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
o o o	159
the primary mass	154
of the primary	84
it is not	80
as well as	80
point of concentration	79
is to be	79
in which the	76
one of the	75
the use of	68
the point of	67
surface enrichment of	65
part of the	64
there is a	62
it will be	60
character of the	55
queen anne period	55
it is a	54
in order to	54
that it is	53
it may be	53
the character of	50
it is the	50
but it is	49
william and mary	48
and in the	46
of the art	45
i do not	45
portion of the	44
more or less	44
the nature of	42
that of the	41
the form of	41
in order that	41
points of concentration	41
by means of	40
related to the	40
on the other	40
of the design	39
which it is	39
relation to the	38
the application of	38
the fact that	38
as it is	37
of the same	37
and it is	36
shown in fig	36
some of the	36
a number of	36
there is no	36
the art of	35
it should be	35
the inceptive axis	35
should not be	34
of the most	34
zone of enrichment	33
lines of the	33
you will find	33
in the same	32
the idea of	32
a series of	32
the work of	32
manner in which	32
it would be	31
at the same	31
the end of	31
as in the	31
of surface enrichment	31
primary masses in	30
the effect of	30
are to be	30
the same time	30
the part of	29
an example of	29
the centre of	29
the case of	29
of the surface	28
to be seen	28
the production of	27
the result of	27
it must be	27
in the case	27
and to the	27
it has been	27
to the eye	27
the queen anne	27
so as to	27
this is the	27
the side walls	26
the top of	26
of the material	26
the other hand	26
the decoration of	26
the appearance of	26
will be found	26
is in the	25
the manner in	25
of the period	25
the introduction of	25
the surface enrichment	25
this is a	25
one or two	25
parts of the	25
which may be	25
of the world	25
the development of	25
nature of the	25
in the first	25
of a room	24
as shown in	24
work of the	24
end of the	24
will be seen	24
the formation of	24
in silver and	24
out of the	24
is shown in	24
it can be	23
use of the	23
to be a	23
surface enrichment should	23
which i have	23
the addition of	23
on the part	23
as far as	23
those of the	23
in the form	22
three vertical divisions	22
the beauty of	22
seen in the	22
in accordance with	22
in such a	22
enrichment of the	22
the power of	22
the consideration of	22
in the world	22
the surface of	22
be seen in	22
a piece of	22
of the human	22
be related to	22
what is the	21
point of view	21
of concentration in	21
the view of	21
so far as	21
is capable of	21
it is well	21
it is in	20
as they are	20
idea of the	20
in the upper	20
the influence of	20
this is not	20
in the center	20
may be seen	20
surface of the	20
at hampton court	20
in this chapter	20
of the building	20
in addition to	20
be regarded as	20
is not a	20
the textile art	19
small primary masses	19
and at the	19
base and precious	19
the whole of	19
found in the	19
the upper portion	19
shown in figure	19
the architecture of	19
we have a	19
of the two	19
center of the	19
as to be	19
it is to	19
all of the	19
top of the	19
that is to	19
that which is	19
at the top	19
to the structure	19
a sense of	19
enrichment of small	19
works of furniture	18
side of the	18
a matter of	18
would have been	18
with the view	18
a and b	18
is necessary to	18
horizontal divisions in	18
horizontal space divisions	18
portions of the	18
which we have	18
many of the	18
of the three	18
may be used	18
they should be	18
that there is	18
three horizontal divisions	18
victoria and albert	18
and of the	18
the history of	18
we find the	18
which they are	18
type of design	18
it is necessary	18
the victoria and	18
in the way	18
upper portion of	18
to have been	17
we do not	17
enrichment of large	17
the type of	17
enrichment should be	17
that he is	17
shown in the	17
of this period	17
form of a	17
proportions of the	17
of the vessel	17
for the most	17
to the structural	17
of the people	17
be used in	17
large primary masses	17
to be in	17
order that the	17
is to say	17
in all cases	17
of the great	17
of the object	17
and albert museum	17
the industrial arts	17
by the rev	17
and the other	17
the eye to	17
masses in wood	17
of queen anne	17
the expression of	17
vertical or horizontal	17
of the wood	17
as we have	17
primary mass and	17
the shape of	17
in relation to	17
in terms of	17
silver and enamel	17
the center of	17
two or three	17
of the past	17
to be the	17
by the addition	17
by reason of	16
form derived from	16
based upon the	16
the subject of	16
a consideration of	16
as to the	16
example of the	16
summary of rules	16
is of the	16
the works of	16
and there is	16
the value of	16
not to be	16
be seen that	16
to the design	16
in which they	16
way in which	16
consideration of the	16
to the surface	16
and precious metals	16
may not be	16
may be said	16
is that of	16
of such a	16
associated with the	16
the way of	16
industrial arts design	16
be found in	16
mass of the	16
of ornamentation by	16
in the art	16
of which the	16
it is impossible	16
and so on	16
in a manner	15
contour enrichment of	15
of the queen	15
the laws of	15
forms of the	15
the colour of	15
must not be	15
centre of gravity	15
that they are	15
and that the	15
the method of	15
to that of	15
but there is	15
we have the	15
used as a	15
there are many	15
of the border	15
on the contrary	15
of the room	15
of the decorative	15
of form and	15
but this is	15
primary mass is	15
low cylindrical forms	15
of this class	15
of the structure	15
it is possible	15
warp and woof	15
of all the	15
of the appendage	15
the points of	15
of the panel	15
the work is	15
the south kensington	15
the horizontal divisions	15
the time of	15
the presence of	15
enrichment of clay	15
to give the	15
of the various	15
with the idea	15
be said to	15
of small primary	15
it is an	15
to a great	15
two horizontal divisions	15
as i have	14
vertical divisions in	14
of design steps	14
in which it	14
the hands of	14
side walls and	14
summary of design	14
curve of force	14
to make the	14
as a result	14
illustrations of ornamentation	14
in the most	14
seems to be	14
shape of the	14
the unity of	14
derived from a	14
the beginning of	14
the most part	14
be able to	14
as that of	14
for it is	14
the forms of	14
which is not	14
is not the	14
in the following	14
of a design	14
beauty of the	14
figures and are	14
you may be	14
but in the	14
south kensington museum	14
reduced in chroma	14
should have the	14
added to the	14
its relation to	14
of the first	14
sense of the	14
this form of	14
and mary period	14
the contour of	14
at right angles	14
to be used	14
of the textile	14
architecture of the	14
in gold and	14
at the end	14
light and shade	14
divisions of the	14
that of a	13
of an inch	13
arrangement of the	13
the design of	13
we find that	13
a knowledge of	13
it cannot be	13
of william and	13
variety to the	13
placed in the	13
to the primary	13
in connection with	13
which is to	13
decoration of a	13
of the new	13
the seventeenth century	13
primary mass in	13
the man who	13
is one of	13
it is only	13
found to be	13
i have already	13
can only be	13
axis of the	13
a sort of	13
at the time	13
seen that the	13
in this respect	13
in this case	13
for the sake	13
the sake of	13
the fourth dimension	13
reference to the	13
form of the	13
when it is	13
the construction of	13
the proportions of	13
the arrangement of	13
of those who	13
the leading lines	13
similar to the	13
is divided into	13
an art of	13
of a building	13
will find that	13
there is an	13
should be so	13
that in which	13
in the centre	13
so that the	13
to be found	13
what i have	13
of the earth	13
the curve of	13
the eighteenth century	13
it is very	13
it does not	13
form of enrichment	13
and with the	13
if the primary	13
we have to	13
the human figure	13
be produced by	13
of which are	12
of the wall	12
knowledge of the	12
of art in	12
in the last	12
to form a	12
of large primary	12
produced by the	12
would not be	12
at the bottom	12
the process of	12
as much as	12
of the subject	12
parts of a	12
unit of measurement	12
owing to the	12
in like manner	12
of the whole	12
as a rule	12
in this connection	12
the amount of	12
those which are	12
the operation of	12
and you will	12
the entire design	12
of the fabric	12
the principles of	12
the kind of	12
the contours of	12
and from the	12
i am not	12
to the other	12
courtesy of the	12
the geometric center	12
so that it	12
they may be	12
the study of	12
mass is divided	12
be seen at	12
be applied to	12
there is nothing	12
the proportion of	12
rules a and	12
the making of	12
necessary to the	12
the enrichment of	12
that in the	12
of the designer	12
to each other	12
in other words	12
of the metal	12
the design is	12
are capable of	12
of the mind	12
the hue rectangle	12
applied to the	12
appears to have	12
of the original	12
it is true	12
that we have	12
than that of	12
should be placed	12
of the artist	12
thin metal process	12
hampton court palace	12
furniture of the	12
on account of	12
as may be	12
is an example	12
a primary mass	12
centre of the	12
of the work	12
of blue and	12
it is of	12
in the other	12
i have said	12
a great extent	12
as will be	12
the details of	12
in the preceding	11
is not to	11
in this way	11
it has to	11
is well to	11
la maison moderne	11
of the nature	11
to be retained	11
value and chroma	11
of berkey and	11
you are to	11
in the second	11
the material of	11
courtesy of berkey	11
should be in	11
the treatment of	11
the zone of	11
to produce a	11
part of a	11
chests of drawers	11
is not so	11
the midst of	11
we have already	11
do not know	11
and gay figure	11
up to the	11
in the hands	11
of the other	11
so long as	11
to do so	11
vertical and horizontal	11
the period of	11
which we are	11
according to the	11
which can be	11
to deal with	11
be placed in	11
from the primary	11
suited to the	11
of which we	11
in some cases	11
coiled basket with	11
red and yellow	11
to be enriched	11
of rules rule	11
example of a	11
of the seventeenth	11
of the word	11
be seen by	11
of a simple	11
that we are	11
and this is	11
this may be	11
between the two	11
the reign of	11
of one of	11
material of which	11
has to be	11
of the old	11
study of the	11
the exercise of	11
development of the	11
of light and	11
of this kind	11
is impossible to	11
an illustration of	11
but there are	11
to a certain	11
to make a	11
should have a	11
the complement of	11
of the more	11
the lines of	11
such as the	11
the first place	11
of the poor	11
and otherwise prepare	11
sides of the	11
it is just	11
the love of	11
most of the	11
be found to	11
the practice of	11
shallow circular forms	11
formation of a	11
with geometric ornament	11
and as a	11
the sense of	11
of the highest	11
if it is	11
in the use	11
of a very	11
the sides of	11
tint of the	11
some of these	11
high cylindrical forms	11
of the ornament	11
of the parts	11
in the manner	11
all that is	11
in the midst	11
in the present	11
in many cases	11
the warp and	11
side by side	11
of the middle	11
the ornament of	11
berkey and gay	11
be seen from	11
harmony with the	10
to avoid the	10
prepare the drawing	10
of the modern	10
with which we	10
of decorative art	10
a part of	10
two of the	10
figure is a	10
and may be	10
the plane of	10
divisions in wood	10
of the country	10
on the whole	10
as to give	10
the service of	10
much of the	10
proportion to the	10
it to be	10
vertical space divisions	10
th and th	10
to the development	10
geometric center of	10
expression of the	10
and should be	10
as it can	10
will not be	10
pendant in gold	10
not at all	10
and by the	10
formed of a	10
concentration in the	10
have been the	10
movement of the	10
characteristic of the	10
is applied to	10
it is desirable	10
and th centuries	10
to be of	10
differing in function	10
because it is	10
the same way	10
we should have	10
chest of drawers	10
of his work	10
at this time	10
the spirit of	10
can be seen	10
they are not	10
size of the	10
to the right	10
can be readily	10
the property of	10
the width of	10
harmonize with the	10
treatment of the	10
the direction of	10
it is so	10
be made to	10
must be related	10
be formed of	10
the front of	10
a work of	10
you have the	10
of which is	10
a symbol of	10
a few years	10
the ceramic art	10
the size of	10
the ornament is	10
the field of	10
enrichment should have	10
otherwise prepare the	10
of its own	10
the drawing for	10
the designing of	10
the same design	10
features of the	10
of the figure	10
member of the	10
with which the	10
due to the	10
of the table	10
contrast with the	10
a means of	10
appropriate to the	10
for the purpose	10
what may be	10
a point of	10
stone or enamel	10
unity of the	10
late queen anne	10
if they are	10
this class of	10
bands and borders	10
for the reason	10
this mode of	10
contour of the	10
in regard to	10
at the victoria	10
that i have	10
the human form	10
in surface enrichment	10
on the one	10
may be made	10
boundary of the	10
divisions in metal	10
is the result	10
of the preceding	10
as applied to	10
there is not	10
relation between the	10
of the stone	10
of the very	10
used in the	10
two vertical divisions	10
by the application	10
here and there	10
form and ornament	10
the light of	10
regard to the	10
of the mass	10
of the pattern	10
the appendage should	9
as a point	9
a mass of	9
of the sea	9
we are to	9
are more or	9
beginning of the	9
which is a	9
employed in the	9
a great deal	9
should be designed	9
in the very	9
to the same	9
the arts of	9
to have the	9
the element of	9
have the appearance	9
which is the	9
of the beautiful	9
outline enrichment should	9
of the project	9
to the character	9
it is probable	9
fact that the	9
of an object	9
divided into three	9
to the designer	9
width of the	9
will be necessary	9
the extent of	9
of the rectangle	9
made in the	9
the purpose of	9
in beaten silver	9
be introduced into	9
life of the	9
connected with the	9
the range of	9
design for a	9
given in the	9
result of the	9
the manner of	9
it is seen	9
as a whole	9
at the corners	9
space divisions rule	9
you have to	9
in the one	9
in harmony with	9
addition to the	9
it will not	9
history of the	9
ms th century	9
as it were	9
drawing for shop	9
more and more	9
to the fact	9
you will not	9
in mind that	9
placed on a	9
are of the	9
out of a	9
such a manner	9
each of the	9
be necessary to	9
outline of the	9
with all the	9
an inceptive axis	9
instruction sheet plate	9
is a very	9
the strength of	9
of concentration for	9
to the material	9
as in a	9
and the same	9
each of these	9
with coloured plates	9
chairs of the	9
nature and need	9
of the present	9
figure shows a	9
of the eighteenth	9
will be a	9
should also be	9
the processes of	9
as a means	9
the employment of	9
the furniture of	9
is not an	9
as one of	9
of his own	9
it is better	9
the present day	9
the world of	9
retained between the	9
of the soul	9
can be done	9
i know of	9
in the light	9
may have a	9
of the spectrum	9
appear to be	9
of the contour	9
a kind of	9
one of these	9
a tendency to	9
at the point	9
suggested by the	9
one of them	9
the life of	9
between the values	9
the crystal palace	9
far as possible	9
surface enrichment for	9
itself to the	9
might have been	9
there are other	9
it as a	9
should be used	9
is intended to	9
in the main	9
of the vertical	9
may be found	9
that can be	9
that it may	9
by the introduction	9
of a true	9
of any kind	9
it would have	9
on either side	9
with reference to	9
of concentration and	9
obtained from the	9
but they are	9
gold and enamel	9
at all events	9
subordinated to the	9
answer the end	9
and surface enrichment	9
of red and	9
of works of	9
design of the	9
a lighter tint	9
for you to	9
symbol of the	9
be retained between	9
and they are	9
a state of	9
line of the	9
outline enrichment of	9
must have been	9
of a great	9
the change of	9
with the inceptive	9
from which the	9
do not say	9
from that of	9
the most beautiful	9
the absence of	9
to the consideration	9
given in fig	9
refer to the	9
there are no	9
even in the	8
in many respects	8
the middle of	8
details of the	8
or in the	8
the drawing of	8
have to be	8
small amount of	8
the number of	8
that it was	8
life in the	8
the present time	8
of the warp	8
of decorative design	8
is that which	8
the manor house	8
rules rule a	8
of the decoration	8
in sympathy with	8
rest of the	8
are examples of	8
from each other	8
pleasing to the	8
as an example	8
the body of	8
the textile system	8
may also be	8
it is no	8
more than three	8
construction of the	8
application of ornament	8
it is difficult	8
value of the	8
to be considered	8
or any other	8
well as it	8
on this subject	8
less than one	8
of the handle	8
is true that	8
of the true	8
enrichment in the	8
divisions in clay	8
primary mass by	8
in the work	8
the way in	8
that it has	8
the relation between	8
there can be	8
be remembered that	8
more than the	8
direction of the	8
and need of	8
branches of art	8
a straight line	8
by no means	8
to an extent	8
right angles to	8
made by the	8
enrichment of precious	8
of the paper	8
the vertical or	8
and variety to	8
a certain amount	8
add to the	8
are given in	8
those who have	8
a combination of	8
and precious stones	8
of the eye	8
we find it	8
the structural contours	8
that you may	8
nothing can be	8
of concentration may	8
the first of	8
which there is	8
do you think	8
the rest of	8
the top and	8
a man of	8
color of the	8
of some of	8
to a large	8
full surface enrichment	8
in any way	8
just as the	8
ornament of the	8
of the entire	8
of what is	8
we have been	8
to which the	8
be used as	8
in the building	8
that you are	8
with regard to	8
forms of art	8
in proportion to	8
the back of	8
be said that	8
in base and	8
there was a	8
may be readily	8
as can be	8
have said that	8
the admixture of	8
there may be	8
to do this	8
the middle ages	8
they must be	8
to do with	8
said to have	8
the course of	8
all kinds of	8
of a more	8
be readily seen	8
of the body	8
attached to the	8
formed by the	8
they do not	8
ends of the	8
effect of the	8
the three primary	8
and if you	8
art in its	8
introduction of the	8
an amount of	8
with that of	8
the area of	8
which it has	8
the thought of	8
let it be	8
worthy of the	8
the length of	8
the needs of	8
it is intended	8
in the eye	8
of a bird	8
the name of	8
should be the	8
the entire surface	8
certain amount of	8
such as is	8
for a moment	8
and in order	8
lighter tint of	8
is not necessary	8
to say that	8
for the first	8
and on the	8
of the early	8
and all the	8
a border should	8
it to the	8
it is made	8
with numerous illustrations	8
in this country	8
the colours of	8
at a glance	8
the art which	8
are those which	8
the condition of	8
to draw the	8
eight parts of	8
the side of	8
adapted to the	8
we have not	8
development of form	8
parts of blue	8
sympathy with the	8
do you suppose	8
of which it	8
we give an	8
the object of	8
is possible to	8
is difficult to	8
in a similar	8
appear to have	8
the designer is	8
but if the	8
and i have	8
of the late	8
which are the	8
the evolution of	8
the difference between	8
as though it	8
effect of a	8
in the design	8
i have seen	8
as is the	8
the reason that	8
we have now	8
to the mind	8
of a border	7
the law of	7
a group of	7
of one or	7
of the side	7
into three horizontal	7
may have been	7
a building is	7
is formed of	7
the outline of	7
of the general	7
a school of	7
the intended service	7
and the like	7
the northwest coast	7
of the spirit	7
in a great	7
noticed that the	7
because they are	7
the rookwood potteries	7
for they are	7
determined by the	7
as soon as	7
tints and shades	7
to be made	7
the action of	7
is that in	7
the relation of	7
the requirements of	7
what is termed	7
need not be	7
spirit of the	7
basket with geometric	7
a small amount	7
in the textile	7
masses in base	7
theoretical development of	7
at the side	7
attention to the	7
made up of	7
of the architecture	7
it is now	7
the impress of	7
the refinement of	7
seen in fig	7
the center section	7
that the whole	7
on the surface	7
ornament should be	7
or it may	7
the bottom of	7
very difficult to	7
is sure to	7
and development of	7
concentration may be	7
in the left	7
account of the	7
inceptive axis of	7
the same as	7
the walls of	7
of a new	7
a result of	7
of the east	7
be designed in	7
to be placed	7
and side walls	7
what should be	7
for wood work	7
value range of	7
of the back	7
the result is	7
lead us to	7
it is with	7
application of the	7
of the figures	7
extra crown to	7
rather than the	7
in the proportions	7
any of the	7
it is found	7
than in the	7
no less than	7
of ornament to	7
while it is	7
may be enriched	7
in all the	7
of the time	7
all this is	7
gold and silver	7
is the most	7
in figures and	7
in its relation	7
with the entire	7
of the west	7
unity between the	7
in a way	7
a similar way	7
involved in the	7
for shop use	7
which should be	7
the reader is	7
a source of	7
as if it	7
the human mind	7
for surface enrichment	7
we are now	7
wood work and	7
or by a	7
that i am	7
a flat surface	7
differ in appearance	7
known as the	7
is a symbol	7
order that it	7
of the main	7
to be able	7
and all that	7
figure shows the	7
there will be	7
piece of furniture	7
primary mass into	7
said that the	7
such as will	7
the place of	7
should be of	7
the story of	7
but it must	7
with cabriole legs	7
this has been	7
for small objects	7
to the production	7
true that the	7
a manner that	7
is a matter	7
a bit of	7
in textile art	7
form of decoration	7
at the present	7
the other side	7
they are all	7
of precious metals	7
is seen that	7
should never appear	7
to the use	7
of straight lines	7
as a background	7
to show the	7
has been a	7
with the same	7
the weight of	7
of the square	7
to any one	7
of this type	7
early eighteenth century	7
out of place	7
of which i	7
influence of the	7
to the extent	7
accordance with the	7
be of the	7
is probable that	7
decoration of the	7
the thirteenth century	7
may be developed	7
the pattern is	7
decoration for a	7
in character and	7
to which it	7
the same manner	7
down to the	7
accordance with rules	7
the outlines of	7
that the art	7
the international exhibition	7
in this matter	7
in precious metals	7
find that the	7
there is another	7
the position of	7
of the long	7
and is not	7
above or below	7
forms of enrichment	7
results from the	7
the elements of	7
be divided into	7
the lateral movement	7
the feet of	7
in the lower	7
we have said	7
or to the	7
is the case	7
for this reason	7
a certain extent	7
two or more	7
or two of	7
minor horizontal divisions	7
pattern produced by	7
it is as	7
is in a	7
of a small	7
other branches of	7
figures and show	7
in a vertical	7
designed to be	7
if it were	7
in respect to	7
with which it	7
but as a	7
all sorts of	7
of the seat	7
or the other	7
to have a	7
the habit of	7
can be no	7
primary mass of	7
the possibilities of	7
case of the	7
half of the	7
cannot fail to	7
to some extent	7
in the industrial	7
length of the	7
there must be	7
are of a	7
to the stone	7
in every way	7
the color scheme	7
we have just	7
by la maison	7
that it should	7
yet it is	7
and that in	7
of a carpet	7
be sympathetically related	7
be such as	7
of the chinese	7
to hold the	7
large number of	7
is found in	7
presence of the	7
stage of culture	7
houses of the	7
be determined by	7
the end proposed	7
of the contours	7
of the day	7
lead to the	7
to those of	7
sympathetically related to	7
works of the	7
outlines of the	7
will show you	7
is the effect	7
suggested problems design	7
to show that	7
with the other	7
is open to	7
surface enrichment in	7
in which a	7
is worthy of	7
this should be	7
works of art	7
the representation of	7
of different colors	7
be noticed that	7
the necessity of	7
international exhibition of	7
the latter is	7
panel may be	7
to the present	7
horizontal character of	7
simplest form of	7
the inceptive axes	7
whole of the	7
five to eight	7
the matter of	7
is no reason	7
of the problem	7
depend upon it	7
colour of the	7
chinese and japanese	7
of designs in	7
but i do	7
becomes necessary to	7
development of a	7
property of mr	7
in clay and	7
the growth of	7
with upwards of	7
and thus the	7
stages of art	7
a portion of	7
the first time	7
the reach of	7
the manufacture of	7
executed by la	7
in chased gold	7
to the panel	7
period william and	7
ought to be	7
of which they	7
in the right	7
a fully enriched	7
appear as a	7
to all the	7
come to the	7
and one of	7
should be a	7
can be more	7
the new york	7
the substance of	7
well as in	7
brooch in silver	7
of the times	7
not as a	7
examples of the	7
you want to	7
it is almost	7
in the production	7
not in the	7
be made in	7
of the future	7
system of decoration	7
a lack of	7
the dominance should	6
is in every	6
the primary colours	6
art of mobile	6
of the hue	6
of the hand	6
with relation to	6
any one who	6
such as i	6
which does not	6
it is often	6
belonging to the	6
of which a	6
small objects rule	6
in which there	6
may be added	6
in the presence	6
jewellery and fans	6
so that they	6
the harmony of	6
within the range	6
the effect is	6
the rule of	6
the eye should	6
be in the	6
the structural outlines	6
is formed by	6
be taken as	6
of the colour	6
of the chief	6
that is the	6
of a material	6
forms of surface	6
the contemplation of	6
horizontal divisions of	6
though it were	6
the primary rectangle	6
and its relation	6
of enriching the	6
any amount of	6
in a design	6
of one to	6
relation of the	6
of the utmost	6
is that the	6
as seen in	6
the seat is	6
the surface and	6
of mobile color	6
to us in	6
will harmonize with	6
the simplest form	6
the face of	6
the rule governing	6
the value range	6
upward and onward	6
a far more	6
tendencies of the	6
met with in	6
mode of working	6
the center line	6
to give a	6
with the most	6
reason why the	6
of the egyptian	6
is not one	6
in many ways	6
the object to	6
the indians of	6
it must not	6
by placing the	6
should be exercised	6
harmony of colour	6
in figure the	6
i have endeavoured	6
tray with geometric	6
may be divided	6
the mind in	6
terms of the	6
on queen anne	6
the grain of	6
sculpture in the	6
either vertical or	6
and have a	6
from a distance	6
the possession of	6
seen from a	6
place in the	6
of the indian	6
first of all	6
problems design a	6
a carpet should	6
power of the	6
with o o	6
there are few	6
result of a	6
in the possession	6
primary mass with	6
much the same	6
from those of	6
man and woman	6
which govern the	6
by the admixture	6
in imitation of	6
ratio of one	6
the one hand	6
suggested problem design	6
be considered in	6
to which i	6
the standard hue	6
ordinated with the	6
case of a	6
in the formation	6
feet of the	6
the product of	6
the labour of	6
well as that	6
values or less	6
so to speak	6
bear in mind	6
by a lighter	6
be added to	6
of outline enrichment	6
with about illustrations	6
in the human	6
result of this	6
british museum th	6
sir christopher wren	6
use in the	6
for a fully	6
is a great	6
body of the	6
far as i	6
slightly less than	6
proportionate distribution of	6
grain of the	6
which have been	6
is a thing	6
for the eye	6
surmounted by a	6
is no doubt	6
seen from the	6
it is more	6
and we shall	6
i have ever	6
the contours or	6
it in the	6
period of the	6
a dependent outline	6
illustration of a	6
woven in with	6
of enrichment in	6
be thought out	6
to represent the	6
is able to	6
of the ancient	6
fact that it	6
of it is	6
side walls of	6
enrichment may be	6
o harmonises with	6
the limits of	6
hue is to	6
three primary colours	6
which are not	6
illustrated in fig	6
effect upon the	6
a full size	6
which will be	6
the design and	6
are formed of	6
together with the	6
gives rise to	6
enrichment should never	6
in front of	6
from an ancient	6
red and blue	6
forms draw a	6
of the forms	6
in the old	6
a very great	6
formed of the	6
the nature and	6
do well to	6
the same thing	6
usually located in	6
the tops of	6
and borders should	6
these are the	6
in appearance but	6
accordance with rule	6
inceptive axis should	6
the majority of	6
o o harmonises	6
the shadow of	6
the height of	6
that it be	6
hue of the	6
of textile ornament	6
draw the primary	6
we have an	6
familiar with the	6
i think it	6
if you will	6
is given in	6
the surface is	6
this being the	6
they would have	6
in the middle	6
an art for	6
purpose for which	6
red and green	6
the style of	6
a square panel	6
be called the	6
so much as	6
each other and	6
surface enrichment and	6
to appear as	6
mode of treatment	6
one side of	6
in the contour	6
the principle of	6
say that the	6
the mind of	6
to the top	6
this method of	6
art is the	6
the interior of	6
to do it	6
but be co	6
with which he	6
to answer the	6
of a single	6
the one case	6
or outlines of	6
be exercised in	6
the importance of	6
the heart of	6
in the direction	6
as we can	6
lost sight of	6
used by the	6
to the work	6
with the background	6
as regards the	6
the suggestions of	6
should be regarded	6
problem design a	6
as an illustration	6
will be noticed	6
is found to	6
figure of a	6
that there are	6
a room should	6
and that it	6
design differing in	6
clay as a	6
the symbol of	6
the effect produced	6
of the enrichment	6
time of the	6
back to the	6
there would be	6
in with the	6
a large number	6
aim of the	6
may be called	6
seems to have	6
the days of	6
the designer of	6
by the same	6
instead of the	6
appearance but be	6
should be related	6
in the new	6
of the upper	6
likely to be	6
the taste for	6
in conjunction with	6
the limitations of	6
that we should	6
lack of unity	6
interest in the	6
far as it	6
to a minimum	6
appearance of the	6
are used in	6
divided into two	6
would lead to	6
of the city	6
that is what	6
in his work	6
of furniture which	6
the building of	6
and his school	6
in the designing	6
not be introduced	6
the reverse of	6
that all the	6
would have to	6
the ancient peruvians	6
has not been	6
interfere with the	6
a minimum reduction	6
of the one	6
be within the	6
with the horizontal	6
an idea of	6
primary mass to	6
to the contour	6
be used with	6
by referring to	6
is cast upon	6
the cause of	6
is a man	6
extent of the	6
readily seen that	6
enable us to	6
is better to	6
be located at	6
and the work	6
the body and	6
not say that	6
in this manner	6
the student will	6
the existence of	6
furniture of this	6
dominance should be	6
and for the	6
to the student	6
the order of	6
introduced into the	6
contour and surface	6
to express the	6
but of the	6
the cabriole leg	6
but that it	6
the difficulty of	6
they are so	6
one and the	6
vertical primary mass	6
top and bottom	6
he is a	6
it is that	6
the most careful	6
what we have	6
the same colour	6
be considered as	6
may be employed	6
because we have	6
the structural lines	6
and he will	6
of the ware	6
seen from above	6
the building is	6
change in the	6
with a little	6
to form the	6
to be regarded	6
cylindrical forms draw	6
must always be	6
would be a	6
the hand of	6
that they may	6
a form of	6
in the technical	6
in the decoration	6
and we have	6
in unity with	6
web and woof	6
in the shape	6
a simple and	6
as a matter	6
must also be	6
will be of	6
in function should	6
of the horizontal	6
examples of this	6
we shall find	6
of your own	6
more than one	6
the student to	6
the degree of	6
wolfers plate illustration	6
which is in	6
the figure of	6
there are a	6
given to the	6
hence it is	6
precisely the same	6
the first and	6
is very desirable	6
in the course	6
to harmonize with	6
in the construction	6
that may be	6
may be a	6
concentration for a	6
derived from the	6
of the egyptians	6
function should differ	6
the mass of	6
the curves of	6
unity with the	6
outlines of designs	6
walls and ceilings	6
with the structural	6
of the vase	6
the question of	6
never appear to	6
art in the	6
the thing that	6
we shall have	6
from its very	6
in some respects	6
it is said	6
hues of the	6
structure of the	6
the structure of	6
as this is	6
may be regarded	6
to the formation	6
curve of the	6
a principle of	6
lower portion of	6
by the use	6
the base of	6
of rules a	6
there is but	6
silver and gold	6
harmonises with o	6
to look at	6
tools and materials	6
consistent with the	6
the most simple	6
in figure are	6
will not do	6
but we have	6
to those who	6
the people who	6
be of a	6
the surface to	6
contours or outlines	6
of the latter	6
a type of	6
simile coloured plates	6
in the nature	6
should differ in	6
it has a	6
hands of the	6
the conditions of	6
it is quite	6
found that the	5
the contour enrichment	5
the structure and	5
by interlacing strands	5
and to each	5
if there is	5
our own country	5
drawing of a	5
position of the	5
to be got	5
great variety of	5
this part of	5
to the main	5
be content with	5
complementary relation to	5
about the colour	5
expressed by the	5
a sheet of	5
must ever be	5
of the reader	5
of the thing	5
and that of	5
was born in	5
to the ornamentist	5
its origin is	5
shown in figures	5
hues of colour	5
axis of symmetry	5
takes the form	5
natural color of	5
art of pottery	5
expressed in different	5
the elverhoj colony	5
of art is	5
steps in the	5
if the designer	5
of the forces	5
of construction and	5
some of his	5
calls for a	5
it seems to	5
the presentation of	5
silver brooch with	5
great deal of	5
the prudential building	5
will apply equally	5
has been done	5
symbols and sacraments	5
small flat planes	5
the best that	5
upon the character	5
of figure are	5
we ought to	5
the same motive	5
beauty of form	5
to give to	5
is a far	5
how much of	5
to illustrate the	5
or at least	5
we find a	5
enamel annie mcleish	5
and must be	5
anything that is	5
toward the point	5
that in this	5
you make yourselves	5
a pair of	5
partake of the	5
in common with	5
is a most	5
such as a	5
difference between the	5
for large primary	5
units of measurement	5
as in figs	5
the want of	5
in so far	5
he will show	5
the mode of	5
latter is a	5
motive expressed in	5
arms of the	5
with the material	5
community club house	5
are to a	5
the axis of	5
it is much	5
of the silver	5
of the power	5
from the same	5
in the face	5
the energy of	5
i shall be	5
division of the	5
in the latter	5
is obtained by	5
only as a	5
and in some	5
a queen anne	5
dependent surface enrichment	5
a process of	5
called upon to	5
the disposition of	5
sure to be	5
to the intended	5
that they have	5
as with the	5
in the early	5
of the application	5
have sought to	5
is an art	5
plane of the	5
fully enriched panels	5
these may be	5
at any rate	5
the advent of	5
may or may	5
the wood work	5
we are not	5
brings out the	5
beaten silver and	5
for i have	5
far as they	5
of the legs	5
of a particular	5
they are formed	5
is not in	5
to be at	5
if it has	5
value to the	5
scarf pin v	5
numerous wood engravings	5
let us now	5
inceptive axis and	5
said to be	5
high and ft	5
that is in	5
may be formed	5
the most convenient	5
figures and have	5
of the arts	5
on the same	5
may be in	5
will harmonise with	5
give a sense	5
of contour enrichment	5
may be applied	5
there is the	5
color scheme for	5
substance of the	5
simple contour enrichment	5
to produce the	5
be in harmony	5
out of your	5
be assured that	5
and a little	5
is likely to	5
in the highest	5
of a stone	5
the progress of	5
and not the	5
means of producing	5
small pieces of	5
or may not	5
of the area	5
such is the	5
the lower portion	5
similar to that	5
from the eye	5
works which are	5
intimately associated with	5
and not as	5
against the poor	5
copied in pottery	5
of this series	5
of the south	5
with as much	5
proportion of the	5
the results are	5
the quantity of	5
a large extent	5
from one of	5
from a consideration	5
in one of	5
ceiling should be	5
to the whole	5
museum th century	5
located in the	5
the man of	5
the eye in	5
account of their	5
is the best	5
the ratio of	5
give rise to	5
is interesting to	5
consists in the	5
ancient peruvian work	5
result from the	5
vertical inceptive axes	5
compared with the	5
upon the mind	5
either in the	5
in the proportion	5
of the renaissance	5
the upper part	5
the natural color	5
reign of queen	5
is inclined to	5
nothing more than	5
dimension and otherwise	5
oxide of iron	5
from the side	5
of the inceptive	5
indians of the	5
of the bowl	5
and primary mass	5
blue and white	5
but it will	5
that we can	5
but a few	5
little or no	5
the artist is	5
the case with	5
to serve as	5
if we have	5
of any particular	5
are shown in	5
in the mind	5
by the designer	5
the right of	5
is a fine	5
of having been	5
necessary in order	5
to the study	5
would be well	5
to enrich the	5
clay and metal	5
effect will be	5
should always be	5
as is shown	5
type of the	5
face of the	5
and revised edition	5
into two or	5
it is curious	5
i have not	5
drawers in the	5
should be taken	5
of this time	5
designs for jewellery	5
of beauty and	5
after the manner	5
the surfaces of	5
is known as	5
the pleasure of	5
think for himself	5
do not mean	5
it is interesting	5
correspond to the	5
is a true	5
the chinese and	5
are in the	5
presented in fig	5
quite similar to	5
but do not	5
cylindrical forms in	5
is the very	5
of the french	5
has been the	5
of his day	5
the aim of	5
of the furniture	5
free and dependent	5
right and wrong	5
in some way	5
one equivalent of	5
a change of	5
identical with the	5
paris new york	5
and all other	5
the choice of	5
to the general	5
i have sought	5
masses in precious	5
such as are	5
are likely to	5
of what may	5
want to be	5
of the balcony	5
cannot too strongly	5
the power and	5
to indicate the	5
such as we	5
of the principles	5
may be taken	5
point of the	5
of great importance	5
full chromatic intensity	5
enough for the	5
of the northwest	5
govern the application	5
which is its	5
us in the	5
illustration of this	5
have a simple	5
it was a	5
of the fourth	5
through which the	5
in this instance	5
up to this	5
proportionately related to	5
the third member	5
regarded as an	5
lalique plate illustration	5
is much more	5
for the expression	5
executed by the	5
there should be	5
maison moderne plate	5
a desire to	5
i have just	5
in a more	5
in a satisfactory	5
instead of being	5
the very nature	5
with either a	5
is not always	5
you will be	5
we shall be	5
but you will	5
chairs of this	5
is not all	5
of great beauty	5
new south wales	5
in the absence	5
all parts of	5
a tint of	5
when it was	5
the art and	5
we have in	5
one or more	5
very nature of	5
of the effect	5
of a good	5
well as for	5
the figure is	5
apply equally to	5
the lower and	5
in the american	5
to the following	5
i have to	5
the manifestation of	5
of the craft	5
the root of	5
are not to	5
titian is not	5
at the beginning	5
queen anne bedroom	5
new and revised	5
series of filaments	5
of measurement for	5
in the best	5
are for the	5
is the work	5
than it is	5
to see how	5
the larger areas	5
of which he	5
pass through the	5
of chroma for	5
a new and	5
of the character	5
if it be	5
points to the	5
i will not	5
colours of the	5
of concentration should	5
two primary colours	5
height of the	5
of life and	5
is made of	5
as are the	5
we have no	5
in all its	5
so it is	5
value and hue	5
the two paths	5
the time when	5
by the guild	5
and it will	5
that in order	5
range of chroma	5
and the woof	5
similar to those	5
that the entire	5
to the architect	5
of colour and	5
accord with the	5
is to the	5
of what we	5
in the field	5
may now be	5
means of the	5
the series of	5
be worked in	5
the purpose for	5
of the best	5
derived from basketry	5
amount of metal	5
to support the	5
in which we	5
no doubt that	5
and character of	5
side of a	5
no reason why	5
of it to	5
the eye and	5
all over the	5
of an art	5
of the top	5
must be considered	5
into two horizontal	5
here we have	5
elverhoj colony figure	5
but in order	5
nor is it	5
while in the	5
of the clay	5
but if you	5
let us look	5
of the greatest	5
of design and	5
with a certain	5
is executed in	5
can never be	5
silver and enamels	5
middle of the	5
in the international	5
service of the	5
introduced into england	5
in which he	5
they are more	5
be so formed	5
to the art	5
to the point	5
of a certain	5
i have before	5
other parts of	5
some of their	5
you will have	5
itself with the	5
of equal size	5
is desirable to	5
greater part of	5
may be as	5
for them to	5
and as it	5
has always been	5
to produce an	5
of a high	5
it is formed	5
for which it	5
walls of the	5
let us take	5
marginal panel enrichment	5
within the reach	5
it is clear	5
style of weaving	5
to the particular	5
at some length	5
for which they	5
is a difficult	5
of the cross	5
character of this	5
of any other	5
by the eye	5
as they do	5
from the east	5
of the current	5
at the very	5
the eye of	5
of a number	5
and the point	5
for purposes of	5
clocks of the	5
a method of	5
the design should	5
the appendage and	5
away from the	5
figures from a	5
representation of the	5
without reference to	5
as a floor	5
a multitude of	5
of large masses	5
well worthy of	5
from the centre	5
of that which	5
coloured plates and	5
it becomes a	5
surface enrichment must	5
wall and ceiling	5
o o yellow	5
the character and	5
call attention to	5
is said that	5
of industrial arts	5
belong to the	5
of minor horizontal	5
proportions in which	5
seem to have	5
in the drawing	5
be the case	5
are all of	5
know that the	5
the clay body	5
referring to the	5
the people of	5
it is readily	5
economy of material	5
in different arts	5
to which all	5
is readily seen	5
to see the	5
is a chair	5
work and side	5
that the vessel	5
suits him better	5
by william h	5
you must be	5
of figures and	5
to the very	5
and the more	5
the variety of	5
age of the	5
o o blue	5
guild of handicraft	5
mind that the	5
upon the surface	5
the foundation fabric	5
of this is	5
as the first	5
is produced by	5
or more of	5
the gift of	5
for small areas	5
of beauty in	5
for the exercise	5
on a wall	5
the compass of	5
the broken pediment	5
by which we	5
plan of the	5
colors of the	5
a line of	5
a vertical primary	5
a great variety	5
depends upon the	5
and chroma range	5
the laws which	5
should have an	5
to one of	5
the vertical lines	5
few years ago	5
in chroma than	5
have already shown	5
to notice that	5
of yellow and	5
to be much	5
and numerous wood	5
the idea that	5
this type of	5
reason of the	5
to be beautiful	5
of natural forms	5
produced by interlacing	5
surface effect produced	5
of the fire	5
applied to a	5
of design unit	5
are a few	5
in figure and	5
horizontal and vertical	5
the most perfect	5
the acquisition of	5
surface and contour	5
in unison with	5
to a design	5
seen as a	5
this is very	5
the knowledge of	5
than three vertical	5
strands of different	5
and i think	5
and these are	5
within the art	5
room for the	5
located at the	5
be appropriate to	5
of each of	5
or below the	5
they could not	5
was shown in	5
an object of	5
the contrast of	5
in chroma to	5
opposed to the	5
to the purpose	5