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
the th century	616
one of the	538
as in the	450
shown in fig	446
part of the	417
as well as	402
of the th	397
the use of	391
a history of	381
history of ornament	374
it may be	351
the church of	350
and in the	336
in which the	332
that of the	330
of the same	326
the form of	302
the art of	298
it will be	296
the middle ages	291
it is not	290
more or less	274
seen in the	263
in the same	257
to have been	255
may be seen	253
and it is	250
found in the	245
some of the	243
on the other	238
of the most	236
there is no	235
a number of	233
is to be	228
a series of	227
the decoration of	226
from the church	226
in order to	224
be seen in	220
by means of	219
as shown in	215
of the design	213
many of the	213
use of the	212
church of st	212
there is a	209
at the same	206
the british museum	202
the time of	202
the same time	201
the work of	200
according to the	199
the temple of	198
it is a	195
it is the	193
the point of	193
which it is	191
that it is	188
out of the	186
in the case	185
the case of	184
those of the	182
end of the	181
be found in	180
but it is	180
the end of	179
of the renaissance	175
character of the	175
the centre of	174
in the british	171
of the church	171
work of the	170
the character of	170
side of the	170
capital from the	170
in the th	169
to be found	167
it would be	165
form of the	164
as it is	164
will be found	163
the other hand	163
of the greek	162
so as to	160
in the year	159
of the middle	158
the style of	158
and analysis of	158
analysis of ornament	156
the lines of	154
lines of the	153
such as the	150
the church at	150
theory and analysis	149
the reign of	147
and development of	147
the idea of	147
of which is	145
are to be	143
as in fig	143
in the form	143
the present day	143
south kensington museum	141
based on the	139
elements of ornament	138
art of the	137
the works of	136
the effect of	134
in the church	134
that is to	134
of the early	134
the fact that	134
development of ornament	133
the cathedral of	132
the development of	132
in the centre	132
and of the	132
is one of	131
of this period	131
derived from the	130
of the ornament	129
it has been	128
the influence of	128
a piece of	126
of which the	125
and its application	125
of which are	125
the principles of	125
nature in ornament	125
the introduction of	125
the design is	124
of the great	124
from the same	124
portion of the	123
ornament and its	123
will be seen	123
the application of	122
is to say	122
in the first	122
forms of the	122
th and th	119
examples of the	118
characteristic of the	117
the cathedral at	117
known as the	116
in ornament and	115
the name of	114
of the roman	114
part of a	114
centre of the	114
the forms of	114
the sixteenth century	114
of the two	113
so far as	112
so that the	111
decoration of the	111
to be the	110
the study of	110
ornament of the	110
light and shade	110
in the middle	110
of the greeks	110
the birth and	110
of the pattern	109
of the column	109
birth and development	109
as to the	108
the height of	108
ornament and dress	107
in the south	107
art in ornament	107
it is only	107
the top of	106
height of the	106
which may be	106
of the leaves	106
it is to	106
later renaissance ornament	105
the nature of	104
an example of	104
parts of the	104
on each side	103
in some cases	103
of the work	103
taken from the	103
of the italian	103
middle of the	102
of the temple	101
is in the	101
the middle of	101
half of the	101
we have a	100
the history of	100
treatment of the	100
the design of	100
in the design	99
a portion of	99
by no means	99
the shape of	99
in this case	98
it is in	98
the direction of	98
the appearance of	98
of the human	98
in order that	98
the period of	98
of the capital	97
used in the	97
in the museum	96
the palace of	96
development of the	95
in the cathedral	95
and on the	94
it must be	94
surface of the	94
may be said	94
sides of the	94
in the louvre	94
form of a	94
styles of ornament	93
of the various	93
the human figure	93
of all the	93
it should be	92
the most important	92
top of the	92
and so on	92
details of the	92
which they are	91
as shown at	91
is shown in	90
the tomb of	90
the ornament of	90
to that of	90
from the temple	89
of the sixteenth	89
is a very	89
the th and	89
we have the	88
of the style	88
is that of	88
period of the	88
on which the	88
principles of ornament	88
to the eye	88
and th centuries	88
style of the	87
to be a	87
each side of	87
the whole of	87
and at the	87
the surface of	87
seems to have	86
architecture and ornament	86
of the gothic	86
of light and	85
of the ancient	85
and the other	85
the width of	85
the manner of	85
in the early	84
idea of the	84
as they are	84
upper part of	84
of ornamental art	84
the gothic style	83
the base of	83
example of the	83
is shown a	83
the philosophy of	83
is seen in	83
anatomy of pattern	82
the upper part	82
beginning of the	82
width of the	82
the number of	82
the south kensington	82
arrangement of the	82
the construction of	82
philosophy of ornament	81
the beauty of	81
in all the	81
of the other	81
the details of	80
list of illustrations	80
the anatomy of	80
to the present	80
point of view	80
of the figure	80
filled in with	79
the principle of	79
the beginning of	79
the most beautiful	79
as may be	79
the arrangement of	79
the place of	79
well as the	79
the walls of	79
is the most	79
much of the	78
of the leaf	78
library of the	78
of the time	78
in such a	78
when it is	78
the hands of	78
and to the	78
from the cathedral	77
of the circle	77
of a circle	77
of the square	77
of the cathedral	77
we have already	77
a sort of	77
the purpose of	77
in the present	77
of the whole	76
it is necessary	76
from the th	76
in which it	76
the fifteenth century	76
the side of	76
a matter of	76
on the same	76
that it was	76
leaves of the	75
the same way	75
of the material	75
from which the	75
the addition of	75
owing to the	75
at right angles	74
the head of	74
of one of	74
on the ground	74
of the antique	74
on the contrary	74
as a rule	74
that in the	74
of the period	74
is of the	74
the elements of	73
which we have	73
be considered as	73
to be seen	73
the length of	73
it was not	73
in connection with	73
the points of	73
is the same	73
given to the	72
but in the	72
it does not	72
now in the	72
the way of	72
as we have	72
the sides of	71
of their own	71
the museum at	71
hall of the	71
said to be	71
of the body	71
at the top	71
in the way	71
works of the	71
appear to have	71
a part of	70
gold and silver	70
produced by the	70
from the year	70
on account of	70
view of the	70
examples of this	70
a kind of	70
of the first	70
may be considered	70
equal to the	70
they may be	70
the same as	69
the subject of	69
dating from the	69
illustrated in fig	69
this is a	69
the lower part	69
which is the	69
the evolution of	69
of the artist	69
parallel to the	69
that we have	69
of the french	69
met with in	69
used as a	69
of the university	69
of the border	69
in low relief	68
of the latter	68
this may be	68
be divided into	68
ornament in the	68
to form a	68
that there is	68
seem to have	68
the outline of	68
point of distance	68
one of these	68
have been found	68
belong to the	67
appears to have	67
at the end	67
door of the	67
of the art	67
in the latter	67
from that of	67
to the point	67
is found in	66
the architecture of	66
front of the	66
case of the	66
the symbol of	66
in the decoration	66
most of the	66
renaissance ornament in	66
of the lotus	66
of the later	66
this is the	66
the value of	65
application of ornament	65
it is impossible	65
of natural forms	65
greek and roman	65
the result of	65
about the year	65
is not so	65
point of sight	65
the basis of	65
will give the	65
works of art	65
shape of the	64
than in the	64
influence of the	64
in the direction	64
in this way	64
the most part	64
for the most	64
especially in the	64
architecture of the	64
of the egyptian	64
to a certain	64
at the present	63
the university of	63
consists of a	63
of the present	63
of the object	63
in many cases	63
which have been	63
in this plate	63
of th century	63
style of ornament	63
applied to the	63
the ornament is	63
of the new	62
formed by the	62
up to the	62
and by the	62
due to the	62
used by the	62
of the world	62
to the same	62
outline of the	62
for the purpose	62
of the wall	62
down to the	62
representation of the	62
time of the	62
in the second	61
will be observed	61
we have seen	61
line of the	61
base of the	61
as far as	61
this style of	61
historic ornamental drawing	60
the size of	60
a combination of	60
of the original	60
the origin of	60
of the greatest	60
design of the	60
length of the	60
the close of	60
in the plan	60
in european silks	60
that can be	59
it was the	59
of the egyptians	59
the arts of	59
the same manner	59
right and left	59
in accordance with	59
may have been	59
the thirteenth century	59
of the subject	59
shown in the	59
doorway of the	59
on one side	58
is necessary to	58
planning of ornament	58
in spite of	58
and that the	58
of the old	58
ornament in european	58
to which the	58
we find the	58
the representation of	58
in the upper	58
the expression of	58
in the use	58
the center of	58
found on the	57
each of these	57
construction of the	57
of the picture	57
not only in	57
of the plant	57
which is a	57
the planning of	57
appears to be	57
not to be	57
in addition to	57
supposed to be	57
the plan of	57
that they are	57
i i i	57
of the lines	57
the combination of	57
the remains of	57
taken from a	56
and there is	56
from the time	56
the mosque of	56
it is of	56
the pattern is	56
so to speak	56
even in the	56
together with the	56
the treatment of	56
of the plate	56
and the like	56
leaf of the	56
in the later	55
of decorative art	55
the present time	55
window from the	55
in proportion to	55
portion of a	55
ornament in germany	55
be seen that	55
may be found	55
of the nile	55
of the classic	55
the rest of	55
that which is	55
of this kind	55
to form the	55
as that of	55
of the columns	55
the ornamentation of	55
as a whole	54
to the other	54
in which they	54
renaissance in france	54
be said to	54
nature of the	54
the horizontal line	54
in some of	54
dates from the	54
and many other	54
lower part of	54
do seculo xvi	54
and the same	54
of greek art	54
there are many	54
in the most	54
which has been	54
of architectural ornament	54
of which we	54
with that of	54
the line of	54
of the forms	54
of the best	53
to each other	53
in the north	53
evolution of architectural	53
a variety of	53
so that it	53
design by john	53
as it were	53
of ornament in	53
design for a	53
well as in	53
this kind of	53
the ruins of	53
in the world	53
should not be	53
plan of the	52
in the art	52
to give a	52
may not be	52
study of the	52
on either side	52
they are not	52
portions of the	52
of the arch	52
in front of	52
style of art	52
shown by the	52
close of the	52
the arms of	52
example of this	52
a straight line	52
early th century	52
but there is	52
be found to	52
to make the	52
between the two	52
has already been	52
of which it	51
the course of	51
similar to the	51
at the time	51
led to the	51
of the renascence	51
it can be	51
is composed of	51
and all the	51
the ground line	51
handbook of ornament	51
is given in	51
must have been	51
in the national	51
after the manner	51
of the fifteenth	51
suggested by the	51
in the greek	51
with which the	51
order that the	51
of the building	51
column from the	51
if it is	51
and it was	50
the year b	50
introduction of the	50
design based on	50
in the other	50
side of a	50
would have been	50
of a design	50
a b c	50
of form and	50
at all events	50
side by side	50
artists of the	50
to give the	50
in the palace	50
renaissance in italy	50
of the three	50
during the reign	50
of the byzantine	50
fact that the	50
of this style	50
account of the	50
black and white	49
to show the	49
is not a	49
the leaves of	49
face of the	49
said to have	49
be met with	49
colour of the	49
to some extent	49
and may be	49
it is more	49
the characteristics of	49
the method of	49
of the decoration	49
effect of the	49
the manufacture of	49
the house of	49
the enrichment of	49
whole of the	49
may also be	48
the repetition of	48
the bottom of	48
with the same	48
the figure is	48
the capitals of	48
size of the	48
rendering of the	48
of the romans	48
in the center	48
and ornamental treatment	48
the aid of	48
of our own	48
each of the	48
the ends of	48
given in fig	48
each of which	48
is of a	47
the exception of	47
in the lower	47
body of the	47
from the earliest	47
which it was	47
are of the	47
of the surface	47
in the earlier	47
the material is	47
to make a	47
vertical and horizontal	47
in mind that	47
because it is	47
tion of the	47
of the past	47
of this work	47
great variety of	47
the names of	47
that of a	47
the quality of	47
to the right	47
any of the	47
by the use	47
attached to the	47
from the point	47
the laws of	47
the power of	47
than that of	47
of some of	47
from the centre	46
of the upper	46
be observed that	46
is supposed to	46
in any way	46
in design by	46
the renaissance in	46
are found in	46
seems to be	46
of the earliest	46
of the tool	46
of the earlier	46
it is often	46
have been the	46
beauty of the	46
of the corinthian	46
to the th	46
of the ionic	46
of a column	46
as shown by	46
is that which	46
to find the	45
the same in	45
capital of the	45
so long as	45
by james akerman	45
the italian renaissance	45
of the word	45
is impossible to	45
borne in mind	45
the interior of	45
there are two	45
the leaves are	45
on the walls	45
the early renaissance	45
ornament from the	45
ends of the	45
of the people	45
is known as	45
with the exception	45
of ornamental design	45
of the acanthus	45
edge of the	45
the invention of	45
where it is	44
in most cases	44
proportion to the	44
as a matter	44
the spirit of	44
by the romans	44
growth of the	44
be borne in	44
the decorative arts	44
and from the	44
a symbol of	44
of a number	44
more than a	44
the production of	44
ornament in spain	44
by the greeks	44
the seat of	44
to be of	44
suggestions in design	44
only in the	44
it is true	44
is produced by	44
means of a	44
there can be	44
may be used	44
is said to	43
of the repeat	43
of his own	43
middle ages and	43
for the sake	43
in one of	43
in all its	43
th century ornament	43
to represent the	43
appear to be	43
the conditions of	43
with regard to	43
in this respect	43
way in which	43
in the hands	43
also in the	43
belonging to the	43
regard to the	43
instead of the	43
the town hall	43
of the highest	43
of louis xiv	43
as it was	43
on the subject	43
of the lower	43
of the figures	42
early renaissance in	42
a great deal	42
the depth of	42
of this class	42
detail of the	42
chinese and japanese	42
in the antique	42
place of the	42
of the doric	42
walls of the	42
of the designer	42
of the shield	42
it is one	42
of the parthenon	42
by the same	42
but they are	42
is based on	42
is by no	42
in the east	42
belongs to the	42
to the designer	42
in all cases	42
we find in	42
preserved in the	42
will be the	42
the sake of	42
the artists of	42
o o o	42
the capital of	42
at the point	42
on the line	42
all kinds of	42
the castle of	42
symbol of the	42
of the country	41
decorations of the	41
in the temple	41
found to be	41
and with the	41
at the base	41
in the roman	41
center of the	41
on to the	41
reference to the	41
of the flower	41
the proportions of	41
the early english	41
index of illustrations	41
is shown the	41
of the louvre	41
rest of the	41
of the more	41
we do not	41
it in the	41
combination of the	41
place in the	41
the decoration is	41
compared with the	41
that they were	41
must not be	41
it was in	41
that may be	41
the possession of	41
elements of the	41
it is an	41
intended to be	41
in many of	41
this class of	41
of ornament is	41
description of the	41
base from the	41
of the year	41
the reigns of	41
the intersection of	41
the scale of	41
coat of arms	41
the body of	41
the teaching of	41
the united states	41
a period of	41
the middle renaissance	40
the romanesque style	40
a group of	40
in westminster abbey	40
of gothic architecture	40
given in the	40
of francis i	40
the student will	40
is from the	40
university of california	40
the majority of	40
the object of	40
the pointed arch	40
characteristics of the	40
x x x	40
the face of	40
of its own	40
to one another	40
are in the	40
church of the	40
from the middle	40
the necessity of	40
and that of	40
the limits of	40
by the author	39
of a more	39
capitals of the	39
in the example	39
of the palace	39
the distribution of	39
out of a	39
of the principal	39
the back of	39
the formation of	39
from the other	39
which they were	39
is divided into	39
in ornamental art	39
line a b	39
is taken from	39
adapted to the	39
of the thirteenth	39
from the alhambra	39
there is an	39
is not the	39
relation to the	39
form and colour	39
of the panel	39
at this period	39
be regarded as	39
the fourteenth century	39
history of the	39
to make it	39
proportions of the	39
of the form	39
or in the	39
of the stem	38
back to the	38
with those of	38
all manner of	38
on which it	38
to be used	38
section of the	38
some of these	38
on the one	38
as those of	38
and this is	38
there is nothing	38
front and side	38
the practice of	38
the corinthian capital	38
the process of	38
of the east	38
of the seventeenth	38
may be divided	38
are taken from	38
two or three	38
in which a	38
to be met	38
is derived from	38
the proportion of	38
and as a	38
to the fact	38
many of these	38
right angles to	38
work in the	38
a few of	38
not so much	38
it is evident	38
facade of the	38
it is that	38
church of san	38
that it will	38
of the letter	37
teaching of the	37
manner in which	37
name of the	37
by which the	37
is not to	37
on the lines	37
architect of the	37
in the last	37
part in the	37
is applied to	37
a later period	37
may be of	37
the line a	37
ornament may be	37
of the head	37
imitation of the	37
a and b	37
the same period	37
the type of	37
at the points	37
of the finest	37
in the gothic	37
the acanthus leaf	37
would appear to	37
of the vatican	37
been found in	37
to the left	37
a great variety	37
these may be	37
the general effect	37
german renaissance ornament	37
to produce a	37
of a series	37
is due to	37
a certain extent	37
in the reign	37
the same thing	37
it has a	37
the part of	37
there was a	37
they have been	37
features of the	37
should always be	37
made use of	36
down to us	36
used for the	36
the system of	36
town hall at	36
reign of louis	36
find in the	36
from time to	36
the purposes of	36
periods of art	36
which we are	36
we find that	36
it is also	36
with the other	36
years of the	36
is obtained by	36
though it is	36
of the royal	36
and the renascence	36
the edge of	36
of historic ornament	36
of the romanesque	36
something of the	36
to the decoration	36
of the details	36
a design for	36
a work of	36
the lotus and	36
of a very	36
the tower of	36
bottom of the	36
of all kinds	36
in the following	36
of the arts	36
ment of the	36
lines on which	36
in the former	36
of the alhambra	36
make use of	36
of the general	36
of henry ii	36
or of the	36
more and more	36
to be made	36
day a rt	36
in the old	36
the greater part	36
of the natural	36
of the louis	36
is that the	36
the hotel cluny	36
of a new	36
of the century	36
it is quite	36
palace of the	36
of the late	35
work from the	35
of the vase	35
was one of	35
of the decorative	35
according to its	35
perrot and chipiez	35
division of the	35
b c d	35
it is by	35
at that time	35
is formed by	35
the figure of	35
of the different	35
to the general	35
points of the	35
value of the	35
example of a	35
the human form	35
enrichment of the	35
leaves and flowers	35
the scope of	35
of the scroll	35
a knowledge of	35
all of which	35
is only a	35
of the earth	35
which comes of	35
of the assyrian	35
hands of the	35
composed of a	35
it is possible	35
what has been	35
while in the	35
from a tomb	35
many of them	35
interior of the	35
in the ornament	35
by the point	35
we have in	35
style of decoration	35
are composed of	35
are shown in	35
draw a line	35
the case with	35
of our readers	35
much the same	35
of the line	35
confined to the	35
of santa maria	35
of the book	35
a mixture of	35
in which case	35
spirit of the	34
it is no	34
apart from the	34
of a few	34
may be taken	34
of the top	34
here and there	34
in the shape	34
the facade of	34
in this country	34
of the goods	34
that it should	34
the greeks and	34
may be in	34
the variety of	34
it might be	34
ornament in france	34
in the various	34
the island of	34
ornamentation of the	34
the straight line	34
the city of	34
greater part of	34
with which we	34
influenced by the	34
taste of the	34
appearance of the	34
the hand of	34
difference between the	34
have been used	34
to a great	34
accordance with the	34
or any other	34
observed that the	34
time to time	34
there may be	34
the consideration of	34
at one time	34
the growth of	34
the christian era	34
on the whole	34
to the surface	34
depth of the	34
other parts of	34
quality of the	34
at this time	34
in the profile	34
seventeenth and eighteenth	34
as early as	34
of the sun	34
the commencement of	34
corners of the	34
be able to	34
of the modern	34
it is very	34
all that is	34
ages and the	34
the colour of	34
and as the	33
in the years	33
nearly all the	33
type of the	33
in which he	33
and horizontal lines	33
empire ornament in	33
from each other	33
the age of	33
of what is	33
design may be	33
italian renaissance ornament	33
latter part of	33
from the mosque	33
plane of the	33
on the surface	33
head of the	33
in the style	33
two or more	33
at present in	33
at the bottom	33
we have to	33
sugges ions in	33
and they are	33
at any rate	33
from the house	33
direction of the	33
in gold and	33
the court of	33
in a manner	33
associated with the	33
is not only	33
the museum of	33
it from the	33
of late years	33
late th century	33
in the netherlands	33
maria del popolo	33
or it may	33
egypt and assyria	33
the death of	33
this plate are	33
of the lion	33
of the flowers	33
of the last	33
of the letters	33
feature of the	33
during the th	33
the eighteenth century	33
of which were	33
of the volute	33
head of a	33
and it will	33
as a symbol	33
end of a	33
is an example	33
the plane of	33
the most interesting	33
as much as	33
as seen in	33
the employment of	33
seat of the	33
use of a	33
in the more	33
the chapel of	33
is from a	33
made up of	32
seen that the	32
be used in	32
the various forms	32
in the hotel	32
refer to the	32
in no way	32
by way of	32
the title of	32
of a square	32
of the four	32
as it may	32
good example of	32
ornament in italy	32
not in the	32
placed in the	32
point of the	32
tower of the	32
warp and weft	32
the renaissance period	32
arms of the	32
in place of	32
of the ornamental	32
in harmony with	32
was introduced into	32
if it were	32
the door of	32
the union of	32
what is called	32
a species of	32
which there is	32
of it is	32
at a later	32
the mode of	32
as regards the	32
the greek and	32
in the works	32
in asia minor	32
from the palace	32
as will be	32
the byzantine style	32
which will be	32
to which it	32
one or more	32
seen in fig	32
be seen by	32
and in this	32
and in a	32
the leaves and	32
of a man	32
the most perfect	32
it is difficult	32
the difference between	32
church of s	32
in the egyptian	32
little or no	32
is illustrated in	32
resemblance to the	32
to which they	31
in the two	31
and th century	31
the various styles	31
in the time	31
the same church	31
explanation and instructions	31
work of art	31
has been said	31
flower of the	31
by the introduction	31
not only to	31
the architect of	31
is called the	31
the progress of	31
of which a	31
even to the	31
of a greek	31
the designs of	31
the way in	31
th or th	31
the earliest times	31
are the most	31
be obtained by	31
origin of the	31
in our own	31
is characteristic of	31
connected with the	31
in this example	31
with or without	31
in a great	31
to the whole	31
in regard to	31
the productions of	31
the seventeenth century	31
details from the	31
all of the	31
of the plates	31
it appears to	31
obtained by the	31
which is not	31
matter of fact	31
there should be	31
throughout the whole	31
illustration of the	31
of the ornaments	31
of the eye	31
either side of	31
a new style	31
the new style	31
shown on plate	31
was in the	31
have been made	31
of gold and	31
of the shaft	31
used as the	31
to those of	31
more especially in	31
from the tomb	31
of the ground	31
the library of	31
th century patterns	31
may be the	31
at other times	31
in all these	31
position of the	31
the twelfth century	31
and side view	31
in the best	31
application of the	30
the hall of	30
the absence of	30
of the back	30
and in some	30
connection with the	30
the unit of	30
of classic art	30
a line drawn	30
the best of	30
them in the	30
as in figs	30
will be noticed	30
composed of the	30
side view of	30
by any means	30
from which it	30
in the text	30
the date of	30
be made to	30
and more especially	30
to the ground	30
the flowers are	30
it is so	30
we may see	30
the monument of	30
attention to the	30
on ornamental art	30
there was no	30
such as that	30
tomb of the	30
in the great	30
addition to the	30
in the original	30
as to form	30
the first place	30
so characteristic of	30
that have been	30
and in all	30
for this reason	30
to say that	30
the centres of	30
the styles of	30
an angle of	30
the latter case	30
or the other	30
the amount of	30
but this is	30
are intended to	30
romanesque ornament in	30
of such a	30
of the brush	30
out of place	30
the law of	30
we get the	30
of straight lines	30
they are the	30
we see the	30
we may mention	30
supposed to have	30
draw the line	30
to the purpose	30
shown in figs	30
can only be	30
various forms of	30
the decorations of	30
the one hand	30
as to be	30
for application on	30
a house in	30
about the same	30
has been made	30
an important part	30
but it was	30
the vanishing points	30
the interlacement band	29
of many of	29
one or two	29
in the general	29
art in the	29
they should be	29
knowledge of the	29
we see it	29
a th century	29
is difficult to	29
it to be	29
built in the	29
perpendicular to the	29
bear in mind	29
at first sight	29
in the sixteenth	29
study of nature	29
this case the	29
the best examples	29
of the twelfth	29
relief from the	29
is intended to	29
illustration of this	29
it is always	29
consideration of the	29
italian renaissance italian	29
and for the	29
the designer is	29
of the roof	29
our readers will	29
those in the	29
of a single	29
divided into two	29
of the christian	29
of which was	29
to draw the	29
distribution of the	29
to those who	29
the right and	29
similar to that	29
use of it	29
of art in	29
one side of	29
to be in	29
style of architecture	29
they do not	29
ceiling of the	29
to the use	29
do seculo xvii	29
the bronze age	29
application on page	29
of ornament and	29
except in the	29
are of a	29
have only to	29
can be no	29
the latter part	29
instructions for application	29
the eye of	29
precisely the same	29
furniture of the	29
the collection of	29
in the one	29
court of the	29
the same form	29
could not be	29
to the work	29
and instructions for	29
the first of	29
instead of a	29
exception of the	29
are given in	29
of that period	29
the conquest of	29
is much more	29
stem of the	29
where to stop	29
with each other	28
form in the	28
suited to the	28
in the plate	28
greeks and romans	28
with in the	28
on both sides	28
sense of the	28
capital of a	28
the roman empire	28
a style of	28
of notre dame	28
they are of	28
of the kind	28
with a view	28
the minor arts	28
that the designer	28
not only the	28
the means of	28
great deal of	28
employed in the	28
of architecture and	28
the scheme of	28
in this instance	28
of the persian	28
the manner in	28
in great britain	28
gothic ornament in	28
it is made	28
a tomb in	28
there is in	28
of the mosque	28
the taste of	28
by the side	28
there is not	28
the angles of	28
in the course	28
might have been	28
likely to be	28
some of which	28
of the papyrus	28
and eighteenth centuries	28
expression of the	28
in the royal	28
hand of the	28
the corners of	28
treated in a	28
it is from	28
early part of	28
church of santa	28
the ground of	28
the ground is	28
it is easy	28
seem to be	28
for the use	28
in the work	28
for the same	28
one of them	28
of a roman	28
in any case	28
of this character	28
of his work	28
all the other	28
of the drawing	28
same manner as	28
a good deal	28
is to the	28
of the day	28
of it in	28
which is of	28
or th century	28
the choir of	28
from the greek	28
is evident that	28
the nineteenth century	28
left of the	28
capitals from the	28
added to the	28
ought to be	28
roman roman roman	28
have been a	28
and the most	28
it to the	28
in form and	28
of each of	28
for the decoration	28
frieze from the	28
made of the	28
the warp threads	28
of the house	27
the arch of	27
some of them	27
ornament is the	27
of the dress	27
a system of	27
in the whole	27
it seems to	27
than those of	27
the most characteristic	27
present in the	27
of the abacus	27
the adoption of	27
use of this	27
character which comes	27
the latter is	27
of the empire	27
of egyptian ornament	27
it with the	27
the result is	27
as they were	27
english renaissance ornament	27
and with a	27
be said that	27
their natural growth	27
the edges of	27
john leight on	27
that it may	27
the cloister of	27
with all the	27
of the use	27
in our plate	27
do seculo xv	27
can be made	27
examples may be	27
that we are	27
in this style	27
the thickness of	27
the other side	27
on this plate	27
the decline of	27
in imitation of	27
the same principle	27
to be an	27
proportion of the	27
and also the	27
the pattern of	27
above prices based	27
an illustration of	27
the front of	27
from the first	27
the doric order	27
to the design	27
in new york	27
of the chinese	27
is shown at	27
made in the	27
large crown vo	27
upper and lower	27
divided into three	27
the book of	27
there is always	27
it was a	27
empire empire empire	27
the palaces of	27
may be traced	27
of the anthemion	27
reduced to a	27
the heads of	27
oak or birch	27
such a way	27
in the compasses	27
and assyrian art	27
may be called	27
to have a	27
the later renaissance	27
according to their	27
of the character	27
laws of ornament	27
means of the	27
result of the	27
in the previous	27
decoration of a	27
above and below	27
to a point	27
by john leight	27
with which they	27
find that the	27
some of their	27
imitation of nature	27
grammar of ornament	27
and the two	27
than any other	27
ornament on the	27
peculiar to the	27
of the very	27
a more or	27
this is not	27
in decorative art	27
louis xv louis	27
intended for the	27
of the cross	26
common in the	26
in the united	26
and many of	26
the gothic period	26
which in the	26
the god of	26
in high relief	26
the order of	26
emblem of the	26
in consequence of	26
in the vatican	26
a very good	26
of the beautiful	26
the circumference of	26
curve of the	26
of the former	26
of louis xiii	26
of greek ornament	26
scale of the	26
of the parts	26
roof of the	26
distinguished from the	26
on the right	26
the time when	26
is a great	26
we have an	26
drawn from the	26
a very early	26
of ornament the	26
would seem to	26
in conjunction with	26
the other two	26
the sense of	26
capitals and brackets	26
in the composition	26
in italy and	26
the outlines of	26
sua magestade el	26
of these are	26
orders of architecture	26
we shall find	26
on oak or	26
again in the	26
of the english	26
reese library university	26
will then be	26
capital and base	26
thickness of the	26
of these two	26
of the one	26
the attempt to	26
it cannot be	26
the center line	26
of a house	26
to the mind	26
far as the	26
in the country	26
in a certain	26
which is so	26
illustrations of the	26
under the influence	26
one of which	26
renaissance italian renaissance	26
it is well	26
of the room	26
of the bronze	26
to produce the	26
in other words	26
letters of the	26
account of its	26
to receive the	26
arts of the	26
in the construction	26
show that the	26
it is found	26
of the sides	26
the monuments of	26
the mind of	26
that the art	26
in the details	26
more than the	26
in the fifteenth	26
the year a	26
is easy to	26
of the gods	26
of the text	26
as to make	26
it is generally	26
each other in	26
case of a	26
the requirements of	26
at regular intervals	26
made by the	26
instead of being	26
in modern times	26
the top and	26
the space between	26
of the north	26
occurs in the	26
the square panel	26
work on the	26
the curve of	26
all the arts	26
out of it	25
which can be	25
english th century	25
be called the	25
for this purpose	25
in point of	25
each other at	25
but also in	25
will show that	25
it as a	25
as one of	25
the ornament in	25
the question of	25
harmony with the	25
of the works	25
list of plates	25
of curved lines	25
is the case	25
the foundation of	25
to the artist	25
its origin in	25
borrowed from the	25
the story of	25
basis of the	25
fragment of a	25
based on oak	25
and is a	25
be necessary to	25
the position of	25
in the assyrian	25
chapel of the	25
the composition of	25
of the second	25
history of art	25
that is the	25
and in their	25
the field of	25
of the glass	25
are used in	25
ornaments from the	25
chaldean and assyrian	25
arch of titus	25
may then be	25
or on the	25
choragic monument of	25
a form of	25
the perspective plan	25
have to be	25
has been used	25
of the capitals	25
of art and	25
painting from the	25
mailer and mothes	25
of the virgin	25
of louis xii	25
one of its	25
in the development	25
and many others	25
be found on	25
both in the	25
in the byzantine	25
is a good	25
at the back	25
of the eighteenth	25
by the aid	25
may be drawn	25
the service of	25
with a radius	25
design of a	25
of gothic ornament	25
the midst of	25
of the winds	25
design is to	25
same may be	25
of the holy	25
come down to	25
of ornament of	25
story of the	25
based on a	25
of decorative design	25
by the dotted	25
by the addition	25
the north of	25
the first and	25
the charm of	25
as to give	25
they did not	25
designs of the	25
of the walls	25
for interior plaster	25
the relation of	25
before the christian	25
and beauty of	25
they have a	25
we may be	25
based upon the	25
several of the	25
developed in the	25
covered with a	25
the eyes of	25
a means of	25
be taken as	25
in a similar	25
door in the	25
and is the	25
of design in	25
of the nature	25
exactly the same	25
be seen on	25
may be obtained	25
of the town	25
has been done	25
is likely to	25
collection of the	25
in the end	25
already referred to	25
the fall of	25
that there was	25
the greeks were	24
be in the	24
as if it	24
to consider the	24
to the development	24
a sheet of	24
be said of	24
the finest examples	24
and so forth	24
of the cornice	24
in the manner	24
th century the	24
the emblem of	24
the most ancient	24
no matter how	24
angles of the	24
of the court	24
on the part	24
every variety of	24
as a center	24
from the villa	24
the building of	24
any other woods	24
the stem of	24
the best periods	24
been used in	24
in all probability	24
and other works	24
purpose of the	24
eye of the	24
about the middle	24
of the fourteenth	24
a representation of	24
quarter of the	24
few of the	24
of great beauty	24
a view of	24
on the left	24
variety in the	24
second half of	24
to the art	24
the cluny museum	24
the first instance	24
to one of	24
an emblem of	24
with which it	24
the eye is	24
work of a	24
as it would	24
greater number of	24
in christian art	24
silk and gold	24
can be traced	24
the effects of	24
there must be	24
be taken to	24
the same may	24
of ornament to	24
it is clear	24
back of the	24
to show how	24
on the upper	24
the same plate	24
have come down	24
and delicacy of	24
of the orders	24
temple of jupiter	24
temple of the	24
more than one	24
in like manner	24
to the student	24
of the vessel	24
the parent stem	24
determined by the	24
from one of	24
which must be	24
at the period	24
buildings of the	24
to the more	24
a row of	24
and the more	24
for a moment	24
listed under the	24
as there is	24
the capital is	24
it on the	24
on which they	24
which the design	24
piece of italian	24
the equilateral triangle	24
be remembered that	24
in a way	24
the churches of	24
in the cluny	24
to be observed	24
the early part	24
the juxtaposition of	24
doors of the	24
to be done	24
worthy of the	24
of the ornamentation	24
the second half	24
the figures of	24
the student to	24
of the fig	24
life of the	24
in the ornamental	24
furnished for interior	24
reached its highest	24
to show that	24
the presence of	24
of james i	24
forms of ornament	24
a point of	24
can also be	24
from the work	24
there is the	24
among the most	24
pattern of the	24
power of the	24
the ionic order	24
in the choir	24
like those of	24
part of an	24
so much as	24
of the common	24
the parts of	24
in the preceding	24
french renaissance ornament	24
of the composition	24
may be very	24
of the foliage	24
of great britain	24
in the possession	24
different from that	24
the group of	24
a good example	24
one and the	24
many examples of	24
surmounted by a	23
in design and	23
the importance of	23
in the alhambra	23
cut out of	23
a study of	23
was that of	23
and of a	23
into two equal	23
where it was	23
with the addition	23
be seen at	23
of this is	23
a certain amount	23
part of it	23
of the plan	23
the design and	23
is decorated with	23
the leaf of	23
have been preserved	23
may be regarded	23
in ornamental design	23
of the thing	23
carved in wood	23
to the material	23
of frequent occurrence	23
ornaments of the	23
was used in	23
first half of	23
of these forms	23
those who have	23
in either case	23
to be drawn	23
work of this	23
the weaving of	23
that shown in	23
we have no	23
to which we	23
we find a	23
th century b	23
louis xvi louis	23
divisions of the	23
to be placed	23
at an angle	23
various parts of	23
is made to	23
are said to	23
the days of	23
end of th	23
the style and	23
important part in	23
and we have	23
essay on ornamental	23
menard et sauvageot	23
the material of	23
english later renaissance	23
the making of	23
is made of	23
brackets listed under	23
more of the	23
alexander the great	23
and brackets listed	23
of the tower	23
it was used	23
efter verkligheten af	23
depth of no	23
in the library	23
set off the	23
the lion head	23
of the principles	23
of design that	23
in the architecture	23
a pair of	23
the shaft of	23
any one of	23
as is the	23
the plant is	23
the palace at	23
of the sea	23
dome of the	23
a way that	23
a manner that	23
at least in	23
in one direction	23
it is called	23
of the above	23
the effect is	23
placed on the	23
the oblong panel	23
science and art	23
human and animal	23
the material in	23
be derived from	23
of a different	23
in this period	23
in this manner	23
we find it	23
of the vine	23
in the arrangement	23
in so far	23
meaning of the	23
at south kensington	23
an article of	23
on the side	23
and the latter	23
to the centre	23
to lay down	23
is always a	23
are from the	23
in a more	23
upon the same	23
the frieze of	23
only to the	23
applied to a	23
of the spectator	23
the case in	23
exhibited in the	23
the industrial arts	23
the life of	23
effect of this	23
as on the	23
they can be	23
two equal parts	23
by which it	23
have been in	23
of the straight	23
in the mosque	23
the th to	23
by the way	23
style of design	23
in the new	23
such as we	23
top and bottom	23
in the court	23
just as the	23
to the end	23
the antique and	23
it is as	23
of this art	23
has been found	23
not at all	23
would be a	23
xv louis xv	23
in the west	23
a design is	22
that of fig	22
productions of the	22
have been taken	22
also be furnished	22
is full of	22
has to be	22
it is now	22
representations of the	22
the doors of	22
of the metal	22
of the solid	22
ceiling in the	22
the description of	22
appreciation of the	22
is called a	22
to the style	22
to use the	22
columns of the	22
of the nineteenth	22
it is with	22
are the same	22
frieze of the	22
by the french	22
not by any	22
change in the	22
from the ancient	22
the elaboration of	22
of the dome	22
it was also	22
the axis of	22
the sixth century	22
the revival of	22
ground of the	22
well as of	22
are examples of	22
this form of	22
from an old	22
as shown on	22
carried out in	22
either of the	22
is used in	22
a few examples	22
of roman art	22
devoted to the	22
may be so	22
we see in	22
this type of	22
f edward hulme	22
examples of it	22
found in a	22
sign of the	22
as applied to	22
will always be	22
in this design	22
or to the	22
feature in the	22
of the entire	22
and there are	22
the more important	22
a type of	22
only as a	22
museum of the	22
we come to	22
is that it	22
a view to	22
the general laws	22
can hardly be	22
shewn by the	22
is capable of	22
from a house	22
and gold thread	22
the straight lines	22
rather than to	22
of a wall	22
the perfection of	22
revival of the	22
contrast to the	22
contained in the	22
next to the	22
we have been	22
of the corona	22
done in the	22
corner of the	22
commencement of the	22
in favour of	22
a great extent	22
of art is	22
said of the	22
of a given	22
the same general	22
the notion of	22
it is sometimes	22
a black ground	22
members of the	22
ing of the	22
panel from the	22
a curved line	22
in the decorative	22
of the panels	22
of the arabs	22
value to the	22
the two sides	22
of the architecture	22
of the central	22
by the fact	22
at same price	22
general laws of	22
in the matter	22
in combination with	22
branch of art	22
use in the	22
which had been	22
manner of the	22
is not always	22
comes of treatment	22
produced by a	22
xvi louis xvi	22
exterior can also	22
but for the	22
towards the end	22
during the middle	22
from the fact	22
beauty of form	22
foliage of the	22
in a design	22
it is used	22
would be the	22
the student should	22
introduced into the	22
to do with	22
as we see	22
and if the	22
a ground of	22
illustrations in the	22
ornament in england	22
from designs by	22
of which may	22
the pattern in	22
the decorators svpply	22
of a great	22
an idea of	22
viollet le duc	22
typical of the	21
space between the	21
varieties of the	21
of nature in	21
in his work	21
names of the	21
of them in	21
of cloth of	21
the temple at	21
didot freres fils	21
the th cen	21
the border of	21
is made up	21
are formed by	21
in the third	21
th and early	21
many of our	21
they are in	21
that is not	21
considered to be	21
one of his	21
examples in the	21
was not until	21
egyptian and assyrian	21
from the ground	21
maria dei miracoli	21
the drawing plate	21
of the temples	21
it consists of	21
may be a	21
does not appear	21
the human body	21
points of distance	21
for the purposes	21
an imitation of	21
and early th	21
of the seat	21
of louis xvi	21
from drawings by	21
an entirely new	21
the curved line	21
in other cases	21
the head and	21
of a plant	21
the portion of	21
fine examples of	21
of the hair	21
draw to the	21
the latter being	21
of its use	21
itself in the	21
transition from the	21
the division of	21
of the neck	21
be of the	21
the temples of	21
the creation of	21
number of the	21
on a black	21
as was the	21
out in the	21
towards the close	21
the most celebrated	21
no less than	21
with the most	21
appears in the	21
taken into account	21
a repetition of	21
but if the	21
in the forms	21
as in a	21
the forms are	21
representation of a	21
a taste for	21
and animal forms	21
for us to	21
the other is	21
the ionic capital	21
which would be	21
was built by	21
be given to	21
and base from	21
to the effect	21
tem o n	21
lotus and papyrus	21
of the elements	21
in the loom	21
them to the	21
to the egyptian	21
be found that	21
design and the	21
to the great	21
found in pompeii	21
regarded as a	21
the pilaster capital	21
the arts and	21
in the midst	21
to the best	21
cornice of the	21
shape of a	21
through the centre	21
in the interior	21