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 |