quadgram

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

quadgram	frequency
of the th century	12
one of the most	10
the life of the	10
metropolitan museum of art	9
in the reign of	9
in the art of	9
art of interior decoration	9
life of the party	8
on the other hand	8
woman decorative in her	8
the art of interior	8
as we have said	8
the costume of the	7
the middle of the	7
at the present day	7
the lines of the	7
in the middle of	7
a part of the	6
the dress of the	6
of the sixteenth century	6
museum of art woman	6
mary queen of scots	6
line and colour in	5
in the costume of	5
of the middle ages	5
woman as decoration by	5
on the death of	5
at the same time	5
in the th century	5
by the duchess of	5
during the middle ages	5
the costuming of woman	5
of art woman in	5
in the matter of	5
is said to have	5
as well as the	5
the end of the	5
of the seventeenth century	4
the princess of wales	4
led by the duchess	4
one of the greatest	4
for woman as decoration	4
to a certain extent	4
as she appears in	4
hem of the skirt	4
both men and women	4
history of british costume	4
a good idea of	4
castle in afternoon costume	4
of william and mary	4
as decoration by thelma	4
the fashions of the	4
in art of the	4
woman in art of	4
sketched for woman as	4
vernon castle in afternoon	4
held in place by	4
as a matter of	4
art of the renaissance	4
of the eighteenth century	4
good idea of the	4
under the head of	4
of the nineteenth century	4
line and colour of	4
sixteenth and seventeenth centuries	4
in the fifteenth century	4
the men and women	4
of line and colour	4
the woman in question	4
of the royal family	4
of the renaissance sculpture	4
of cloth of gold	4
at the beginning of	4
of mary queen of	4
in the case of	4
it was a common	4
woman decorative on the	4
decoration by thelma cudlipp	4
and at the same	3
spake the fearsome stranger	3
woman in ancient egyptian	3
europe of the renaissance	3
miss elsie de wolfe	3
be seen in the	3
it consisted of a	3
the crown of the	3
in the dress of	3
the spirit of the	3
appear to have been	3
and colour of costumes	3
portrait by john s	3
by a band of	3
of the highest rank	3
and those which are	3
of the dress of	3
of the human body	3
introduced into this country	3
of man and woman	3
three weeks after the	3
the top of the	3
so as to give	3
the outline of the	3
to the art of	3
it is not enough	3
towards the end of	3
new note is the	3
make the most of	3
the hem of the	3
the north american indian	3
easy to be decorative	3
the way you are	3
the duchess of sutherland	3
the outline demanded by	3
in the british museum	3
became a desperate gallop	3
all classes of the	3
make a point of	3
the shape of a	3
a portrait of mrs	3
the beginning of the	3
of the most successful	3
the fifteenth and sixteenth	3
the women of the	3
or is it that	3
jest the way you	3
the manner in which	3
in the middle ages	3
we learn that the	3
during the reign of	3
as he galloped he	3
historic dress in america	3
as mother of god	3
one woman we know	3
the art of the	3
may be regarded as	3
the colour scheme of	3
in the course of	3
the matter of dress	3
is one of the	3
we have tried to	3
it is well to	3
the character of the	3
a plain bedaddled ijiet	3
for the benefit of	3
now stay jest the	3
by baron de meyer	3
gait became a desperate	3
that is to say	3
on the side of	3
princess henry of pless	3
the woman who knows	3
the man or woman	3
election bet three weeks	3
at the sight of	3
of the reign of	3
one would be a	3
is the one who	3
and magistrate voris was	3
guerre for a walk	3
of the lawrence p	3
if one would be	3
an integral part of	3
filled in with a	3
studying line and colour	3
way you are and	3
an election bet three	3
in the temple of	3
reign of richard ii	3
of the present century	3
to the fact that	3
the interior decoration of	3
the decorative value of	3
a very early period	3
in line and colour	3
with gold and silver	3
in the name of	3
eighteenth and nineteenth century	3
by the fashion of	3
effect of clothes upon	3
in the costuming of	3
and customs of the	3
and how to wear	3
a hat or gown	3
of bride and bridegroom	3
of gold and silver	3
of the present day	3
the reign of richard	3
of the tudor period	3
we have here a	3
and as he galloped	3
was one of the	3
la guerre for a	3
the fashion of the	3
in the same manner	3
make no peep or	3
as much his as	3
in ancient egyptian sculpture	3
have to plug you	3
appears to have been	3
fifteenth and sixteenth centuries	3
the woman who would	3
fourteenth and fifteenth centuries	3
is the result of	3
i could have touched	3
bet three weeks after	3
thirteenth and fourteenth centuries	3
a portrait by john	3
from one of the	3
costume of the anglo	3
courtesy of vanity fair	3
in the eighteenth century	3
stay jest the way	3
the death of a	3
the same in the	3
a matter of fact	3
as well as in	3
the mother of god	3
castle in ball costume	3
over the left shoulder	3
iii how to dress	2
for the novice who	2
any other art does	2
xxi line and colour	2
over and over again	2
lasted for three days	2
and success throughout the	2
a vertical row of	2
on the right side	2
the battle of naseby	2
xvi development of gothic	2
exigencies of the present	2
opened the door and	2
men and women of	2
the book of the	2
jewels should be worn	2
gloves on his hands	2
one can and cannot	2
which we derive the	2
ix woman decorative in	2
idiosyncrasies in costume fashions	2
himself at the age	2
go about planning a	2
feature in the costume	2
dignitaries of the church	2
mind when planning a	2
and it is not	2
ordinance for the reformation	2
it is true that	2
to the woman who	2
the tops of his	2
championship of fancy skating	2
were introduced into this	2
woman of any particular	2
the queen and the	2
the sixteenth and seventeenth	2
the history of costume	2
for all that his	2
and drooping in a	2
the missions of art	2
affected by cosmopolitan influences	2
men as well as	2
which create good line	2
the lining of the	2
and held in place	2
for the reformation of	2
eccentricities of masculine costume	2
children and their clothing	2
go so far as	2
it is easy to	2
in spanish costume as	2
to be borne in	2
the point we would	2
the costume of both	2
of an essential detail	2
dress of th century	2
the reign of william	2
have not been used	2
name happens to be	2
storm and stress period	2
some of the drawings	2
of the contracting parties	2
it will be seen	2
costumed for her war	2
after a painting by	2
her majesty queen charlotte	2
in water boiled with	2
to the waist line	2
you are to appear	2
the same time a	2
woman as the virgin	2
silver and precious stones	2
the effect of a	2
and on the death	2
when the roman empire	2
during the sixteenth and	2
he galloped he shouted	2
we have shown that	2
was the signal for	2
to the eye and	2
the renaissance sixteenth and	2
is marked off into	2
of shrubs and trees	2
art portrait showing pointed	2
the th and th	2
great point is that	2
suited to the needs	2
of amateur championship of	2
in japanese costume as	2
was regarded as a	2
x woman decorative in	2
the artist nature has	2
the banks of the	2
portrait showing pointed head	2
it was not until	2
explained to you that	2
ladies of the highest	2
gothic art portrait showing	2
the art of costuming	2
woman in the victorian	2
it is as if	2
one of the rules	2
in one of the	2
that he was the	2
enough of a good	2
the latter part of	2
to dress your type	2
of one of the	2
in costume of red	2
down the stairs and	2
of red cross nurse	2
learning the art of	2
broke in on him	2
the th century the	2
in close folds to	2
marie antoinette and her	2
decorative contribution to any	2
it would be difficult	2
japanese costume as madame	2
would be difficult to	2
of colour in all	2
in the eyes of	2
was in great request	2
iv the psychology of	2
richard c oe ur	2
is of great antiquity	2
in her garden in	2
how to dress your	2
attention to this important	2
and a band of	2
colour scheme of her	2
side of the head	2
about planning a period	2
and make use of	2
portrait of mary queen	2
during the eighteenth century	2
the opposite end of	2
articles of dress were	2
of muslin and lace	2
the portrait of an	2
he took my overcoat	2
the height of the	2
of rich white satin	2
the use of the	2
the rank of the	2
delight to the eye	2
from life by elisabeth	2
man and his home	2
the costuming of herself	2
we are all familiar	2
in which they were	2
few hints for the	2
variations of the type	2
court of charles ii	2
what she can wear	2
an ordinance for the	2
is not born with	2
colour in all costuming	2
in costume when seen	2
woman as the mother	2
of the peasant class	2
and colour in russia	2
was the son of	2
and there is little	2
for line and colour	2
man and woman alike	2
have a look at	2
are of brown leather	2
his attention to this	2
we see that the	2
for some years after	2
oe ur de lion	2
the effect of clothes	2
writer has in mind	2
lined with crimson satin	2
jest a plain bedaddled	2
the roman occupation of	2
the laws underlying all	2
the order of the	2
these are the women	2
she would be a	2
such a manner that	2
the soul of the	2
the novice who would	2
a good deal of	2
colour of costumes in	2
attaches to fashions in	2
you will observe that	2
from which we derive	2
her majesty queen victoria	2
at the conclusion of	2
background of shrubs and	2
antoinette and her court	2
woman is the one	2
fancy costume of various	2
costume of the period	2
could have touched him	2
underlying all successful dressing	2
wolfe in costume of	2
be the first to	2
in the hands of	2
type are bewildering and	2
national characteristics as expressed	2
so far as we	2
quite apart from the	2
part of russian nature	2
xx sex in costuming	2
roman occupation of britain	2
reaching to the feet	2
far as to say	2
when planning a costume	2
to hem of skirt	2
the duchess of buccleuch	2
beauty of the court	2
xxiv the artist and	2
geraldine farrar in japanese	2
decorative in her garden	2
pageant of life shows	2
the pageant of life	2
the owner of the	2
man or woman of	2
as to how jewels	2
this man or woman	2
seems to have been	2
a modern portrait by	2
for her war job	2
train of royal blue	2
so that at the	2
the philadelphia public ledger	2
the artist and his	2
with moss roses and	2
what the strange lady	2
chat about children and	2
habits of carriage which	2
particular period the variations	2
the rules as to	2
in gothic art portrait	2
into terms of art	2
the line of a	2
the face of a	2
a sense of line	2
period an english portrait	2
to make our points	2
are bewildering and misleading	2
regarded as a necessary	2
of the costume of	2
point we would make	2
on similar lines to	2
to be taken to	2
of the missions of	2
constant reference to the	2
exaggeration to say that	2
the son of a	2
woman of fashion which	2
her royal highness the	2
a dozen of them	2
the private collection of	2
viii jewelry as decoration	2
in the possession of	2
woman as decoration when	2
more than any other	2
eighteenth century england portrait	2
has always assumed poetic	2
if she would be	2
reference to the stage	2
make them cling to	2
an early period in	2
the psychology of clothes	2
we have chosen this	2
cathedrals of mont st	2
always assumed poetic license	2
love of colour in	2
to the costuming of	2
gold and silver thread	2
at the waist line	2
decorative in her motor	2
as shown in the	2
be remembered that the	2
in the technique of	2
by thelma cudlipp mme	2
to the man or	2
the costumes of various	2
is of inestimable value	2
was a common practice	2
xxii studying line and	2
artist and his costume	2
at a very early	2
and silk of different	2
to have been a	2
the value of line	2
of royal blue velvet	2
to go about planning	2
for the reason that	2
that the women of	2
a new note is	2
or a bunch of	2
the russian women of	2
would plan her costumes	2
an important part in	2
the first quarter of	2
with pearls or other	2
far as we know	2
in her motor car	2
modern portrait by john	2
of the bridal costume	2
see to it that	2
which follow one another	2
across the front of	2
it was the same	2
and bunches of flowers	2
to be wearing a	2
one to grasp and	2
to make subtle the	2
to go back to	2
enriched with precious stones	2
by one of the	2
veiled with green tulle	2
woman as decoration is	2
that of national costumes	2
we were looking at	2
powerful because they seize	2
the new colour vocabulary	2
that your outline be	2
string of pearls gives	2
the story of period	2
it is the same	2
a garment reaching to	2
men and women wore	2
costume of red cross	2
integral part of russian	2
upon the public mind	2
dress your type a	2
of carriage which create	2
is made to the	2
was for the moment	2
the illusion of summer	2
low off the shoulders	2
patron of the arts	2
the unbroken sweep of	2
for which it is	2
reign of henry vii	2
at the age of	2
for the time being	2
costume of both sexes	2
and the opening is	2
the party by irvin	2
novice who would plan	2
it was found necessary	2
this hour of the	2
then he might have	2
portrait by john w	2
the disposal of the	2
in the life of	2
grasp and make use	2
empire period an english	2
it is of a	2
an artist in the	2
to the decoration of	2
costume portrait by gilbert	2
what one can and	2
one of the missions	2
xii woman as decoration	2
a manner that it	2
in action or repose	2
lines of the figure	2
of the same material	2
given sense of the	2
and other rich fabrics	2
other side of the	2
the variations of the	2
over the frozen roads	2
be kept in mind	2
sense of the term	2
xxviii woman costumed for	2
any one of the	2
vital organs of the	2
duke and duchess of	2
roses and pink ribbon	2
woman in gothic art	2
any particular period the	2
art woman in art	2
made so familiar by	2
the most of it	2
a chat about children	2
of the type are	2
a large number of	2
i wonder if you	2
know at a glance	2
the gentle craft of	2
the type of costume	2
the style of the	2
of those lines and	2
xxv idiosyncrasies in costume	2
the light of the	2
so as to be	2
it had been a	2
to the impulse of	2
success throughout the ages	2
to his bachelor apartments	2
the age of three	2
jefferson market night court	2
courtesy of braun co	2
be regarded as a	2
of period costumes a	2
by no means a	2
in clothes as well	2
woman costumed for her	2
dress of pale blue	2
to protect them from	2
of her majesty queen	2
thrown over the left	2
if we may judge	2
century costume portrait by	2
we have only to	2
rich in souvenirs of	2
this portion of the	2
to wear the costume	2
were thrown into relief	2
agreeable contrast to it	2
fashion of the moment	2
mother of god and	2
war now waging in	2
and for the same	2
some years after the	2
now in the private	2
from a very early	2
party by irvin s	2
applying to all costumes	2
played an important part	2
woman in greek art	2
the habit of those	2
the cup of consolation	2
fastened on shoulders and	2
one of the household	2
habits and customs of	2
the good gothic lines	2
sense of the beautiful	2
once the first shock	2
what do you mean	2
a bunch of flowers	2
was found necessary to	2
trimmed with rows of	2
reaching to the ankles	2
we use the word	2
is arranged in two	2
which comes under the	2
de wolfe in costume	2
artist nature has always	2
lady of th century	2
by reason of their	2
nast in street dress	2
transferred to the canvas	2
portrait of queen elizabeth	2
decorative in her sun	2
out the individuality of	2
of good queen bess	2
to the human form	2
organs of the body	2
can and cannot wear	2
in mind when planning	2
laws underlying all costuming	2
were the life of	2
at the battle of	2
rules underlying all successful	2
to let him in	2
curls on the forehead	2
at the top of	2
how jewels should be	2
the stage is necessary	2
geraldine farrar in spanish	2
was surmounted by a	2
wonder if you would	2
among the working classes	2
nast in evening dress	2
farrar in japanese costume	2
we are indebted to	2
the duke and duchess	2
the court of charles	2
manner in which they	2
said to have had	2
and reached to the	2
in the wake of	2
one is not born	2
been the life of	2
prepares one to grasp	2
bring out the individuality	2
of the fashionable world	2
hem of neck and	2
he said he was	2
i a few hints	2
may be seen in	2
of the upper classes	2
the marriage ceremony is	2
and members of the	2
play an important part	2
woman on greek vase	2
has in mind a	2
the members of the	2
who would plan her	2
in costuming european dress	2
depends in part upon	2
to return to the	2
the late middle ages	2
at the time of	2
and then it ran	2
might have been taken	2
of the party by	2
consisted of a long	2
to this branch of	2
of the court of	2
in greek costume as	2
of mauve and white	2
xxvi nationality in costume	2
which is the result	2
not only in dress	2
we were told that	2
geraldine farrar in greek	2
the type are bewildering	2
the skin of a	2
a flower or a	2
century england portrait by	2
in gold and silver	2
to the stage is	2
of links or beads	2
colour instinct in clothes	2
technique of controlling the	2
as colour and line	2
the writer has in	2
now waging in europe	2
indebted to george iv	2
of any particular period	2
an example of woman	2
as you can afford	2
russian women of the	2
time over the men	2
be borne in mind	2
of the human form	2
studying the history of	2
xvii the renaissance sixteenth	2
corsage trimmed to correspond	2
how to put on	2
to be a decorative	2
be regarded as the	2
a complete outfit of	2
natural instinct for costuming	2
and it has been	2
the earliest illustration of	2
to it that you	2
a distinguished example of	2
the cloth of gold	2
this way and that	2
in the seventeenth century	2
in the hope of	2
for the most part	2
followed in the wake	2
one sees that the	2
the french woman is	2
eighteenth and nineteenth centuries	2
in a decorative way	2
refer to the same	2
the services of a	2
england portrait by thomas	2
xiv how to go	2
national or individual temperament	2
by courtesy of vanity	2
cut low off the	2
the attention of the	2
c oe ur de	2
to the lines of	2
used by both sexes	2
so far as to	2
customs of the people	2
in the mind of	2
worn by charles i	2
gives a good idea	2
members of the royal	2
habit of those lines	2
classes of the community	2
costume of various periods	2
was a common custom	2
her majesty the queen	2
the ladies of the	2
period the variations of	2
as decoration when skating	2
the vital organs of	2
points applying to all	2
of costume worn by	2
in cloth of gold	2
ii woman in ancient	2
make subtle the obvious	2
is given in the	2
in art of costuming	2
as the mother of	2
turned out to be	2
exaggeration of an essential	2
embroidered with gold and	2
early period in the	2
for the same reason	2
our day to the	2
and a train of	2
lines which follow one	2
xix woman in the	2
the property of marie	2
in with a necklace	2
establish habits of carriage	2
the storm and stress	2
how to go about	2
debauched and vulgar taste	2
how to wear it	2
decorative on the beach	2
give way to broad	2
about children and their	2
was remarkable for its	2
in such a manner	2
stage and floral costume	2
that she is a	2
of the fifteenth century	2
and he took my	2
amateurs contested for the	2
madame geraldine farrar as	2
wear and how to	2
with regard to the	2
as early as the	2
make our points clear	2
from year to year	2
the marchioness of londonderry	2
and short sleeves for	2
on the part of	2
your type a few	2
xiii woman decorative in	2
the contour of the	2
in honour of the	2
photograph by baron de	2
of which the accompanying	2
according to their station	2
outline demanded by the	2
the modern insistence on	2
the mother of the	2
by the weight of	2
end of the th	2
make a song of	2
the reign of henry	2
of life shows that	2
through to tip of	2
for the first time	2
was attached to the	2
the same classic lines	2
reaching to the heels	2
into this country from	2
a few minutes ago	2
she it is who	2
decorative on the lawn	2
contribution of our day	2
for the purpose of	2
of costumes for women	2
is to be found	2
at one time in	2
body until it has	2
a look at you	2
by the crusaders were	2
he was not in	2
and at the sight	2
of the same in	2
unbroken sweep of green	2
way to the knees	2
the highly sensitised woman	2
consistency and success throughout	2
is intended as a	2
carriage which create good	2
costumes of various periods	2
an agreeable contrast to	2
of clothes upon manners	2
v establish habits of	2
farrar in greek costume	2
among all classes of	2
long string of beads	2
much his as hers	2
i think about you	2
a long string of	2
all powerful because they	2
flower or a bunch	2
of the same shade	2
in the sketch of	2
in the world of	2
a decorative contribution to	2
for the woman who	2
close to the head	2
decorative in her boudoir	2
the colour of the	2
happens to be leary	2
with letters of introduction	2
in order to look	2
the form of a	2
turned his attention to	2
with consistency and success	2
carriage of the body	2
a knowledge of how	2
the belles of the	2
he was for the	2
a fortuny tea gown	2
the other side of	2
for woman and man	2
when not in use	2
the eighth year of	2
wife of edward iii	2
a sign of virility	2
the mantle was of	2
characteristics as expressed in	2
by means of a	2
the dimensions of a	2
portrait by gilbert stuart	2
the few rules underlying	2
with ribbons and lace	2
had its origin in	2
i was all alone	2
if you would be	2
there could be no	2
th and th centuries	2
elsie de wolfe in	2
light upon her costume	2
at the metropolitan opera	2
one of the great	2
in the folk music	2
to the university of	2
embroidered with silver and	2
to how jewels should	2
as himself at the	2
be decorative in your	2
she can wear and	2
head of european dress	2
and during the time	2
partially covered by a	2
rules as to how	2
the exigencies of the	2
planning a period costume	2
the holy city and	2
or woman of any	2
of colour and line	2
to grasp and make	2
hours of the virgin	2
as an instance of	2
on this occasion were	2
poetic license in the	2
he would get himself	2
some cases it was	2
interest attaches to fashions	2
of interior decoration we	2
a few of the	2
portrait by thomas gainsborough	2
the sketch of a	2
the men of the	2
and lady angela forbes	2
what money i had	2
to say that a	2
middle of the th	2
england portrait of queen	2
opposite end of the	2
you come down here	2
in the victorian period	2
a beauty of the	2
costuming of woman is	2
waist line in front	2
what was he like	2
chiefly remarkable for its	2
sex in costuming european	2
nationality in costume when	2
for the abolition of	2
the reign of queen	2
as a decorative contribution	2
in the neighbourhood of	2
though to the man	2
clothes as well as	2
they seize upon the	2
to the tops of	2
story of period costumes	2
of the renaissance and	2
the present european war	2
down the stair well	2
the depths of the	2
the ordinary costume of	2
the evolution of the	2
is the one to	2
the duchess of york	2
the art of making	2
is not enough to	2
and he gives a	2
not born with this	2
of the art of	2
of costumes in hungary	2
in the private collection	2
key to the rich	2
drawn from life by	2
would be a decorative	2
to be decorative when	2
ladies of the court	2
the metropolitan opera house	2
understand the value of	2
is as if the	2
of our day to	2
ii the laws underlying	2
in new york at	2
we know that the	2
on the top of	2
this important branch of	2
tudor england portrait of	2
with gold or silver	2
the women in the	2
of a shoemaker at	2
costume fashions in dress	2
chain or string of	2
a person with a	2
the result that we	2
the best dressed women	2
we may judge from	2
few rules underlying all	2
the fact that a	2
the virgin in art	2
in a strange house	2
underlying all costuming of	2
with the same flowers	2
costume as madame butterfly	2
to admit a necklace	2
of the greek church	2
development of gothic costume	2
sense of line is	2
of controlling the physique	2
of the gentle craft	2
on the banks of	2
she was attended by	2
contested for the cup	2
at an early period	2
shows that she has	2
rheinhardt and granville barker	2
nast in garden costume	2
to the canvas by	2
a pair of white	2
to the fashions of	2
few points applying to	2
under the control of	2
was chiefly remarkable for	2
the colours and lines	2
are indebted to george	2
can wear and how	2
of the rules as	2
those of the women	2
vernon castle in ball	2
portraits by great masters	2
hints for the novice	2
instinct in clothes as	2
the habits and customs	2
in the character of	2
give your attention to	2
with thistles and ribbon	2
may be mentioned the	2
was embroidered with the	2
i opened the door	2
to the average woman	2
seize upon the public	2
dress of that period	2
to the sixteenth century	2
glove of henry viii	2
the evolution of fashion	2
on the value of	2
be a flower or	2
life by elisabeth searcy	2
the cathedrals of mont	2
its origin in the	2
the strange lady saw	2
in the same way	2
in the fourteenth century	2
first seventy years of	2
and places of amusement	2
in a cascade of	2
by which we mean	2
in the depths of	2
gown of white satin	2
it was necessary to	2
the close of the	2
be in harmony with	2
for a long time	2
historical interest attaches to	2
because they seize upon	2
the canvas by the	2
the earl of warwick	2
of the virgin and	2
the reign of elizabeth	2
renaissance sixteenth and seventeenth	2
borne in mind when	2
as to outline and	2
with the result that	2
unconscious grace of the	2
the fourteenth century the	2
the countess of warwick	2
might be induced to	2
the war now waging	2
to the point where	2
property of marie antoinette	2
costume of empire period	2
a few points applying	2
once upon a time	2
are the women who	2
the youth of athens	2
license in the matter	2
on the art of	2
sketched by thelma cudlipp	2
winner of amateur championship	2
knowledge of line and	2
a member of the	2
of a woman who	2
of silver and gold	2
crown of the head	2
the great point is	2
wearing a black dalmatic	2
to make them cling	2
to be seen in	2
to this important branch	2
demanded by the fashion	2
in the style of	2
to the rich storehouse	2
with a view to	2
the opening up of	2
nature has always assumed	2
set off by a	2
in some cases it	2
eighteenth century costume portrait	2
all costuming of woman	2
to shed light upon	2
a delight to the	2
important part in the	2
and duchess of devonshire	2
be worn on the	2
the case of the	2
farrar in spanish costume	2
in the way of	2
of the precious metals	2
a distinct style of	2
he could make out	2
the roman empire was	2
assumed poetic license in	2
skins of animals were	2
a marked example of	2
reference is made to	2
those lines and colours	2
wore a dress of	2
this time over the	2
water boiled with lime	2
in costume fashions in	2
at her best in	2
the art of dressing	2
and it is considered	2
fashions of the th	2
of empire period an	2
amateur championship of fancy	2
of the fair sex	2
the old story of	2
type a few points	2
silk of different colours	2
in the early christian	2
so familiar by the	2
the form of the	2
one of the earliest	2
a few hints for	2
appear as distinct types	2