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	595
one of the most	560
in the church of	557
in the national gallery	509
is one of the	386
on the other hand	346
in the possession of	339
the church of s	320
that is to say	315
the end of the	314
was one of the	268
the middle of the	267
the church of the	262
at the end of	256
to be found in	251
is said to have	245
in the midst of	240
the works of the	230
for the most part	228
at the age of	225
in the history of	224
as well as the	224
for the first time	221
of light and shade	218
to be seen in	213
seems to have been	212
the beginning of the	211
for the sake of	210
from a photograph by	207
in the case of	206
be seen in the	200
in the course of	196
of the fifteenth century	195
of the royal academy	191
the rest of the	189
in the same way	181
it is impossible to	181
of the sixteenth century	178
the centre of the	176
in the works of	170
of the old masters	169
the art of painting	167
be found in the	163
is now in the	161
said to have been	161
as one of the	159
in the act of	157
in the collection of	154
the head of the	154
in the art of	154
the character of the	152
the beauty of the	151
it is said that	149
in the style of	149
it is difficult to	148
of the nineteenth century	146
the life of the	146
the spirit of the	146
he seems to have	145
of the school of	144
it is to be	143
in the form of	141
the work of the	141
the top of the	138
of the works of	138
the possession of the	136
in the middle of	135
in the time of	135
the colour of the	134
is to be seen	134
as well as in	132
of the seventeenth century	131
the close of the	131
are to be found	131
is not to be	130
in the manner of	130
the history of the	130
the name of the	130
adoration of the magi	128
on the th of	128
may be seen in	128
it seems to me	128
of one of the	127
in the british museum	127
of the eighteenth century	126
the nature of the	126
for the purpose of	125
the surface of the	125
the walls of the	125
the adoration of the	124
the art of the	124
for the church of	123
the picture of the	123
in proportion to the	123
the history of art	122
under the influence of	121
one of the first	121
on the other side	120
in the life of	120
are to be seen	119
of the art of	119
for a long time	118
one of the best	118
a work of art	118
at the foot of	117
to have been a	117
in spite of the	116
by the side of	116
with the exception of	116
there can be no	116
from the life of	115
the influence of the	115
is to be found	114
the form of a	114
to the end of	113
at the beginning of	113
the side of the	113
on account of the	112
it is true that	112
at the royal academy	112
the light of the	112
a picture of the	112
the greater part of	111
of the fourteenth century	110
the whole of the	109
the figure of the	109
to be met with	108
the painting of the	108
in one of the	107
on the part of	106
appears to have been	106
coronation of the virgin	106
the face of the	104
in the school of	103
the time of the	103
the way in which	102
a member of the	102
by permission of the	102
seem to have been	101
i do not know	101
from time to time	101
to that of the	101
in the first place	100
as a matter of	100
at the head of	100
in the hands of	99
a great deal of	99
in the service of	99
at a time when	98
of the duke of	98
in the presence of	98
at the time of	98
in the habit of	97
in his native place	97
in which he was	97
he was one of	96
and at the same	96
to have been the	95
may be said to	95
in possession of the	95
the style of the	94
with regard to the	94
the portrait of the	94
it is evident that	94
of the church of	94
his picture of the	93
in the house of	93
a great number of	93
the effect of the	93
the church of san	92
the bottom of the	92
of the thirteenth century	92
the foot of the	92
the body of the	90
the manner in which	90
from the hand of	90
in the work of	90
of the life of	90
the owner of the	89
in the way of	89
of the fine arts	89
at the church of	89
that he did not	88
the end of his	88
the study of the	87
the chapel of the	86
one of the greatest	86
one of the finest	85
the decoration of the	85
the part of the	85
the fact that the	84
at the close of	84
of the middle ages	83
years of his life	83
the story of the	82
was the first to	82
the expression of the	81
in the cathedral of	81
in the centre of	81
of the nature of	81
it is one of	80
of the picture is	80
the form of the	80
was a man of	79
a large number of	79
it would have been	79
he is said to	79
the service of the	79
as well as of	79
in the same manner	78
the death of the	78
about the same time	78
the hands of the	78
it is in the	77
it is probable that	77
as far as i	77
to the study of	77
the church of st	77
the drawing of the	77
the son of a	77
the virgin and child	76
the size of the	76
it was in the	76
the mind of the	75
the eye of the	75
one of his pictures	75
the painter of the	75
on the walls of	75
in proportion as the	75
to be able to	75
than that of the	75
of the name of	74
but it is not	74
as may be seen	74
in front of the	74
the history of painting	73
madonna and infant john	73
that he was a	73
the subject of the	73
as that of the	73
it is not the	73
it is necessary to	72
would seem to have	72
in one of his	72
of the th century	72
it must have been	72
in the sacristy of	72
and one of the	71
in the same year	71
a part of the	71
the prince of wales	70
the eye and the	70
as if they were	70
the manner of the	70
by means of the	70
is supposed to have	70
he was able to	70
in the fifteenth century	69
in the chapel of	69
the fact that he	69
in the pontificate of	69
in the pitti palace	69
the collection of the	69
in the gallery of	69
it is interesting to	69
towards the end of	69
the use of the	68
but there is no	68
as we have seen	68
that he could not	68
in the beginning of	68
in the opinion of	68
in that of the	68
the pictures of the	68
the work of a	68
in the use of	68
one and the same	67
there is not a	67
he was a man	67
to be seen at	67
it is easy to	67
at the bottom of	67
part of the picture	67
at the expense of	67
one of his most	67
the power of the	66
was the son of	66
of the colour of	66
in some of his	66
in regard to the	66
portrait of a lady	66
the portrait of a	66
so far as it	66
after the death of	66
assumption of the virgin	66
of the most beautiful	66
on the subject of	66
in the wallace collection	65
descent from the cross	65
the course of the	65
of the venetian school	65
be said to have	65
after the original painting	65
and that of the	65
in some of the	64
in his life of	64
in the seventeenth century	64
a good deal of	64
was a pupil of	64
as a painter of	64
in the uffizi gallery	64
he was the first	64
it is possible to	64
the action of the	63
at the time when	63
to do with the	63
he was born in	63
of some of the	63
that it is not	63
the owners of the	63
in such a way	63
portrait of a man	63
by kind permission of	62
in the pictures of	62
does not seem to	62
the back of the	62
the last of the	62
in the direction of	61
sense of the word	61
and in the same	61
as a portrait painter	61
as well as a	61
be met with in	61
about the middle of	61
the position of the	61
in the open air	60
the coronation of the	60
as if it were	60
it is certain that	60
a matter of fact	60
to the works of	60
in black and white	60
the figures of the	60
in the library of	60
in the royal academy	60
the arrangement of the	60
the lines of the	60
the image of the	60
the other side of	60
on the back of	59
at the top of	59
history of painting in	59
in the picture of	59
the author of the	59
the best of the	59
over and over again	59
which is now in	59
in the representation of	58
to the school of	58
there is no doubt	58
between the eye and	58
on the one hand	58
is by no means	58
to the fact that	58
and this is the	58
in the character of	58
the first of the	58
that he was the	57
and there is a	57
the madonna and child	57
in the following year	57
in the matter of	57
in the dresden gallery	57
in spite of his	57
in so far as	57
the cause of the	57
the midst of the	57
the eyes of the	57
he would have been	57
on a large scale	57
the meaning of the	57
of which he was	57
the edge of the	57
the base of the	57
of the human body	56
supposed to have been	56
now in the national	56
the fine art society	56
a portrait of the	56
in the autumn of	56
on the occasion of	56
by permission of messrs	55
that he was not	55
as well as to	55
by the name of	55
a painter of the	55
after the manner of	55
of the work of	55
on the opposite side	55
as far as the	55
the case of the	55
the gallery of the	55
the church of santa	55
with that of the	55
if i mistake not	55
it is not easy	55
madonna and child with	54
on the side of	54
the order of the	54
which is to be	54
the presence of the	54
it will be found	54
is said to be	54
in the painting of	54
under the name of	54
this is one of	54
of the beauty of	54
in the sixteenth century	54
the early part of	54
in the days of	54
appear to have been	53
in proportion as they	53
it may be said	53
and there is no	53
the hand of the	53
that there is no	53
it has been said	53
the head of a	53
in the eyes of	53
now in the louvre	53
by the hand of	53
towards the close of	53
a few of the	53
of the history of	52
of the present day	52
at the court of	52
the hall of the	52
it would be difficult	52
is a picture of	52
to the art of	52
i do not think	52
the work of his	52
is one of his	52
of the same subject	52
the rays of the	52
the progress of the	52
may be found in	52
the madonna of the	52
on each side of	51
the shadow of the	51
in proportion as it	51
from the time of	51
president of the royal	51
are not to be	51
in the studio of	51
at the feet of	51
a photograph by braun	51
in the eighteenth century	51
in the nineteenth century	51
in a great measure	51
the time of his	51
of the national gallery	51
by the fact that	51
from the works of	50
by reason of the	50
some of the most	50
of a young man	50
in the academy of	50
the church of that	50
the death of his	50
of the virgin and	50
the south kensington museum	50
in a letter to	50
in which it is	50
exhibited at the royal	50
as an example of	50
the taste of the	50
in connection with the	49
the representation of the	49
the frescoes in the	49
in many of his	49
the age of twenty	49
the lives of the	49
to the time of	49
the first half of	49
some of his pictures	49
of the human form	49
to the national gallery	49
the heads of the	49
in the light of	49
as in the case	49
which are to be	49
other side of the	49
as if they had	49
would not have been	48
of the human figure	48
eight reproductions in colour	48
of an old man	48
with eight reproductions in	48
many of his works	48
the sake of the	48
gazette des beaux arts	48
the height of the	48
illustrated with eight reproductions	48
would be difficult to	48
is not easy to	48
the opening of the	48
in the fourteenth century	48
will be found in	48
the lower part of	48
list of illustrations plate	48
he painted in the	48
of the house of	48
the royal academy in	48
into the hands of	48
as we shall see	48
the duke of mantua	48
owners of the copyright	48
so far as i	48
the ceiling of the	48
many of his pictures	48
that there is a	48
carbon print by braun	48
of a man who	48
that part of the	48
by him in the	48
the glory of the	48
and it is not	48
is that of the	48
in spite of all	47
first half of the	47
the strength of the	47
masterpieces in colour edited	47
in colour edited by	47
in accordance with the	47
to the royal academy	47
but it is a	47
in such a manner	47
on the top of	47
the direction of the	47
that it is a	47
a few of his	47
on account of his	47
the rest of his	47
the upper part of	47
in addition to the	47
is proved by the	47
the motion of the	47
in the shape of	47
the man with the	47
at the national gallery	47
a place in the	47
the house of the	47
not seem to have	47
with respect to the	47
in the city of	46
the treatment of the	46
to say nothing of	46
it will be remembered	46
the length of the	46
was in the habit	46
of the great masters	46
the painters of the	46
far as i know	46
we do not know	46
so far as the	46
in the palace of	46
to have been painted	46
which is in the	46
when he came to	46
the completion of the	46
the place of the	46
victoria and albert museum	46
can be no doubt	46
at the house of	46
with a view to	46
he must have been	46
reproductions in colour illustration	46
to be one of	45
one of the few	45
be one of the	45
greater part of the	45
the forms of the	45
a great part of	45
the banks of the	45
the date of the	45
by permission of m	45
he appears to have	45
end of his life	45
is seen in the	45
of light and shadow	45
him to have been	45
so far as to	45
is more or less	45
in the treatment of	45
is no doubt that	45
could not have been	45
of the roman school	45
from the fact that	45
was not to be	44
in order that the	44
must have been a	44
at the present day	44
of illustrations plate i	44
i should like to	44
the picture in the	44
in the drawing of	44
the sacristy of the	44
if we are to	44
the palace of the	44
of the death of	44
of one of his	44
to one of the	43
in the name of	43
as well as his	43
scenes from the life	43
well as in the	43
of the most important	43
the names of the	43
one of the chief	43
the quality of the	43
the same way as	43
the first of these	43
on the death of	43
side by side with	43
the members of the	42
each side of the	42
by the aid of	42
of leonardo da vinci	42
no more than a	42
to me to be	42
as soon as he	42
of the fact that	42
portrait of a young	42
in the hall of	42
the descent from the	42
lower part of the	42
in his old age	42
of which i have	42
one of his best	42
the birth of the	42
the difference between the	42
his father was a	42
in a short time	42
the library of the	42
in the sistine chapel	42
i do not say	42
part of his life	42
be said to be	42
owner of the copyright	42
in the study of	41
but it was not	41
in the mind of	41
it would appear that	41
the movement of the	41
the attention of the	41
it will be seen	41
to the court of	41
the attitude of the	41
in the spring of	41
the right of the	41
a picture in the	41
rays of the sun	41
the artists of the	41
in a state of	41
of the van eycks	41
of men and women	41
on a level with	41
ought not to be	41
in the highest degree	41
i do not mean	41
of the city of	41
it is not a	40
he was in the	40
is one of those	40
the best of his	40
is a portrait of	40
as far as possible	40
by one of the	40
at the height of	40
the heart of the	40
the life of st	40
nothing to do with	40
it must be remembered	40
the feet of the	40
on either side of	40
in his picture of	40
that it was not	40
one of the great	40
is known to have	40
one side of the	40
in the place of	40
proportion as it is	40
of the most celebrated	40
painted for the church	40
in the middle ages	40
as far as it	40
adoration of the shepherds	40
the thickness of the	39
at the ballantyne press	39
in the face of	39
the darkness of the	39
the left of the	39
through the medium of	39
the idea of the	39
of painting in italy	39
is that of a	39
if you want to	39
on his return to	39
it is not so	39
as much as possible	39
of the pictures of	39
was born in the	39
the same time he	39
still to be seen	39
of the same size	39
in the minds of	39
in the metropolitan museum	39
that it would be	39
the assumption of the	39
was a painter of	39
in his own country	39
but he did not	39
and it is the	39
with the aid of	39
in the ducal palace	39
so that it is	39
by the use of	39
sacred and profane love	39
to those of the	39
in the world of	39
be the work of	39
the school of the	39
and on the other	38
to the point of	38
the most important of	38
face to face with	38
in which they are	38
metropolitan museum of art	38
in many of the	38
of the sistine chapel	38
in the ducal gallery	38
of the artists of	38
at the same period	38
in the salon of	38
one of the earliest	38
to him in the	38
the level of the	38
the martyrdom of s	38
it is not possible	38
than in any other	38
with the assistance of	38
the flight into egypt	38
virgin and child with	38
upper part of the	38
in which he has	38
the light and shade	38
he was not a	38
was at this time	38
is a matter of	38
in the reign of	38
with the works of	38
the latter part of	38
for the decoration of	38
from the school of	38
it would seem that	38
in the summer of	38
it would be impossible	37
are to be met	37
the sides of the	37
seems to me that	37
to the top of	37
the appearance of the	37
the close of his	37
the point of view	37
by means of a	37
he is one of	37
proportion as they are	37
to the influence of	37
if you wish to	37
church of santa maria	37
more than any other	37
little more than a	37
the wall of the	37
it would be a	37
the portraits of the	37
it was not until	37
of the society of	37
to go to the	37
of andrea del sarto	37
and it will be	37
in point of design	37
there is nothing in	37
the rue du bac	37
to the style of	37
in common with the	37
in the neighbourhood of	37
for the production of	37
the truth of the	37
of his works are	37
it is not necessary	37
of the painters of	37
the baptism of christ	36
george and the dragon	36
and in that of	36
to the use of	36
the text at the	36
the soul of the	36
but there is a	36
the plates are printed	36
which he painted in	36
and it was not	36
way in which the	36
to say that the	36
the last years of	36
the martyrdom of st	36
are printed by bemrose	36
in which there is	36
of his pictures in	36
the marriage of the	36
text at the ballantyne	36
plates are printed by	36
on the banks of	36
for the use of	36
in which he is	36
in the fact that	36
the colours of the	36
he knew how to	36
the result of the	36
a portion of the	36
a knowledge of the	36
the proportions of the	35
in the arrangement of	35
to be in the	35
we are told that	35
in the foreground of	35
he was accustomed to	35
early part of the	35
as i have said	35
and it is a	35
in the tate gallery	35
it is clear that	35
the story of his	35
was painted for the	35
of the spirit of	35
of the character of	35
this is not the	35
come down to us	35
when the sun is	35
the blue of the	35
death of the virgin	35
like that of the	35
in the absence of	35
when he painted the	35
the period of the	35
the days of the	35
in his own way	35
of the dutch school	35
in a series of	35
and it would be	35
the midst of a	35
life of the virgin	35
branch of the art	34
on the face of	34
as far as we	34
met with in the	34
at an early age	34
that he had been	34
in the portrait of	34
which is one of	34
if they had been	34
it may be well	34
of all that is	34
at the side of	34
he was a painter	34
have been able to	34
after the original picture	34
the figures in the	34
you will find that	34
a few years ago	34
figure of the virgin	34
the life of christ	34
is the cause of	34
the national portrait gallery	34
to the duke of	34
the principles of the	34
on the right hand	34
on the surface of	34
that it is impossible	34
to say that he	34
the interest of the	34
the end of a	34
the line of the	34
was by no means	34
of the style of	34
about the same period	34
other parts of the	34
of the earl of	34
with those of the	34
the development of the	34
the life of a	33
in the thirteenth century	33
with the name of	33
the weight of the	33
may be regarded as	33
it is well to	33
with the spirit of	33
is not in the	33
made the acquaintance of	33
to the number of	33
in which he had	33
a time when the	33
a book of the	33
if it had been	33
and the rest of	33
to the painting of	33
the prix de rome	33
for the benefit of	33
of the same kind	33
the metropolitan museum of	33
may be said that	33
of which it is	33
from that of the	33
certain it is that	33
on the authority of	33
is shown by the	33
a copy of the	33
as well as for	33
the beauty of his	33
in the royal gallery	33
member of the academy	33
so long as the	33
the hand of a	33
on one of the	33
of art in the	33
at the present time	33
in light and shade	33
the space between the	33
a picture of a	33
some of his works	33
the refectory of the	33
it was one of	33
may be called the	33
the force of the	33
became one of the	33
the exception of the	33
the features of the	33
it may not be	33
not be able to	32
that it was the	32
was at that time	32
is said that he	32
one or two of	32
it was impossible to	32
of the english school	32
he could not have	32
is the portrait of	32
far as it is	32
that there was no	32
seems to me to	32
in which he lived	32
for the rest of	32
deposition from the cross	32
the same time as	32
not to be found	32
in the early days	32
lives of the painters	32
the type of the	32
the portrait of his	32
as a work of	32
as we have said	32
to be the work	32
the pictures in the	32
the composition of the	32
of the virgin in	32
be seen at the	32
portrait of young man	32
the picture of s	32
that it should be	32
and it may be	32
he was a pupil	32
they are to be	32
than those of the	32
in his native city	32
but it is the	32
in the nature of	32
the whole of his	32
be no doubt that	32
a few years later	32
but i do not	32
not in the least	32
for which he was	32
on the strength of	32
from the point of	32
owner of the picture	32
the date of his	32
that he had a	32
in the figure of	32
in the cloister of	32
eye of the spectator	32
in the national portrait	32
of the head of	32
in proportion to their	32
of the art in	32
the idea of a	32
is not so much	32
point of view of	32
is the result of	32
is the work of	32
the design of the	32
on one side of	31
it would be well	31
the royal academy of	31
all the rest of	31
as it has been	31
the works of his	31
the production of a	31
of the legion of	31
was a native of	31
picture of the virgin	31
the character of his	31
if it were not	31
to a great extent	31
in the convent of	31
it is only in	31
and for this reason	31
in the expression of	31
but at the same	31
with more or less	31
the art of his	31
it is the most	31
after his return from	31
in the south kensington	31
in a position to	31
by permission of mr	31
it was he who	31
as a young man	31
it is known that	31
when he was a	31
to the best of	31
in the company of	31
the effect of a	31
the battle of the	31
it may have been	31
is equal to the	31
it is possible that	31
that it was a	31
if you do not	31
in the composition of	31
the corner of the	31
not been able to	31
of his works in	31
photograph of the original	31
in the decoration of	31
similar to that of	31
so far as they	31
and in other places	31
a quarter of a	31
in the list of	31
the daughter of a	31
works of the great	31
the master of the	31
of the order of	31
does not appear to	31
as we see in	31
in the same series	31
painted the portrait of	31
of a number of	31
of works of art	31
one of which is	31
the masters of the	31
to paint a picture	30
the great masters of	30
was one of those	30
there is a picture	30
as we have already	30
and in this way	30
it is a very	30
it is impossible that	30
came to an end	30
and is now in	30
we see in the	30
it would not be	30
exhibited at the salon	30
the duchess of devonshire	30
in the heart of	30
in the sense of	30
are more or less	30
it may be that	30
supposed to be the	30
may be considered as	30
the result of his	30
it is hard to	30
the th day of	30
has been said that	30
in his right hand	30
he painted for the	30
and you will see	30
was exhibited at the	30
are seen in the	30
the greatest of all	30
one of his works	30
with the help of	30
to look at the	30
end of the fifteenth	30
as long as he	30
a view of the	30
as if he had	30
the genius of the	30
the legion of honour	30
to the house of	30
and yet it is	30
it is necessary that	30
at the salon of	30
a photograph of the	30
the edges of the	30
the fall of the	30
the fresco of the	30
the same manner as	30
that it is the	30
to return to the	30
on the wall of	30
on account of its	30
i have not seen	30
time of his death	30
the shape of a	30
i was obliged to	30
nocturne in blue and	30
of the same colour	30
the conception of the	30
of heaven and hell	30
must be remembered that	30
the height of his	30
and some of the	30
than any of the	30
the first time in	30
is supposed to be	30
from a carbon print	29
as a landscape painter	29
presentation in the temple	29
from the centre of	29
the value of the	29
out of the question	29
more or less of	29
the fact that it	29
was the daughter of	29
have been painted by	29
the angel of the	29
light of the sun	29
of the last supper	29
to a certain extent	29
and it is only	29
there is no reason	29
as well as by	29
the reflection of the	29
the color of the	29
manner in which the	29
out of the way	29
to the work of	29
in the first instance	29
of the value of	29
it must not be	29
the shadows of the	29
the background of the	29
of his life in	29
as soon as the	29
in the imperial gallery	29
it was not till	29
to speak of the	29
so far as he	29
the same as that	29
so as to be	29
the commencement of the	29
the founder of the	29
a carbon print by	29
it is a picture	29
such a way that	29
and now in the	29
the greater number of	29
for one of the	29
the world of art	29
every one of his	29
to the representation of	29
the works of nature	29
of his pictures are	29
he was a great	29
in the production of	29
the noble family of	29
the beginning of this	29
that he had not	29
he would not have	29
it was to be	29
every part of the	29
by the light of	29
the son of the	29
of the best of	29
in the museum of	29
a certain degree of	29
but it must be	29
he was invited to	29
in our national gallery	29
of the king of	29
in the spirit of	29
a certain amount of	29
in the early part	29
it is as if	29
into the possession of	29
of the british museum	29
the convent of the	29
in the campo santo	29
on the left hand	29
one or the other	29
of the last judgment	29
in his later years	29
the leaves of the	29
is the case with	28
and that it was	28
of the truth of	28
the folds of the	28
and in spite of	28
the structure of the	28
the use of a	28
at the request of	28
in a front view	28
with the addition of	28
it is not to	28
that one of the	28
have come down to	28
a portrait of a	28
the character of a	28
and child with st	28
it will not be	28
the same time the	28
for a long period	28
the presentation of the	28
agony in the garden	28
an idea of the	28
of the man who	28
of the same name	28
the execution of the	28
it ought to be	28
beginning of the century	28
on the left of	28
a pupil of the	28
light of the world	28
in this way the	28
of it in the	28
for the last time	28
an infinite number of	28
from the top of	28
the victoria and albert	28
a certain number of	28
for a short time	28
a matter of course	28
the width of the	28
he was the son	28
the descent of the	28
under the title of	28
is in the national	28
permission of the artist	28
this part of the	28
painters of the renaissance	28
i have never seen	28
not appear to have	28
in front of it	28
to such a degree	28
the frescoes of the	28
by which it is	28
of the fine art	28
of which we have	28
the leighton house collection	28
is evident that the	28
to have been in	28
it was said that	28
the scene of the	28
in front of a	28
in a sort of	28
in the province of	28
distance from the eye	28
is produced by the	28
the arms of the	28
the same relation to	28
but it does not	27
as it is in	27
in the dulwich gallery	27
the tone of the	27
side of the picture	27
have been in the	27
we may be sure	27
of the family of	27
the songs of innocence	27
within the limits of	27
with reference to the	27
of the laws of	27
the book of kells	27
the time when the	27
not only in the	27
that this is the	27
as a means of	27
the knowledge of the	27
on the art of	27
with the work of	27
in the berlin gallery	27
at a great distance	27
new english art club	27
to the level of	27
centre of the picture	27
the disposition of the	27
under the direction of	27
we find in the	27
as well as from	27
now in the possession	27
but he was not	27
with the eyes of	27
an example of the	27
by crowe and cavalcaselle	27
would be impossible to	27
the foundation of the	27
such a way as	27
there is nothing to	27
in the arms of	27
at a distance of	27
the works of this	27
it was not the	27
will be remembered that	27
in the refectory of	27
is the same as	27
it is the same	27
between them and the	27
in a work of	27
at the tate gallery	27
in the monastery of	27
the faces of the	27
do not know what	27
the same time that	27
but it would be	27
in the same style	27
of sir joshua reynolds	27
the sixteenth and seventeenth	27
of some of his	27
of the convent of	27
church of that saint	27
the most beautiful of	27
said to be the	27
with the intention of	27
printed by bemrose sons	27
of the royal family	27
in opposition to the	27
he was buried in	27
there is in the	27
if you were to	27
to the conclusion that	27
one or other of	27
of the florentine school	27
he went to the	27
is preserved in the	26
in the practice of	26
he did not know	26
the study of nature	26
the distance from the	26
marriage of heaven and	26
we have already seen	26
the choir of the	26
the early days of	26
of the italian school	26
are among the most	26
was one of his	26
and the death of	26
is the only one	26
the one in the	26
his works in the	26
with a sense of	26
the outline of the	26
beyond the reach of	26
it seemed to me	26
the cupola of the	26
and character of the	26
the shape of the	26
not being able to	26
all the works of	26
of the use of	26
latter part of the	26
permission of the fine	26
the other in the	26
the painting in the	26
of the italian renaissance	26
the same degree of	26
in which it was	26
the summit of the	26
to one of his	26
with which they are	26
to the effect that	26
upon the walls of	26
there is no other	26
to have been an	26
of the twelfth century	26
of his native place	26
by means of which	26
he was fond of	26
and some of his	26
effects of light and	26
we have only to	26
of the prince of	26
in the pursuit of	26
will be found to	26
the return of the	26
in the gentle art	26
of the highest order	26
it could not be	26
look as if they	26
this branch of art	26
in the united states	26
the picture is a	26
the national gallery in	26
as if he were	26
you will find it	26
marriage of the virgin	26
in order to give	26
it seems to be	26
by far the most	26
the figure of a	26
that the art of	26
however this may be	26
some of the best	26
if he had not	26
of the original painting	26
the most celebrated of	26
and that it is	26
of john the baptist	26
one of those who	26
to which he was	26
so far as we	26
in point of colouring	26
is perhaps the most	26
and if it is	26
the company of the	26
the picture was painted	26
it must be admitted	26
are now in the	26
at the back of	26
to be the most	26
the convent of san	26
it is a great	26
of christ in the	26
this is proved by	26
the same may be	26
any part of the	26
which he had been	26
a young man of	26
seems to be a	25
were it not for	25
among the painters of	25
in the choir of	25
and that he was	25
in a way that	25
the end of it	25
on a larger scale	25
of his life and	25
the opinion of the	25
as a sort of	25
known by the name	25
there is also a	25
of the influence of	25
are still to be	25
that they are not	25
there is the same	25
the family of the	25
it seemed as if	25
on a small scale	25
one of the last	25
there is a great	25
a level with the	25
of painting in the	25
painter to the court	25
in the catalogue of	25
the head of his	25
the origin of the	25
christ bearing the cross	25
it is that the	25
is due to the	25
as if it had	25
was employed in the	25
on which it is	25
light and shade in	25
would have been the	25
as early as the	25
seen in a front	25
is true that the	25
a book of hours	25
fact that he was	25
by the death of	25
member of the royal	25
the result of a	25
he was employed by	25
madonna and four saints	25
portrait of his mother	25
as a piece of	25
the introduction of the	25
of the united states	25
arrangement in black and	25
in the first volume	25
a study of the	25
the new english art	25
as the work of	25
of the cause of	25
the eyes of a	25
and the beauty of	25
the opposite side of	25
as a man of	25
in the arena chapel	25
the national gallery of	25
you will see that	25
of which there are	25
the foot of a	25
painter to the king	25
it is only by	25
of the power of	25
the age of thirty	25
to prove that the	25
in consequence of the	25
he was a good	25
he might have been	25
known to have been	25
the judgment of solomon	25
a man of the	25
as compared with the	25
in respect of the	25
the presentation in the	25
there is not the	25
sixteenth and seventeenth centuries	25
to the bottom of	25
of a series of	25
a year or two	25
a man with a	25
the second half of	25
the book of job	25
was buried in the	25
it is now in	25
in favour of the	25
on the left side	25
there is not one	25
the first of his	25
when he went to	25
with which he was	25
the case with the	25
is seen in a	25
i have no doubt	25
devoted himself to the	25
the same kind of	25
he went to rome	25
the style of his	25
the means by which	25
in the academy at	25
the details of the	25
by the same hand	25
in the choice of	25
of many of the	25
the father of the	25
of the academy of	25
the fashion of the	25
no doubt that the	24
to be a painter	24
the little white girl	24
the miracle of the	24
in a picture of	24
as though they were	24
on the road to	24
a man who has	24
was employed by the	24
the imperial gallery at	24
from the study of	24
there is a certain	24
branches of the art	24
and many of the	24
may have been the	24
the period of his	24
the pupil of the	24
not one of the	24
put an end to	24
the virgin in the	24
the practice of the	24
in the attitude of	24
either side of the	24
of the manner of	24
derby and london the	24
works of the old	24
by the introduction of	24
the success of the	24
convent of san marco	24
in the chapter on	24
at a later period	24
but this is not	24
in the beauty of	24
the cloister of the	24
the construction of the	24
of the figures in	24
in the power of	24
to the close of	24
in order to obtain	24
in the munich gallery	24
in the museum at	24
for the chapel of	24
man of the world	24
the contrast between the	24
for more than a	24
presentation of the virgin	24
that there is not	24
a considerable number of	24
between it and the	24
which he painted for	24
nothing could be more	24
about the time of	24
to such an extent	24
in any of the	24
the king of france	24
it was only in	24
of the battle of	24
nothing more than a	24
he used to say	24
which he did not	24
in order to be	24
the title of the	24
but it will be	24
is a work of	24
may be seen at	24
the gazette des beaux	24
as long as the	24
the spirit of his	24
as much of the	24
in place of the	24
adoration of the kings	24
will be seen that	24
there is no need	24
on his way to	24
of a man of	24
so many of his	24
in the court of	24
at the corner of	24
christ on the cross	24
surface of the water	24
and on this account	24
imperial gallery at vienna	24
it was painted in	24
a few days later	24
in the middle distance	24
rest of his life	24
the manner of his	24
in a high degree	24
the name of a	24
it was in that	24
in the vienna gallery	24
but they are not	24
is in the possession	24
which it may be	24
and beauty of the	24
in the venetian school	24
and it is said	24
a man who had	24
it was in this	24
and london the text	24
of the same year	24
of the setting sun	24
one of the very	24
the harmony of the	24
second half of the	24
london the text at	24
out of the picture	24
the year of the	24
to the memory of	23
which it would be	23
it is sufficient to	23
he is supposed to	23
to distinguish him from	23
in the person of	23
the beauty of nature	23
which there is a	23
years before his death	23
in the berlin museum	23
of the most interesting	23
as time went on	23
to the church of	23
this picture of the	23
so as not to	23
the description of the	23
the th of october	23
by the duke of	23
is impossible to say	23
it is not in	23
to be attributed to	23
and it is to	23
far removed from the	23
to the extent of	23
and the fact that	23
the door of the	23
the sense of the	23
at the grosvenor gallery	23
end of the room	23
portrait of a woman	23
of that which is	23
the greatest of the	23
was an artist of	23
far as we can	23
slaughter of the innocents	23
place in the history	23
the subject of this	23
the waves of the	23
the simplicity of the	23
scuola di san rocco	23
the foreground of the	23
of the greatest of	23
man with the hoe	23
in the background of	23
and that he had	23
of the virgin mary	23
of christ and the	23
oil in the possession	23
be of the same	23
by the study of	23
that it might be	23
in the preface to	23
is not necessary to	23
the time when he	23
the year of his	23
the play of light	23
from the beginning of	23
in order to show	23
are in the national	23
it is not surprising	23
in order that he	23
that some of the	23
to the present day	23
to the taste of	23
the number of his	23
the theory of the	23
in the execution of	23
at the hands of	23
in a few years	23
because it is the	23
far as i can	23
on account of their	23
here and there a	23
the words of the	23
in the first half	23
so much of the	23
in the distribution of	23
the motions of the	23
on the one side	23
of the adoration of	23
to enable him to	23
on the right of	23
the bacchus and ariadne	23
the degree in which	23
it is better to	23
that he should be	23
i want you to	23
he was born at	23
after the fashion of	23
in a chapel of	23
of those who have	23
of this class of	23
and i do not	23
for its own sake	23
compared with that of	23
to the size of	23
in the present day	23
the minds of the	23
the course of time	23
nothing can be more	23
if he had been	23
the centre of a	23
to be regarded as	23
was the first who	23
said that he was	23
at once to the	23
in the churches of	23
massacre of the innocents	23
the same time a	23
which must have been	23
and is one of	23
of the great painters	23
with the rest of	23
at the same moment	23
in the exhibition of	23
are the work of	23
i have ever seen	23
in the garden of	23
birth of the virgin	23
would seem to be	23
the invention of the	23
of the berlin photographic	23
and those of the	23
in black and gold	23
without the aid of	23
and a number of	23
where he painted the	23
in the sense that	23
portrait of an old	23
to the beauty of	23
permission of the berlin	23
middle of the sixteenth	23
the question of the	22
the course of a	22
the moment when the	22
and others of the	22
the pit of the	22
the virgin and the	22
each other in the	22
on light and shade	22
the best part of	22
will be able to	22
in the brera gallery	22
to the history of	22
museum of fine arts	22
in harmony with the	22
an associate of the	22
the royal gallery at	22
it is obvious that	22
the light and the	22
of a great artist	22
the insertion of the	22
colour edited by t	22
up to that time	22
is a kind of	22
the ideas of the	22
the court of the	22
as much as the	22
of the martyrdom of	22
but it may be	22
it does not appear	22
he was an artist	22
as well as he	22
in the castle of	22
at the sight of	22
when we come to	22
as soon as it	22
the way of the	22
the expression of his	22
to account for the	22
though he did not	22
that it may be	22
and the portrait of	22
for the same reason	22
with which it is	22
the beginning of his	22
to have been born	22
at the same place	22
the time he was	22
it might have been	22
the king and queen	22
the appearance of a	22
manner in which he	22
any other of the	22
the early years of	22
studied the works of	22
way in which he	22
of form and colour	22
the destruction of the	22
been a pupil of	22
it was a great	22
in blue and gold	22
he is to be	22
in one or two	22
if he did not	22
now preserved in the	22
as it seems to	22
that he was in	22
in the guida di	22
the proportion of the	22
is given in the	22
the mass of the	22
from a photograph of	22
in order to get	22
the addition of a	22
of his life he	22
as one of his	22
which can only be	22
and more or less	22
in which the artist	22
and it has been	22
in the rendering of	22
in the same place	22
the life of s	22
as those of the	22
in the same direction	22
that there was a	22
for the expression of	22
the very essence of	22
do not say that	22
the images of the	22
this is a very	22
to make use of	22
reproduced from the original	22
there is no evidence	22
the top of a	22
be more or less	22
with whom he was	22
and that is the	22
at the battle of	22
history of the art	22
of beauty in the	22
to be an artist	22
the paintings of the	22
with the date of	22
kind permission of the	22
the outlines of the	22
in spite of their	22
in the cathedral at	22
that i have not	22
of the theoretic faculty	22
the splendour of the	22
pupil of the eye	22
it is to the	22
possession of the duke	22
when he was in	22
every one of the	22
his picture of s	22
it seems to have	22
shall be able to	22
elected to the consiglio	22
as we gather from	22
may be well to	22
of the marriage of	22
in the costume of	22
members of the royal	22
the perfection of the	22
to the expression of	22
the works of turner	22
was due to the	22
opposite side of the	22
so many of the	22
that i could not	22
under the head of	22
on the bank of	22
men and women of	22
the excellence of the	22
is that which is	22
was the case with	22
the case of a	22
of which he had	22
because it is not	22
works are to be	22
of puvis de chavannes	22
the colouring of the	22
in order to make	22
of light in the	22
the pictures of this	22
of the holy family	22
to those who have	22
at the door of	22
it was necessary to	22
the zenith of his	21
academy of fine arts	21
the roots of the	21
in relation to the	21
to the left of	21
it will be well	21
there are so many	21
which seems to have	21
of which is the	21
the steps of the	21
the charm of the	21
in the duomo of	21
the chapel of s	21
to which it is	21
that it may not	21
now hangs in the	21
sun is in the	21
it is not known	21
a number of his	21
became more and more	21
that i did not	21
it appears to me	21
the queen of sheba	21
of the first order	21
masterpieces in colour series	21
he was enabled to	21
so as to give	21
a full member of	21
he was a very	21
of the most remarkable	21
to the manner of	21
to that of his	21
where there is no	21
of the last century	21
is probable that the	21
a long time in	21
by sir joshua reynolds	21
the tops of the	21
different from that of	21
it was at the	21
that portion of the	21
be seen by the	21
is of the same	21
the help of the	21
of the same school	21
it is possible for	21
to be distinguished from	21
that it was painted	21
of a man in	21
that he painted the	21
in the gazette des	21
the shores of the	21
is to be regretted	21
the point of sight	21
to be regretted that	21
into the spirit of	21
if the reader will	21
the studio of the	21
the ends of the	21
it was not a	21
to the character of	21
it is said to	21
take the place of	21
in the shadow of	21
the dignity of the	21
the portrait of miss	21
in the houses of	21
he wrote to his	21
full of life and	21
in spite of its	21
the sun is in	21
in the state of	21
the point of the	21
full member of the	21
the subject of a	21
the imitation of the	21
and child with saints	21
to have been his	21
the presence of a	21
the virgin of the	21
to whom he was	21
an account of the	21
he is the only	21
are said to have	21
the vault of the	21
can be found in	21
he had never seen	21
which was to be	21
of the most exquisite	21
and the effect of	21
from the oil painting	21
to become a painter	21
a good example of	21
the sight of the	21
in colour series artist	21
a man of great	21
we have seen that	21
to show that the	21
pays de la porcelaine	21
of the most perfect	21
in the rue du	21
has been able to	21
may be seen by	21
the best artists of	21
work of the master	21
be out of place	21
may be compared to	21
there is only one	21
on his return from	21
as it is called	21
to the king of	21
by the help of	21
i am happy to	21
he was to be	21
the expression of a	21
a work of the	21
in this branch of	21
are by no means	21
in spite of this	21
last years of his	21
the example of the	21
this is to be	21
the national gallery is	21
may be able to	21
a portrait of himself	21
would have been a	21
rest of the picture	21
beginning of the sixteenth	21
of his best works	21
that he must have	21
the mouth of the	21
the property of the	21
for the beauty of	21
to do justice to	21
the influence of his	21
for a moment to	21
a sense of the	21
the men of the	21
we come to the	21
the beginning of a	21
meaning of the word	21
he was obliged to	21
and one or two	21
the roof of the	21
in the development of	21
have been one of	21
this picture was painted	20
by turner in the	20
the fourteenth and fifteenth	20
the margin of the	20
now in the uffizi	20
who is said to	20
and out of the	20
to the production of	20
before the time of	20
the scuola di san	20
work of art is	20
one of these is	20
du pays de la	20
between the years and	20
the tribune of the	20
he was commissioned to	20
is to be noted	20
the earl of arundel	20
the best works of	20
the years eighteen eighty	20
been one of the	20
as it is to	20
at the first glance	20
in the story of	20
a more or less	20
before the eyes of	20
the light on the	20
the grace of the	20
the bank of the	20
better than any other	20
what is to be	20
united states of america	20
portion of the work	20
with an air of	20
in the background is	20
he was also a	20
did not hesitate to	20
some of the figures	20
history of art in	20
on the day of	20
i believe to be	20
christ in the temple	20
the garden of the	20
accademia delle belle arti	20
the sun and the	20
which we find in	20
would appear to have	20
be said of the	20
the people of the	20
of the body of	20
of the ducal palace	20
now in the british	20
the first and most	20
pen and ink drawing	20
is said that the	20
from those of the	20
that he should not	20
have been the first	20
was at the same	20
a large picture of	20
like that of a	20
to get rid of	20
one of them is	20
which is the most	20
a high degree of	20
and you will find	20
from place to place	20
top of the head	20
but i have not	20
of which he is	20
the minds of men	20
the edge of a	20
of a work of	20
it is not difficult	20
the whole range of	20
it is in a	20
the surface of a	20
to the fine arts	20
it was not long	20
the agony in the	20
on the th day	20
a large part of	20
gentle art of making	20
of more or less	20
the london memorial exhibition	20
it will be a	20
the berlin photographic co	20
by the action of	20
professors of the art	20
we are accustomed to	20
fourteenth and fifteenth centuries	20
one of the noblest	20
to the surface of	20
and at the end	20
lady cockburn and her	20
to the city of	20
the triumph of the	20
with his own hand	20
great part of the	20
in his youth he	20
as is the case	20
on the same sheet	20
few of his pictures	20
princesse du pays de	20
on the eve of	20
we are informed by	20
art of making enemies	20
through the streets of	20
and the spirit of	20
to the studio of	20
be considered as a	20
some of which are	20
in the number of	20
in the winter of	20
the academy at venice	20
the aid of the	20
blue of the sky	20
it is only the	20
the interior of the	20
by his own hand	20
is not possible to	20
a manuscript of the	20
it is of the	20
of the madonna and	20
the centre of gravity	20
in the same city	20
of good and evil	20
with one of the	20
be borne in mind	20
church of that name	20
do not mean to	20
of the virgin is	20
of the birth of	20
as has been said	20
at the root of	20
was a member of	20
that it has been	20
for it is not	20
of the duchess of	20
the front of the	20
a representation of the	20
where there is a	20
the th of may	20
in the days when	20
of the most popular	20
associate of the royal	20
at the moment when	20
the light from the	20
the day of his	20
used to say that	20
the patronage of the	20
a list of the	20
to the life of	20
the massacre of the	20
the high altar of	20
the same with the	20
same as that of	20
when he returned to	20
of the beginning of	20
seen in a three	20
had it not been	20
the joint of the	20
the possession of mrs	20
of which is a	20
as is shown by	20
be placed in the	20
on the edge of	20
in the th century	20
the heads of his	20
but they did not	20
at a certain distance	20
of his own time	20
that he had never	20
in front of them	20
the imagination of the	20
the limits of the	20
is still to be	20
the art of illumination	20
the truth of nature	20
of an artist who	20
that he does not	20
two or three years	20
it will be necessary	20
at that time he	20
was to be seen	20
the side of a	20
of the men who	20
are of the same	19
the effect of light	19
in the print room	19
the occasion of the	19
to be of the	19
a photograph by newidein	19
in the rue de	19
to belong to the	19
of the painter is	19
that it is difficult	19
the possession of mr	19
by which they are	19
instructed in the art	19
of one of these	19
of the liber studiorum	19
of the cathedral of	19
chart of pure spectrum	19
he does not seem	19
the work of an	19
but in spite of	19
it is of a	19
the remainder of his	19
the latter half of	19
by some of the	19
and there was a	19
he had not been	19
it seems as if	19
said to be a	19
we must remember that	19
the object of the	19
the sea gave up	19
from carbon print by	19
and there was no	19
was no more than	19
half of the fifteenth	19
i have not been	19
he was compelled to	19
i am able to	19
of which we are	19
the voice of the	19
i have not yet	19
the memory of the	19
exhibited at the academy	19
the creation of the	19
a small portion of	19
in the cupola of	19
we must not forget	19
the figure of st	19
it is not only	19
he began to paint	19
may be said of	19
it is strange that	19
the painting of a	19
we are told by	19
many thanks for your	19
of the first rank	19
and it was only	19
in the order of	19
equal to that of	19
of the work is	19
the head of st	19
of the same period	19
if it is not	19
the original painting in	19
in the hope of	19
of a piece of	19
in comparison with the	19
on the nature of	19
the th of august	19
among the artists of	19
of the great master	19
if it were possible	19
it was possible to	19
as nearly as possible	19
died at the age	19
is to be observed	19
if he does not	19
the number of the	19
in the year of	19
painters of his time	19
what has been said	19
it is only a	19
one of his pupils	19
in the collections of	19
the duke of milan	19
as a result of	19
of the first to	19
the kind permission of	19
the same series artist	19
the marriage of heaven	19
in the last years	19
in consequence of this	19
the walls of his	19
more and more to	19
which belongs to the	19
in proportion to its	19
i have seen a	19
portrait of the artist	19
by which he was	19
is only to be	19
was sent to the	19
as it would be	19
in the same gallery	19
the school of bologna	19
of light and colour	19
the movements of the	19
the order in which	19
in the second volume	19
that he would have	19
the possession of a	19
the whole history of	19
by those who have	19
it is curious that	19
art of the painter	19
it is of course	19
picture from carbon print	19
the spirit of a	19
the sound of the	19
masses of light and	19
to me that the	19
the depths of the	19
to believe that the	19
it is curious to	19
in matters of art	19
in which they were	19
between him and the	19
be regarded as a	19
is in the east	19
the last few years	19
a repetition of the	19
the hands of a	19
in the preparation of	19
the mode in which	19
and one of his	19
the catalogue of the	19
national gallery of american	19
the fact that in	19
to be that of	19
the vision of the	19
the cause of this	19
in his treatment of	19
the royal society of	19
not by any means	19
of the surface of	19
the king of spain	19
as soon as i	19
the depth of the	19
since the days of	19
it is impossible for	19
and in the other	19
to the rank of	19
from his native place	19
nothing in common with	19
like those of the	19
in the charles l	19
the bath of psyche	19
at the sale of	19
the marriage of st	19
principles of the art	19
what may be called	19
of the mind of	19
in honour of the	19
parts of the picture	19
at one time he	19
on the way to	19
at the tomb of	19
the first part of	19
and in order to	19
reason to believe that	19
that is to be	19
to think of the	19
the duke of urbino	19
in other parts of	19
the expense of the	19
was said to have	19
to be considered as	19
he devoted himself to	19
from beginning to end	19
as that of a	19
the chief part of	19
period of his life	19
that he should have	19
as a painter he	19
in every part of	19
that i do not	19
was the pupil of	19
two or three of	19
where he painted in	19
gallery of american art	19
in a letter of	19
in the month of	19
in a variety of	19
the benefit of the	19
of any of the	19
as works of art	19
at the academy of	19
of which there is	19
original painting in the	19
from the pen of	19
were to be found	19
a picture for the	19
an adoration of the	19
if i had not	19
any of his contemporaries	19
to us in the	19
at an advanced age	19
if it were a	19
some of his best	19
a quarter of an	19
to the power of	19
the pontificate of paul	19
descent of the holy	19
others of the same	19
at that time in	19
it is well known	19
the fame of the	19
of the old school	19