are	10
a gesture of	10
in danger of	10
the studio of	10
of the principal	10
and the work	10
the angel of	10
in the temple	10
time i was	10
it was his	10
with regard to	10
was the only	10
a cup in	10
statue of st	10
to the point	9
and monuments of	9
and he had	9
he had made	9
in a niche	9
to see her	9
pacific international exposition	9
nearly to the	9
in his studio	9
as he is	9
so much the	9
but i did	9
one of a	9
the whole composition	9
below the knee	9
the fact is	9
cain and abel	9
we find in	9
nothing is more	9
is supported by	9
to work on	9
strength of the	9
on the opposite	9
i will tell	9
to face with	9
first of the	9
son of the	9
removal of the	9
itself to the	9
no less than	9
looking at the	9
state of the	9
by the hand	9
do not think	9
be that of	9
to the knees	9
even to the	9
to have it	9
of the few	9
is nothing to	9
had given me	9
which appears to	9
i saw a	9
and as the	9
the summit of	9
to support the	9
effect of the	9
with all their	9
from which he	9
the interior of	9
to the other	9
to him in	9
to point out	9
to go on	9
of the italian	9
the flower of	9
men and women	9
modelling of the	9
spite of the	9
as it may	9
the grace of	9
me to the	9
is true that	9
on the front	9
all that he	9
i was a	9
my good marina	9
nothing to do	9
to the spectator	9
of the god	9
was not to	9
hand he holds	9
the riverside art	9
was at that	9
the horses of	9
the same thing	9
resting on the	9
the following fragments	9
and of which	9
because it was	9
responsible for the	9
the figures on	9
led him to	9
of it to	9
school of the	9
in this metope	9
may be said	9
remains of a	9
a later date	9
is still in	9
when they are	9
and so on	9
are those of	9
saint john the	9
for all the	9
but i am	9
metopes of the	9
later than the	9
think of the	9
the origin of	9
relation to the	9
the way to	9
by a large	9
this may be	9
to leave the	9
of the house	9
have said that	9
studies for the	9
by the side	9
from the other	9
which may have	9
and above all	9
the pleasure of	9
to her veil	9
by pilasters and	9
he had the	9
of it in	9
in many ways	9
the nape of	9
that i might	9
a few of	9
time of carrey	9
it is well	9
while i was	9
it from the	9
count of syracuse	9
as early as	9
nape of the	9
held in the	9
are among the	9
the arrangement of	9
and in this	9
the attention of	9
on the face	9
the relation of	9
associated with the	9
the monument was	9
relief of a	9
that i ought	9
his right foot	9
face of a	9
and wearing a	9
of the period	9
to the museum	9
the fourth earl	9
the national museum	9
in this part	9
the holy father	9
should be placed	9
representation of a	9
the chariot of	9
at a distance	9
love of the	9
acquainted with the	9
his own work	9
desire to see	9
in his mind	9
he had never	9
are preserved in	9
answered that i	9
have been attached	9
from the temple	9
the artists of	9
are the most	9
of the archaic	9
on the surface	9
remainder of the	9
so that they	9
out of his	9
count del benino	9
artists of the	9
and the last	9
the drawings of	9
is the case	9
on the outside	9
little by little	9
discovered in the	9
the next group	9
on the two	9
of them are	9
and said that	9
in the street	9
it is clear	9
by the fourth	9
left hand is	9
the discovery of	9
is a large	9
were in the	9
of the true	9
the fall of	9
did not even	9
the greater number	9
for want of	9
while he was	9
the case in	9
he would be	9
i told you	9
ordered me to	9
who knows how	9
on the part	9
i wanted to	9
have been able	9
good deal of	9
the head was	9
the qualities of	9
of the cathedrals	9
ceased to be	9
think that the	9
a portrait of	9
is composed of	9
on the whole	9
the antique and	9
seemed as if	9
or to the	9
which may be	9
of a work	9
relief in the	9
that rodin has	9
same time the	9
on her head	9
which was in	9
come out of	9
that it had	9
day by day	9
the details of	9
a little while	9
in the last	9
those on the	9
manner in which	9
of the picture	9
from all the	9
that you are	9
who came to	9
of the surface	9
i ought to	9
the subject in	9
influence of the	9
of the slabs	9
for all that	9
on the extreme	9
in this manner	9
where it is	9
but did not	9
not have been	9
of the metopes	9
the churchyard at	9
the thought of	9
to represent a	9
model for the	9
the difficulty of	9
of an inch	9
of the arms	9
distance from the	9
the folds of	9
tablet with votive	9
in the upper	9
of our own	9
he has not	9
there may be	9
man of the	9
the better for	9
a feeling of	9
and more than	9
which must have	9
action of the	9
there are many	9
i tell you	9
the fourteenth century	9
and wished to	9
that it might	9
fingers of the	9
to a certain	9
be seen from	9
cast from a	9
is not in	9
but it has	9
was placed in	9
the career of	9
and there was	9
of the type	9
the right a	9
that you will	9
and so forth	9
those who were	9
of a greek	9
of the age	9
is a pediment	9
to my mother	9
the left thigh	9
the opening of	9
heads of the	9
attributes of the	9
the question of	9
i was making	9
to the house	9
it is so	9
the daughter of	9
at a time	9
those of a	9
and so i	9
that they may	9
the human form	9
in the cathedral	9
left hand she	9
as we have	9
is in a	9
these two figures	9
a place in	9
it is easy	9
the centre is	9
of the divine	9
that the subject	9
of victor hugo	9
ground of the	9
the father of	9
begged me to	9
a little of	9
the department of	9
given by the	9
and holds a	9
the means of	9
i was at	9
to believe that	9
in position on	9
with votive relief	9
rests on a	9
i have heard	9
left hand of	9
and we have	9
out of which	9
for the present	9
returned to the	9
of the air	9
to the work	9
time of stuart	9
the kind of	9
it has not	9
the choice of	9
of the athenian	9
sent to the	9
knowledge of the	9
was made by	9
of the shield	9
the columns of	9
as one of	9
all the rest	9
the names of	9
and is a	9
folds of the	9
to me and	9
i have had	9
in company with	9
give you the	8
works in the	8
by the most	8
an order for	8
this group is	8
not only of	8
of the finest	8
relief is a	8
to the sculptor	8
in the composition	8
so long as	8
be remembered that	8
with a little	8
of el dorado	8
a state of	8
turned towards the	8
the moment when	8
a work which	8
he was able	8
of the princess	8
i was doing	8
of my friends	8
exhibition of the	8
of sculpture in	8
me with a	8
qualities of the	8
and which is	8
he must have	8
of the so	8
of the life	8
though it be	8
monuments of anc	8
the bronze doors	8
the universal exhibition	8
the task of	8
that it has	8
the west frieze	8
more than the	8
of these figures	8
school of sculpture	8
instead of a	8
the sculptors of	8
is a diminutive	8
was a good	8
by the artist	8
christ on the	8
right hand of	8
a copy of	8
is a woman	8
the marble is	8
the ideas of	8
is supposed to	8
for more than	8
said that i	8
with banquet and	8
a votive relief	8
at all events	8
you are not	8
about to strike	8
in the chariot	8
looked at me	8
of a very	8
him in his	8
him with the	8
the living model	8
members of the	8
a cast of	8
one of our	8
still in position	8
but on the	8
to me of	8
for all this	8
small piece of	8
the whole thing	8
the simplicity of	8
on his head	8
i have to	8
east frieze of	8
is cast from	8
from the fact	8
the days of	8
at the beginning	8
opposite side of	8
is certain that	8
possession of the	8
the angle of	8
in the statue	8
the method of	8
cardinal of portugal	8
on her left	8
interior of the	8
in the drawing	8
in the hope	8
to take me	8
even though it	8
the feeling of	8
i had left	8
which can be	8
and even the	8
it happened that	8
of a girl	8
i was very	8
to him the	8
long chiton with	8
in harmony with	8
the th century	8
legs of a	8
i had seen	8
the left knee	8
go back to	8
would not be	8
to form a	8
is in itself	8
of that which	8
i heard a	8
as i can	8
does not seem	8
should be a	8
all the other	8
whole of the	8
from one of	8
the sepulchral banquet	8
probably held a	8
the dignity of	8
supposed that the	8
above is a	8
to finish the	8
he had taken	8
serve as a	8
i should like	8
is the same	8
to express the	8
the poet and	8
interpretation of the	8
to see and	8
of the reliefs	8
say the truth	8
to the grand	8
the shield of	8
in the luxembourg	8
there is also	8
and the others	8
they would have	8
young men who	8
at this moment	8
and to his	8
this time the	8
on the pediment	8
and out of	8
it was found	8
it is no	8
the last judgment	8
and those of	8
all of them	8
left hand on	8
on all sides	8
came to see	8
to him that	8
the original is	8
rodin has been	8
shown by the	8
of the cella	8
of a large	8
on the cross	8
was presented by	8
the destruction of	8
the edges of	8
out of their	8
of the hotel	8
couch is a	8
to think that	8
was made to	8
have been found	8
you that the	8
i made the	8
is no reason	8
may be that	8
a question of	8
with reference to	8
in the frieze	8
of the new	8
you see the	8
that did not	8
memory of the	8
the most interesting	8
le golfe latmique	8
and a few	8
des gens de	8
passed through the	8
who died in	8
there are several	8
we have no	8
a standing figure	8
as not to	8
of the interior	8
me in the	8
of the tazza	8
in the salon	8
the emperor of	8
is much more	8
grace of the	8
do you think	8
the risk of	8
the sacristy of	8
to come and	8
be regarded as	8
at this point	8
to the subject	8
to you that	8
structure of the	8
it on the	8
that the grand	8
so that you	8
of my family	8
together with a	8
opening of the	8
on the tomb	8
the shadow of	8
is a small	8
in the spirit	8
to the life	8
been ascribed to	8
the high altar	8
i have no	8
the figure was	8
to the british	8
before the couch	8
et le golfe	8
of sculptures from	8
nature of the	8
to the shop	8
may well be	8
hand are wanting	8
his work in	8
fallen on his	8
what do you	8
in his art	8
in the excavations	8
had been made	8
to each other	8
of the mouth	8
of lord elgin	8
is possible that	8
lived in the	8
to which we	8
to be taken	8
of the poet	8
at first sight	8
which is so	8
have had a	8
triumph of the	8
the idea that	8
which are the	8
of the abel	8
similar to the	8
the relief was	8
mythology and monuments	8
th of april	8
in that of	8
that the head	8
hands of the	8