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	1167
as well as	844
part of the	824
some of the	694
to have been	663
the use of	658
there is a	644
of the same	547
and in the	534
it is not	521
it may be	479
end of the	478
the eighteenth century	459
the work of	458
the sixteenth century	453
the end of	432
it is a	431
the form of	421
in the same	417
is to be	410
the time of	405
the art of	401
of the most	400
the seventeenth century	400
and it is	396
in which the	387
that of the	368
it will be	357
but it is	354
the fifteenth century	351
there is no	350
work of the	337
of the old	334
in order to	326
that it is	316
gold and silver	316
many of the	311
as in the	307
the fact that	306
of the eighteenth	303
is in the	300
the middle of	295
of the room	295
side of the	294
of the period	293
of the time	289
the reign of	285
in the form	284
by means of	282
it is the	278
on the other	276
the thirteenth century	276
are to be	274
of the seventeenth	272
the british museum	271
the name of	266
middle of the	265
of the sixteenth	262
more or less	262
to be found	260
a number of	260
a piece of	258
found in the	256
the history of	256
of the great	255
the middle ages	254
of the house	249
victoria and albert	245
in the middle	242
and albert museum	241
the fourteenth century	240
seems to have	237
be found in	233
it has been	232
in the centre	231
as it is	230
the collection of	228
it must be	225
to be seen	223
the effect of	223
the style of	223
out of the	222
be seen in	218
half of the	217
is one of	217
of the early	214
of the work	214
the same time	214
of the fifteenth	212
to be a	211
according to the	211
the beginning of	211
at the same	210
most of the	210
in the british	209
it was not	205
said to have	204
at the top	204
of the window	203
of the glass	203
south kensington museum	202
those of the	201
one of these	200
it should be	199
that it was	198
william and mary	197
must have been	197
the case of	197
the centre of	197
a series of	196
as early as	196
of the first	194
so that the	192
it would be	192
seen in the	191
in the case	191
form of a	191
made in the	189
in the south	185
the manufacture of	185
of the day	184
the decoration of	183
the top of	183
beginning of the	183
parts of the	183
use of the	182
of the design	181
of this kind	180
of the best	179
of the renaissance	178
the present day	178
of the century	178
that in the	177
so as to	177
the influence of	177
of the art	176
the other hand	175
may be seen	174
the introduction of	174
the rest of	173
a part of	173
shown in the	173
as to the	172
used in the	172
in this country	171
in the first	171
which it is	170
and of the	169
known as the	169
the hands of	169
of this period	169
the beauty of	169
the production of	168
now in the	168
such as the	168
it was the	167
it is to	166
much of the	165
of the middle	164
the days of	163
in the collection	163
as a rule	161
will be found	161
the nineteenth century	161
in addition to	160
at the time	160
to be the	160
a kind of	159
of which the	159
o o o	159
in the sixteenth	158
at the end	158
the south kensington	157
the possession of	157
it was a	156
the character of	155
should not be	155
the number of	155
a matter of	155
a pair of	154
the primary mass	154
of the fourteenth	154
the design of	153
and the other	153
in the early	153
and on the	152
the victoria and	152
there are many	152
are in the	152
of the two	151
on each side	151
which may be	150
top of the	150
of which is	150
of which are	150
to face page	149
the head of	149
the life of	147
there was a	147
of the thirteenth	146
on account of	145
in this way	144
in spite of	144
the value of	144
to make a	144
in the year	143
is said to	142
of the finest	142
well as the	141
a sort of	141
surface of the	141
examples of the	141
the church of	141
character of the	140
of the church	140
in regard to	140
of all the	140
will be seen	140
to be used	140
the walls of	139
lines of the	139
it is in	139
the surface of	139
the period of	139
this is a	138
rest of the	138
portion of the	137
at this time	137
owing to the	137
to make the	136
may be said	136
is that of	136
not to be	133
so far as	133
of gold and	133
but in the	132
of louis xiv	132
furniture of the	132
said to be	131
of the present	131
is a very	131
the making of	131
the whole of	131
it is only	131
the subject of	131
the duke of	130
of the cathedral	130
the appearance of	129
history of the	129
the place of	129
as far as	129
the point of	129
art of the	129
the back of	128
up to the	128
of the french	128
some of these	128
this is the	126
and that the	126
in connection with	126
time of the	125
seem to have	125
in the old	125
the shape of	125
the united states	124
have been made	123
is of the	123
two or three	123
and at the	123
the most important	123
of a room	123
the arms of	123
account of the	122
the furniture of	122
of the country	122
in the possession	122
to be made	121
used as a	121
as they are	120
example of the	120
appears to have	120
that they were	120
in the seventeenth	119
centre of the	119
it is of	119
by no means	119
of the nineteenth	119
of the wood	119
in the north	119
and there is	118
be said to	118
that is to	118
the story of	118
of the virgin	118
of the world	118
it is well	118
at that time	117
and it was	117
sides of the	117
may have been	117
the names of	117
on either side	116
would have been	116
arts and crafts	115
one or two	115
and a half	114
a great deal	114
for the most	114
at the present	114
the design is	113
beauty of the	113
of one of	113
was made in	112
that they are	112
pieces of furniture	112
the work is	112
for the purpose	112
the purpose of	112
in such a	111
idea of the	111
in one of	111
in the fifteenth	111
the twelfth century	111
is shown in	110
belonging to the	110
in the eighteenth	110
the result of	109
the property of	109
made by the	109
on the right	109
preserved in the	109
of the furniture	108
covered with a	108
an example of	108
the colour of	108
it is true	108
and to the	108
piece of furniture	107
the nature of	107
appear to have	107
the direction of	107
of the last	107
it is said	107
and so on	107
fact that the	106
that there is	106
there is an	106
point of view	106
that of a	106
which they are	104
is to say	104
design of the	104
of the late	103
on the left	103
in the time	103
here and there	103
may be used	103
to that of	102
was in the	102
to say that	102
the age of	102
of an inch	102
of the figures	102
on one side	102
the most part	102
regard to the	102
to be of	102
back of the	102
the figure of	101
given to the	101
the manner of	101
works of art	101
in imitation of	101
form of the	101
the city of	101
of some of	101
the most beautiful	100
work in the	100
which is a	100
be used in	100
a good deal	100
have been the	100
they may be	99
seems to be	99
the lines of	99
it is impossible	99
of the modern	99
the treatment of	98
the house of	98
with regard to	98
is difficult to	97
early in the	97
of the past	97
of the new	97
years of the	97
of the arts	97
a variety of	97
together with the	97
of louis xv	96
of the royal	96
in some of	96
it is possible	96
the process of	96
is not a	96
treatment of the	95
in the cathedral	95
as to be	95
but there is	95
the idea of	95
a few years	95
as we have	95
some of them	95
in the days	94
in the reign	94
the arts and	94
the same period	94
at the bottom	94
of the material	94
in the way	94
as much as	93
but it was	93
in the museum	93
as that of	93
in the other	93
which have been	93
it is difficult	93
was to be	93
the development of	93
as it were	93
we have seen	93
as it was	92
and there are	92
it does not	92
in all the	92
the method of	92
the size of	92
i have seen	92
part of a	92
of the original	92
the best of	91
have been a	91
it is quite	91
applied to the	91
the amount of	91
surmounted by a	91
to make it	91
of the choir	91
the quality of	91
due to the	91
the study of	90
well as in	90
of the king	90
of the spanish	90
the th century	90
style of the	90
they do not	90
the body of	90
which we have	89
which is the	89
in this case	89
to the eye	89
the part of	89
chest of drawers	89
had to be	89
i do not	89
on the walls	89
they are not	89
of the city	89
windows of the	88
walls of the	88
has been made	88
place in the	88
on which the	88
it was in	88
in the upper	88
must not be	88
the date of	88
as may be	88
the sides of	88
decoration of the	88
have been found	88
in a room	87
the spirit of	87
made for the	87
many of these	87
on the same	87
we find the	87
of his own	87
at south kensington	87
a set of	87
we do not	87
in the victoria	86
may be made	86
of the italian	86
the effect is	86
when it is	86
if it is	86
in which they	86
the designs of	86
for it is	85
it can be	85
in the latter	85
the close of	85
belongs to the	85
is a good	85
and some of	85
of the whole	85
are of the	85
first half of	85
in those days	85
effect of the	85
in order that	85
with gold and	84
the death of	84
of the primary	84
days of the	84
of the three	84
the majority of	84
and with the	84
of the other	84
attached to the	84
in the style	84
down to the	84
this kind of	83
of the family	83
is made of	83
of which we	83
in the design	83
of the english	83
by the use	83
the upper part	83
used for the	83
of the people	83
one of them	83
than in the	82
it in the	82
so that it	82
side by side	82
it is necessary	82
in the country	82
influence of the	82
edge of the	82
even in the	82
of the lace	82
it seems to	81
when it was	81
the fashion of	81
were made in	81
is known as	81
be seen that	81
in the most	81
by the same	81
it was made	81
and by the	81
life of the	81
in the great	81
to have a	81
be able to	80
it is very	80
in the world	80
dating from the	80
there should be	80
the way of	80
in the louvre	80
and for the	80
members of the	79
to the right	79
of his work	79
in the following	79
point of concentration	79
addition to the	79
in the royal	79
size of the	79
at one time	79
by permission of	79
but they are	79
period of the	79
which it was	79
colour of the	79
the cathedral of	79
quarter of the	78
more and more	78
was one of	78
by way of	78
in the art	78
not only in	78
or in the	78
many of them	78
the most interesting	78
used by the	78
name of the	78
is necessary to	78
is not so	77
of the windows	77
it is now	77
in front of	77
the works of	77
body of the	77
black and white	77
in the hands	77
the last century	77
of the wall	77
any of the	77
with precious stones	77
in the thirteenth	77
close of the	77
there is nothing	76
of the various	76
the application of	76
copper and brass	76
of the pattern	76
of charles ii	76
for many years	76
of the letter	76
to those who	76
the battle of	76
of henry viii	76
the addition of	76
place of the	76
this may be	76
in new york	76
similar to the	75
quality of the	75
at the beginning	75
has already been	75
with the same	75
is covered with	75
instead of the	75
the course of	75
to have the	75
there are some	75
which had been	75
head of the	75
windows in the	75
three or four	75
of the ancient	74
of such a	74
in white and	74
of them are	74
in the last	74
blue and white	74
there are two	74
is of a	74
early as the	73
about the same	73
in the church	73
which has been	73
is impossible to	73
in the choir	73
the king of	73
of the latter	73
to do with	73
the height of	73
is well to	73
in the house	73
at the back	72
than that of	72
is the same	72
there is the	72
in the illustration	72
queen anne period	72
the inventory of	72
of the fine	72
in the second	72
in the room	72
and in a	72
on the subject	72
top and bottom	71
out of a	71
of queen anne	71
of their own	71
development of the	71
of the later	71
great deal of	71
and precious stones	71
of the nave	71
they should be	71
as i have	70
was made by	70
of design and	70
it is an	70
from the east	70
the sense of	70
each side of	70
to the same	70
no less than	70
in the fourteenth	70
and they are	70
to give the	70
it is interesting	70
on the top	70
which they were	69
in the city	69
church of st	69
means of a	69
of the roman	69
of the th	69
in the manner	69
of james i	69
of the artist	69
the province of	69
in the drawing	69
belong to the	69
the side of	69
in the national	69
to see the	69
in place of	69
with which the	69
the museum of	69
good deal of	68
in the shape	68
the earl of	68
the edge of	68
the bottom of	68
the chapel of	68
but there are	68
the length of	68
knowledge of the	68
more than a	68
relation to the	68
in which it	68
of william and	68
on to the	68
of this time	68
there are no	68
scenes from the	68
characteristic of the	68
it to the	68
about the year	68
appear to be	67
the greater part	67
be said that	67
as a whole	67
the first half	67
early part of	67
way in which	67
second half of	67
the count of	67
of the picture	67
they have been	67
this is not	67
on the back	67
as a matter	67
appears to be	67
that he was	67
of the kind	66
of the second	66
and the whole	66
whole of the	66
between the two	66
on the part	66
of those who	66
a group of	66
this was the	66
which can be	66
it is as	66
in the east	66
of the building	66
shown in figure	66
attention to the	66
in some cases	66
placed in the	66
it has a	65
surface enrichment of	65
of the more	65
as soon as	65
the other side	65
is not the	65
on the contrary	65
is interesting to	65
the court of	65
the top and	65
figure of a	65
the same way	65
made of the	65
in the history	65
the arrangement of	65
the same as	65
and that of	65
all of the	64
front of the	64
of this work	64
in many cases	64
arms of the	64
the presence of	64
shape of the	64
white and stain	64
he was a	64
and from the	64
this class of	64
in which he	64
glass of the	64
examples of this	64
towards the end	64
the courtesy of	64
of louis xvi	64
in accordance with	64
in a small	64
there is also	64
a work of	64
chats on old	64
of its own	64
the queen anne	63
have been in	63
forms of the	63
the choir of	63
the east window	63
be made of	63
value of the	63
figures of the	63
the origin of	62
greater part of	62
point de venise	62
of the metal	62
is a fine	62
to be in	62
to the use	62
to the other	62
instead of being	62
latter part of	62
can be made	62
hands of the	62
in the lower	62
of the earliest	62
use of a	62
a ground of	62
formerly in the	62
of the hall	62
study of the	62
and all the	62
the glass is	62
of art in	62
than any other	61
a sense of	61
to show the	61
there is not	61
for this purpose	61
which is not	61
the lower part	61
of the east	61
the figures are	61
and this is	61
the cost of	61
the invention of	61
of the twelfth	61
the work was	61
the early part	61
other parts of	61
for the use	61
and one of	61
in the background	61
collection of mr	61
it to be	61
may be found	61
spirit of the	61
which we are	61
similar to that	61
of it is	60
of the subject	60
of charles i	60
to which the	60
back to the	60
should be a	60
much the same	60
late th century	60
in the best	60
chests of drawers	60
to those of	60
of precious stones	60
is the most	60
the kind of	60
to some extent	59
it had been	59
the forms of	59
on the continent	59
glass in the	59
of a very	59
made up of	59
the windows of	59
a band of	59
of new york	59
as has been	59
seventeenth and eighteenth	59
among the most	59
of the reign	59
so that they	59
if it were	59
in design and	59
the first of	59
is that the	59
is also a	59
in the midst	59
reference to the	59
there was no	59
on the whole	58
in england and	58
at a time	58
those who have	58
by the courtesy	58
the details of	58
at this period	58
be remembered that	58
the first time	58
work of a	58
the edges of	58
possession of the	58
there are also	58
at hampton court	58
light and shade	58
it is more	58
continued to be	58
the evolution of	58
and with a	58
the laces of	58
designs of the	58
inches in diameter	58
a bit of	58
to form a	58
supposed to be	58
for the first	57
in any case	57
that is the	57
the latter part	57
where it is	57
the sixteenth and	57
because it is	57
to the present	57
in the use	57
work of art	57
been made in	57
in the united	57
as late as	57
in the inventory	57
may be of	57
of the highest	57
be regarded as	57
the kingdom of	57
of a single	57
might have been	57
a means of	57
the second half	57
to give a	57
the revival of	57
which i have	57
in form of	57
the absence of	57
a collection of	57
from the same	57
width of the	57
all sorts of	57
of a window	56
turkey in asia	56
is decorated with	56
of a small	56
is the only	56
only in the	56
in the chapter	56
the points of	56
the construction of	56
should be used	56
hundred and fifty	56
point de france	56
each of the	56
nature of the	56
because of the	56
we have already	56
of stained glass	56
worn by the	56
that it may	56
would be a	56
case of the	56
during the reign	56
the importance of	56
those in the	56
in gold and	56
in harmony with	56
edges of the	56
we have the	55
the same manner	55
the first place	55
said that the	55
on the ground	55
is true that	55
in france and	55
large number of	55
the face of	55
it as a	55
from the life	55
height of the	55
intended to be	55
of the chair	55
i have said	55
the position of	55
room in the	55
that can be	55
in the present	55
as they were	55
time of louis	55
one of which	55
it is made	55
piece of glass	55
was a great	55
can be seen	55
one of his	55
museum of art	55
the seventeenth and	55
of the earlier	55
upper part of	55
in a very	55
corner of the	54
close to the	54
courtesy of messrs	54
may not be	54
the sake of	54
portions of the	54
the walls are	54
the present time	54
from the first	54
to the design	54
description of the	54
on the surface	54
were to be	54
one side of	54
more than one	54
jewellery of the	54
added to the	54
the question of	54
is now in	54
it is often	54
the midst of	54
harmony with the	54
of light and	54
the queen of	54
at all events	54
were made of	54
for a time	54
associated with the	54
at the foot	54
is seen in	54
has not been	53
a sheet of	53
at its best	53
the room is	53
of that period	53
bottom of the	53
they are of	53
on both sides	53
of the decoration	53
met with in	53
example of a	53
are of a	53
as shown in	53
in the work	53
in the earlier	53
great variety of	53
spite of the	53
on the north	53
seem to be	53
was not until	53
of the beautiful	53
could not be	53
be made to	53
should be of	53
the order of	53
is a great	53
some of which	53
a time when	53
arrangement of the	53
in this respect	53
tree of jesse	53
to show that	53
which there is	53
cloth of gold	53
was made at	53
the way in	53
for the sake	53
is found in	53
it is easy	52
this form of	52
of the style	52
and eighteenth centuries	52
of which were	52
suited to the	52
the tomb of	52
but this is	52
work of this	52
especially in the	52
would not be	52
connection with the	52
two of the	52
belonged to the	52
it cannot be	52
interest in the	52
it is also	52
the time when	52
as one of	52
during the last	52
the eleventh century	52
with a view	52
of the light	52
with the needle	52
the hand of	52
that there are	52
is no doubt	52
red and blue	52
a background of	52
the aid of	52
specimens of the	51
the object of	51
the drawing of	51
of the interior	51
about this time	51
all over the	51
of the very	51
to the work	51
are shown in	51
on the wall	51
description of plate	51
at any rate	51
of the colour	51
there is one	51
have been used	51
latter half of	51
we shall find	51
far as the	51
the laws of	51
we have a	51
as is the	51
one hundred and	51
a few of	51
to match the	51
was given to	51
they were made	51
with the exception	51
with the other	51
of the queen	51
introduction of the	51
has to be	51
ornaments of the	51
the practice of	51
is not to	51
to the left	51
who died in	51
be used for	51
in the center	51
is supposed to	51
produced by the	51
story of the	51
the exception of	51
in the new	51
part in the	51
furniture of this	51
to be considered	51
is easy to	51
of the stone	50
of the different	50
imitation of the	50
a large number	50
all kinds of	50
the foot of	50
the interior of	50
no doubt that	50
sixteenth and seventeenth	50
be used as	50
likely to be	50
of a large	50
the charm of	50
that we have	50
and the same	50
is ornamented with	50
length of the	50
of the surface	50
hall of the	50
in this manner	50
as a mark	50
to represent the	50
out of place	50
pieces of glass	50
master of the	50
have to be	50
is said that	50
presented to the	50
the productions of	50
made in england	49
the same colour	49
of the walls	49
given by the	49
style of decoration	49
figure of the	49
began to be	49
of the panel	49
from the fact	49
with that of	49
will be noticed	49
related to the	49
the lady chapel	49
also in the	49
to the fact	49
of the border	49
it is better	49
were in the	49
down to us	49
and seventeenth centuries	49
shown in fig	49
the field of	49
is in a	49
in the glass	49
a view to	49
not only the	49
has always been	49
either side of	49
ends of the	49
it was to	49
by the way	49
and many other	49
most of them	49
the palace of	49
an illustration of	49
one of those	49
that on the	49
of a great	48
the power of	48
must be remembered	48
were used in	48
houses of the	48
reign of louis	48
they were not	48
in conjunction with	48
the people of	48
of the north	48
manner in which	48
drawing of the	48
about the middle	48
similar to those	48
are found in	48
the design and	48
the inside of	48
scheme of decoration	48
consists of a	48
seen that the	48
was used in	48
not so much	48
the pattern is	48
of the older	48
can only be	48
productions of the	48
date from the	48
there are a	48
derived from the	48
was found in	48
artists of the	48
the most famous	48
it from the	48
this style of	48
in the decoration	48
that he had	48
them in the	48
set with a	48
the width of	48
under the name	48
of art and	47
with a small	47
from the time	47
mentioned in the	47
rooms of the	47
a hundred years	47
the piece is	47
in the wall	47
in a few	47
on the side	47
the variety of	47
like that of	47
it would seem	47
in its place	47
of the designs	47
are filled with	47
connected with the	47
and in some	47
of the south	47
dates from the	47
a great variety	47
it is no	47
it is one	47
is by no	47
date of the	47
it is probable	47
wool and silk	47
well as of	47
led to the	47
be seen at	47
the difference between	47
of the head	47
is not only	47
a mixture of	47
or it may	47
metropolitan museum of	47
you will find	47
the perfection of	47
says that the	46
the taste of	46
the characteristics of	46
a man of	46
the custom of	46
the difficulty of	46
to the surface	46
of the gothic	46
in high relief	46
the hall of	46
of this class	46
of sixteenth century	46
is made in	46
he did not	46
up and down	46
in relation to	46
still to be	46
and when the	46
in the chapel	46
the cathedral at	46
change in the	46
to produce a	46
seems to me	46
the habit of	46
for the same	46
one of a	46
what is called	46
the latter half	46
the base of	46
in the next	46
by reason of	46
and may be	46
in the matter	46
at the head	46
they are the	46
in this chapter	46
a portion of	46
the glass painter	46
illustration of the	46
it would have	46
in the direction	46
of a certain	46
specimens of this	46
be of the	45
for this reason	45
early eighteenth century	45
to the king	45
in our own	45
in the arts	45
of which was	45
of the back	45
to the church	45
and set with	45
a couple of	45
of the pieces	45
to the general	45
of about the	45
taken from the	45
taste of the	45
is possible to	45
the front of	45
the price of	45
the walls and	45
from the earliest	45
of the table	45
one in the	45
filled in with	45
are made of	45
order of the	45
of that time	45
and that is	45
employed in the	45
are apt to	45
and should be	45
with a large	45
of our own	45
we find that	45
a row of	45
by which the	45
it is by	45
the low countries	45
are those of	45
of queen elizabeth	45
of a fine	45
the same date	45
the demand for	45
there can be	45
it is so	45
from that of	45
for a long	44
with all the	44
formed of a	44
in the province	44
in a way	44
but as a	44
of the town	44
fine example of	44
at the sides	44
it is almost	44
appear in the	44
in the main	44
fourteenth and fifteenth	44
need not be	44
and so forth	44
matter of fact	44
a form of	44
in the clerestory	44
the same year	44
from which the	44
the jewellery of	44
of white and	44
figures in the	44
of all kinds	44
the early days	44
of the greatest	44
in the course	44
a figure of	44
of the greek	44
by the fact	44
the result is	44
may be a	44
so long as	44
with the arms	44
of the united	44
the artists of	44
to be an	44
pottery and porcelain	44
of this type	44
of the many	44
that which is	44
are made in	44
the first to	43
from about the	43
accordance with the	43
it is this	43
in the hall	43
from an old	43
that it has	43
in the window	43
room of the	43
work on the	43
worked in the	43
has been said	43
if there is	43
perhaps the most	43
and fifteenth centuries	43
to meet the	43
should be made	43
of the little	43
in many of	43
as if it	43
chinese and japanese	43
were made by	43
of the upper	43
in the twelfth	43
the days when	43
for use in	43
to the collector	43
of the human	43
view of the	43
well as a	43
feature of the	43
sense of the	43
of colour in	43
of the duke	43
the architecture of	43
has never been	43
of the gobelins	43
the line of	43
under the direction	43
is filled with	43
it was used	43
period of louis	43
be made in	43
the most remarkable	43
the latter is	43
a knowledge of	43
to the end	43
there are several	43
we know that	43
was known as	43
men and women	43
the cabriole leg	43
and as the	42
the principles of	42
but it must	42
we find in	42
as will be	42
it was found	42
that some of	42
objects of art	42
collection of the	42
coats of arms	42
the arts of	42
and beauty of	42
described in the	42
part of it	42
there has been	42
several of the	42
found to be	42
given in the	42
evolution of the	42
of the canopy	42
the figures of	42
inventories of the	42
in the tower	42
of the rooms	42
pieces of the	42
details of the	42
in the border	42
which could be	42
removed from the	42
from the old	42
of colour and	42
there are few	42
in the production	42
to this day	42
gold or silver	42
that may be	42
for which the	42
to the great	42
various parts of	42
would seem to	42
in a large	42
a very fine	41
of the word	41
the houses of	41
of which it	41
points of concentration	41
a period of	41
in keeping with	41
the town of	41
they are in	41
so much of	41
into the hands	41
there is little	41
which he was	41
formed part of	41
that we are	41
revival of the	41
were used for	41
a certain amount	41
and as a	41
account of its	41
that it would	41
a great many	41
and is a	41
come down to	41
is apt to	41
of this is	41
by the great	41
use in the	41
window of the	41
in the very	41
on the inside	41
the same kind	41
the national museum	41
the expense of	41
instead of a	41
a combination of	41
that he has	41
covered with the	41
of a house	41
shown by the	41
except in the	41
of the decorative	41
the combination of	41
be done in	41
came to the	41
may also be	41
to see how	41
fine examples of	41
example of this	41
known to have	41
was used for	41
while in the	40
in use in	40
not in the	40
can be done	40
carried out in	40
the products of	40
in the nave	40
is used for	40
with which it	40
this is an	40
of the frame	40
early nineteenth century	40
the ends of	40
of the british	40
away from the	40
charles the fifth	40
not until the	40
outline of the	40
and in this	40
certain amount of	40
can hardly be	40
the manner in	40
do not know	40
and covered with	40
a long time	40
the mark of	40
the requirements of	40
found on the	40
been made to	40
few of the	40
of copper and	40
been found in	40
the metropolitan museum	40
the illustration of	40
in the right	40
in an old	40
say that the	40
be necessary to	40
the composition of	40
ferdinand and isabella	40
inventory of the	40
hampton court palace	40
decoration of a	40
to the best	40
and the like	40
the type of	40
an important part	40
the north transept	40
the ladies of	40
on the one	40
of the door	40
is probable that	40
charm of the	40
foot of the	40
apart from the	40
of the chief	40
in the kingdom	40
kind of work	40
that there was	40
an account of	40
of these is	40
which is in	40
was not a	40
with those of	40
the king and	40
and even the	40
something of the	40
design for a	40
the pieces of	40
great number of	40
of the use	40
a hundred and	40
appearance of the	40
the same material	40
the right of	39
were made to	39
if you have	39
a little later	39
chapel of the	39
has been the	39
picture of the	39
in all its	39
the limits of	39
chairs of the	39
to the old	39
th and th	39
is made to	39
out in the	39
represented in the	39
was made of	39
from time to	39
early th century	39
piece of work	39
the crown of	39
and we have	39
in the manufacture	39
reign of henry	39
was made to	39
in the later	39
of all these	39
of the alhambra	39
and a few	39
will not be	39
it is certain	39
one above the	39
to hold the	39
to keep the	39
and the two	39
by courtesy of	39
tells us that	39
the heads of	39
time to time	39
the designs are	39
to the glass	39
made at the	39
a very beautiful	39
to produce the	39
up in the	39
the remains of	39
with a little	39
at a later	39
decorated with a	39
to make them	39
in a great	39
adapted to the	39
a question of	39
found their way	39
of an old	39
which in the	39
none of the	39
of it in	39
and the more	39
of political history	39
the most elaborate	39
of a later	39
of henry vii	39
of which there	39
the discovery of	39
done in the	39
very much the	39
more than the	39
found in a	39
panels of the	39
is an example	39
of the craft	39
as part of	39
if it be	39
of a man	39
the matter of	39
to a great	39
in favour of	39
direction of the	38
of the louis	38
of a new	38
the formation of	38
way to the	38
above the other	38
not have been	38
the women of	38
used on the	38
few years ago	38
you are to	38
is formed of	38
there is some	38
the school of	38
all of them	38
of the large	38
the upper portion	38
was made for	38
the window is	38
a great number	38
to be placed	38
of the works	38
manner of the	38
of great beauty	38
it might be	38
the side walls	38
the top is	38
of the fabric	38
it may have	38
inside of the	38
of red and	38
of the piece	38
property of the	38
to each other	38
it must have	38
that i have	38
of the society	38
line of the	38
we shall see	38
and silver lace	38
some of his	38
of the holy	38
a study of	38
which is to	38
of charles the	38
of the ring	38
is due to	38
a quarter of	38
proportions of the	38
of form and	38
which seems to	38
from the collection	38
to be done	38
there must be	38
by far the	38
and is now	38
there may be	38
for the king	38
of the general	38
to cover the	38
a little more	38
in any way	38
of the rug	38
the problem of	38
to see that	37
of the long	37
of the designer	37
church of s	37
or two of	37
of the palace	37
division of political	37
the inscription says	37
and also the	37
to deal with	37
believed to have	37
which was the	37
is composed of	37
in general use	37
a fine example	37
it is generally	37
referred to in	37
to follow the	37
as many as	37
in westminster abbey	37
of their work	37
of the times	37
find that the	37
done by the	37
are covered with	37
as those of	37
against the wall	37
permission of the	37
it consists of	37
should be so	37
all that is	37
the glory of	37
not at all	37
of which they	37
and there was	37
a portrait of	37
years of age	37
has been done	37
any one who	37
the human figure	37
all of which	37
the italian renaissance	37
as long as	37
is not an	37
the fourteenth and	37
they are very	37
and those of	37
of the famous	37
is divided into	37
furniture in the	37
the proportions of	37
of the four	37
in the one	37
the figures in	37
they can be	37
a specimen of	37
is no reason	37
the precious metals	37
of these are	37
that it will	37
of the master	37
possession of mr	37
are among the	37
in their own	37
do with the	37
little or no	37
be in the	37
much of it	37
of various kinds	37
features of the	37
supposed to have	37
is likely to	37
of what is	37
the list of	37
in his work	37
in the west	37
of the letters	37
what is known	37
late in the	37
than those of	37
and his wife	37
the marriage of	37
each of these	37
a later date	37
the duchess of	36
in which a	36
the service of	36
the title of	36
just as the	36
and these are	36
the author of	36
the south transept	36
the house was	36
are ornamented with	36
carved and gilded	36
if you are	36
for in the	36
ornamented with a	36
a picture of	36
where it was	36
and a great	36
of white glass	36
the necessity of	36
in the nature	36
a border of	36
of the bed	36
good example of	36
was born in	36
or at least	36
of the principal	36
for all the	36
introduced into the	36
which are the	36
is a little	36
the north side	36
ladies of the	36
when he was	36
in a house	36
by arthur hayden	36
that they have	36
of the year	36
and i have	36
room in which	36
by one of	36
harmonize with the	36
at each end	36
we are now	36
is certain that	36
this was a	36
should have been	36
early seventeenth century	36
carved and gilt	36
in a manner	36
small pieces of	36
to the east	36
nearly all the	36
the chapter on	36
subject of the	36
of coloured glass	36
which are to	36
together with a	36
to the point	36
the renaissance in	36
twelfth and thirteenth	36
the east end	36
should be placed	36
came to be	36
the sum of	36
of the chapel	36
there is in	36
the portrait of	36
interesting to note	36
author of the	36
in low relief	36
representation of the	36
on the outside	36
although it is	36
of the square	36
the monastery of	36
of the small	36
that it should	36
if they were	36
on the floor	35
the inceptive axis	35
as an example	35
them to be	35
of the life	35
design and workmanship	35
so many of	35
is described as	35
the progress of	35
fashion of the	35
it is that	35
and it has	35
come to the	35
to the first	35
it is evident	35
in one piece	35
so to speak	35
to be had	35
illustrated in the	35
to one of	35
was the first	35
that has been	35
a copy of	35
these are the	35
it is obvious	35
prince of wales	35
through which the	35
to suit the	35
the dress of	35
colour in the	35
in the two	35
where there is	35
they are to	35
prior to the	35
is a matter	35
in the small	35
of beauty and	35
is called the	35
no reason why	35
those which are	35
the proportion of	35
and many of	35
to be worn	35
as to make	35
and the first	35
a white ground	35
in the th	35
in the foreground	35
point of the	35
of the court	35
of the chinese	35
face of the	35
from the centre	35
head of a	35
of blue and	35
in mind that	35
worthy of the	35
the bayeux tapestry	35
to use the	35
to form the	35
silver and gold	35
of a piece	35
to the time	35
art in the	35
of a few	35
have belonged to	35
it must not	35
to do so	35
are said to	35
the representation of	35
which should be	35
and the work	35
no matter how	35
the tree of	35
in the making	35
pictures of the	35
permission of messrs	35
to the more	35
hundred years ago	35
which were used	35
the twelfth and	34
the conditions of	34
we must not	34
proportion to the	34
which has a	34
work was done	34
the growth of	34
which is so	34
in which there	34
it in a	34
of the ordinary	34
it is worth	34
of the high	34
filled with a	34
like those of	34
this part of	34
the north of	34
of a series	34
and a little	34
a touch of	34
and not to	34
we have been	34
the man who	34
the occasion of	34
illustrated in fig	34
in these days	34
of the manufacture	34
the eyes of	34
are preserved in	34
appears in the	34
upon which the	34
is on the	34
to have had	34
are the most	34
typical of the	34
the taste for	34
copy of the	34
catalogue of the	34
precious stones and	34
by those who	34
order that the	34
surrounded by a	34
of the case	34
is no longer	34
the uses of	34
to prevent the	34
that the art	34
in his own	34
into which the	34
design in the	34
of furniture of	34
the commencement of	34
for it was	34
can be no	34
to find a	34
an examination of	34
in that of	34
divided into two	34
only to the	34
of the ground	34
the importation of	34
in the more	34
in common with	34
as we know	34
as applied to	34
window in the	34
of the factory	34
as a means	34
they are made	34
is shown by	34
and that it	34
the home of	34
have been preserved	34
the border of	34
of the cross	34
the industrial arts	34
the consideration of	34
the outlines of	34
devoted to the	34
france and england	34
and has a	33
of flowers and	33
the french revolution	33
is a most	33
there would be	33
by the french	33
the library of	33
is that it	33
new york city	33
that all the	33
by side with	33
time of charles	33
is the case	33
the building of	33
the virgin and	33
a good example	33
is better to	33
caused by the	33
the outside of	33
and the design	33
in the treatment	33
were made at	33
designs for jewellery	33
is not always	33
of the tree	33
has been a	33
is well known	33
the wallace collection	33
and many others	33
inches in height	33
was at its	33
thirteenth century glass	33
is intended to	33
are not so	33
dress of the	33
pieces of this	33
works of the	33
it did not	33
is capable of	33
where they are	33
illustration of a	33
in silver and	33
on a ground	33
of henry iv	33
the same style	33
of this book	33
at the point	33
the whole is	33
the outline of	33
be well to	33
the limitations of	33
a list of	33
furniture of a	33
on the south	33
in this book	33
was a very	33
has come to	33
four or five	33
though it is	33
the world of	33
at the base	33
the museum at	33
an instance of	33
be applied to	33
the border is	33
time of henry	33
zone of enrichment	33
but that is	33
work has been	33
at the gobelins	33
may be taken	33
a mass of	33
the proprietors of	33
the styles of	33
the attention of	33
in proportion to	33
of its kind	33
late as the	33
to be carried	33
of decorative art	33
in point of	33
the tops of	33
those who are	33
base of the	33
the clerestory of	33
here is a	33
well as to	33
used in a	33
in other words	33
is obvious that	33
which is of	33
should always be	33
the same design	33
in this direction	33
the fifteenth and	33
confined to the	33
the lack of	33
the simplicity of	33
at one end	32
walls of a	32
the kindness of	32
more than two	32
architecture of the	32
to think that	32
it appears that	32
to support the	32
of the ware	32
copies of the	32
in colour and	32
which will be	32
that they may	32
the panels of	32
in possession of	32
in form and	32
hand of the	32
are not to	32
of the book	32
is not necessary	32
the eye of	32
such as those	32
a history of	32
of any kind	32
the windows in	32
in most cases	32
in with the	32
in many ways	32
products of the	32
white and colour	32
we have no	32
the delicacy of	32
in the nineteenth	32
will be a	32
all through the	32
was of the	32
means of the	32
will be observed	32
portion of a	32
under the influence	32
the general effect	32
published in the	32
early years of	32
be observed that	32
in right hand	32
at a glance	32
is at the	32
the light of	32
of the paper	32
as for the	32
he was not	32
as regards the	32
to the last	32
the love of	32
room should be	32
the series of	32
proprietors of the	32
the advent of	32
in the palace	32
for the decoration	32
to get the	32
the backs of	32
of the entire	32
on the pillow	32
lace industry of	32
for which they	32
the center of	32
in the english	32
two hundred and	32
be covered with	32
the means of	32
may be called	32
may be obtained	32
to which they	32
at the side	32
of the owner	32
and the result	32
it is always	32
plate facing page	32
a man who	32
at the victoria	32
and you will	32
the exercise of	32
they are all	32
much to the	32
set in the	32
same manner as	32
so much as	32
in some instances	32
member of the	32
of point de	32
and they were	32
we come to	32
in common use	32
mark in blue	32
of the gold	32
the foundation of	32
in which are	32
known as a	32
that is not	32
the countess of	32
the colours of	32
of a similar	32
be one of	32
been able to	32
those on the	31
by the name	31
to be taken	31
examples in the	31
even to the	31
of furniture in	31
in that city	31
the society of	31
this branch of	31
side of a	31
of the history	31
of the process	31
in no way	31
little more than	31
the purposes of	31
of surface enrichment	31
the glass in	31
this type of	31
of a simple	31
be met with	31
appropriate to the	31
the colour scheme	31
instance of the	31
of this sort	31
compared with the	31
most of these	31
of which he	31
the secret of	31
of this chapter	31
a very large	31
of the national	31
to be met	31
the feeling of	31
madame du barry	31
in black and	31
effect of a	31
been in the	31
return to the	31
color of the	31
some of our	31
the inventories of	31
the opening of	31
is full of	31
the ground is	31
the finest of	31
skill of the	31
to be so	31
of the rich	31
and the most	31
be noticed that	31
it with the	31
look at the	31
equal to the	31
it is intended	31
to the early	31
may be in	31
and of a	31
to this country	31
to the production	31
and those who	31
which is now	31
above and below	31
of the romans	31
with the most	31
would not have	31
an article of	31
as if the	31
better than the	31
to serve as	31
the civil war	31
they had been	31
number of the	31
to study the	31
presented by the	31
names of the	31
the present century	31
show that the	31
the windows are	31
large enough to	31
which must have	31
by order of	31
made of a	31
a considerable number	31
there were no	31
the last of	31
end of this	31
it is curious	31
in various parts	31
of the home	31
and mary period	31
the dimensions of	31
come to be	31
employed by the	31
chairs and tables	31
the early years	31
of james ii	31
have always been	31
and crafts exhibition	31
may be the	31
a style of	31
is believed to	31
for some time	31
the wearing of	31
to such a	31
were covered with	31
the best period	31
specimen of the	31
in the neighbourhood	31
in the modern	31
is made by	31
the material of	31
such as that	31
director of the	30
carried on the	30
which would be	30
them to the	30
the walls were	30
be taken to	30
consisted of a	30
which he had	30
as a general	30
to work in	30
that when the	30
to take the	30
of the loom	30
we are not	30
the fine arts	30
was that of	30
up by the	30
in the central	30
of the drawing	30
there will be	30
of the figure	30
be found to	30
because they are	30
it has not	30
we have to	30
the first and	30
to protect the	30
each of which	30
of the top	30
i think it	30
divisions of the	30
the technique of	30
valencia de don	30
de don juan	30
enrichment of the	30
be done by	30
is the result	30
placed on the	30
of a design	30
must be made	30
which was not	30
coat of arms	30
center of the	30
in that case	30
which are not	30
towards the middle	30
the memory of	30
position of the	30
see that the	30
french and english	30
the more important	30
be made by	30
was used as	30
and the rest	30
of the crown	30
take the form	30
of the few	30
the ornaments of	30
ought to be	30
time when the	30
in the kiln	30
as in all	30
of two or	30
the royal armoury	30
this is one	30
of philip the	30
a point of	30
for a few	30
lower part of	30
adam and eve	30
the one hand	30
the possibilities of	30
of the eye	30
in the fine	30
it would appear	30