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
that is to say	111
the point of sight	60
you will find that	57
in the same way	54
of the colour of	48
is one of the	47
the colour of the	47
in proportion to the	45
on the other hand	43
at the same time	43
for the sake of	42
on the side of	38
of light and shade	38
in the case of	38
one of the most	36
the form of the	36
the surface of the	34
the height of the	32
to be able to	32
to the point of	32
the top of the	32
at right angles to	31
it will be seen	31
in the possession of	30
it is to be	29
you will find it	29
the nature of the	28
by means of the	28
and you will find	28
on the other side	28
between the eye and	28
at the end of	26
the side of the	26
in the course of	26
as far as i	26
the edge of the	26
in the first place	25
for the most part	25
is more or less	25
the middle of the	25
on each side of	24
as soon as you	24
the eye and the	24
the direction of the	23
a great deal of	23
will be seen that	23
in the midst of	23
of the human body	23
the centre of the	23
right angles to the	23
you will see that	22
it does not matter	22
in the form of	22
it is impossible to	21
the point of distance	21
the base of the	21
the part of the	21
the work of the	21
at the top of	20
it is better to	20
you will be able	20
in the same manner	20
the rest of the	20
the position of the	19
will be able to	19
and you will see	19
the power of the	19
if you wish to	19
the lines of the	19
as if it were	19
as if they were	19
in the work of	18
in so far as	18
so far as it	18
the head of the	18
the character of the	18
in the hands of	18
and this is the	18
to the picture plane	18
from the point of	17
point of sight s	17
when you have got	17
and it will be	17
the eye of the	17
the sides of the	17
to point of sight	17
the effect of the	17
till it cuts the	17
it would have been	17
far as i know	17
at an angle of	17
the light and shade	17
the way in which	16
will enable you to	16
on page transcribers note	16
distance from the eye	16
the same way as	16
such and such a	16
it is one of	16
the mind of the	16
in proportion to their	16
the beauty of the	16
as if you were	16
it is easy to	16
are more or less	16
i want you to	16
in the middle of	16
so as to be	16
the other side of	16
that part of the	16
on the opposite side	15
are not to be	15
i do not think	15
with a view to	15
as much as you	15
the point of the	15
the shape of the	15
the use of the	15
but you will find	15
it is not the	15
as in the previous	15
it is not so	15
the vanishing point of	14
the line of the	14
drawn to the point	14
in the mind of	14
it is difficult to	14
there can be no	14
is by no means	14
the motion of the	14
the end of the	14
that it should be	14
but it is not	14
eye of the spectator	14
the outline of the	14
it is possible to	14
you will find the	14
if you can get	14
how to draw a	14
through which to draw	14
in the first instance	13
is said to have	13
the forms of the	13
interposed between the eye	13
it is necessary to	13
but this is not	13
are drawn to the	13
each side of the	13
seems to have been	13
on the top of	13
is not to be	13
light and shade are	13
of leonardo da vinci	13
that it is not	13
a quarter of an	13
in the minds of	13
in proportion as the	13
which to draw the	13
in proportion as they	13
eye and the object	13
so as to make	13
it will not be	13
not in the least	13
on a piece of	12
when you have done	12
the perspective of colours	12
into the habit of	12
and if you can	12
the form of a	12
of the human figure	12
and you will soon	12
of the law of	12
be seen that the	12
than that of the	12
the law of radiation	12
on the part of	12
will depend on the	12
the bottom of the	12
will be found to	12
in the national gallery	12
will find that the	12
to that of the	12
is a sign of	12
you look at the	12
in the previous figure	12
the reflection of the	12
point on the horizon	12
they are to be	12
it is in the	12
it is true that	12
the force of the	12
i do not mean	12
the length of the	12
of the use of	12
the proportion of the	11
side of the square	11
of the point of	11
in the manner of	11
at the head of	11
the action of the	11
the same manner as	11
said to have been	11
of the works of	11
little more than a	11
the motions of the	11
the shadow of the	11
if you have not	11
a certain number of	11
as much as possible	11
on a level with	11
and that of the	11
the point of view	11
the pit of the	11
on the base line	11
on the subject of	11
quarter of an hour	11
of form and colour	11
in a great measure	11
the colour of that	11
does not matter how	11
of the nature of	11
i do not know	11
in the same proportion	11
in such a manner	11
but it is a	11
out of the picture	11
every part of the	11
the case of the	11
if you try to	11
as well as the	11
of the same colour	11
it is not a	11
but i do not	11
as we have seen	11
you will soon find	11
if you do not	11
it will be found	11
may be able to	11
it is only the	11
you will see the	11
the worth of the	11
it cuts the horizon	11
the perspective of the	11
in regard to the	11
does not in the	11
vanishing point of the	11
for a little while	10
the manner in which	10
in which it is	10
you need not hope	10
you may be able	10
a level with the	10
that there is a	10
to be found in	10
i can tell you	10
to be in the	10
in proportion as it	10
it ought to be	10
of the laws of	10
in order to be	10
and there is no	10
the corners of the	10
as a means of	10
parallel to the base	10
of the perspective of	10
the joints of the	10
far as it is	10
when we come to	10
for the first time	10
in the art of	10
lost to the sight	10
and it is not	10
from the base line	10
nearly as you can	10
the tone of the	10
will be surprised to	10
as nearly as you	10
on either side of	10
as far as you	10
the light of the	10
points through which to	10
so far as they	10
the light from the	10
for the expression of	10
base of the picture	10
with the dry brush	10
at the bottom of	10
away from the light	10
point of view of	10
the dark side of	10
in the centre of	10
as soon as it	10
be surprised to find	10
the reason of this	10
in light and shade	10
as i have just	10
the darkness of the	10
the quality of the	10
that it is of	10
you will be surprised	10
but as soon as	10
that it is impossible	10
that you may be	10
it is a very	10
as nearly as possible	10
side of your hand	10
it seems to me	10
the art of the	9
and on the other	9
under the influence of	9
exactly phi proportion with	9
the azure of the	9
by a series of	9
one of the chief	9
to do with the	9
the course of the	9
of the beauty of	9
colour of the object	9
you will always find	9
be able to draw	9
is produced by the	9
the side of it	9
you mean to represent	9
the knowledge of the	9
the foot of the	9
of the great masters	9
a large number of	9
the required number of	9
the joint of the	9
will give you a	9
it is interesting to	9
and at the same	9
angles to the picture	9
is not so much	9
the close of the	9
of the motion of	9
according to the distance	9
the thickness of the	9
any part of the	9
the heart of the	9
of one of the	9
the appearance of the	9
and it is better	9
it is of the	9
it may not be	9
it is on the	9
at a great distance	9
the lights and shadows	9
be able to do	9
of the same study	9
if you want to	9
very much the same	9
not to speak of	9
by leonardo da vinci	9
a piece of paper	9
is proved by the	9
the other vanishing point	9
one into the other	9
the back of the	9
is the most important	9
the aspect of the	9
on the surface of	9
of view from which	9
of the lines of	9
parallel to each other	9
as that of the	9
in order to show	9
the front of the	9
different stages of the	9
which it is possible	9
the case of a	9
so much as a	9
on one side of	9
with the point of	9
as far as it	9
is of great importance	9
as in the other	9
this point of view	9
in the british museum	9
but it is only	9
it is only by	9
but it will be	9
to the eye by	9
as well as in	9
in the sense of	9
is very difficult to	9
the end of a	9
the greater part of	9
if you mean to	8
in the darkness of	8
you will have to	8
so long as it	8
it is not enough	8
get into the habit	8
what may be called	8
the arrangement of the	8
there is not a	8
other side of the	8
colour of the air	8
the outlines of the	8
on the look out	8
is darker than the	8
the value of the	8
the truth of the	8
to the end of	8
you cannot get the	8
proportion to their distance	8
it is only a	8
will be the most	8
by the introduction of	8
the hands of the	8
to the life in	8
it is of no	8
of which it is	8
what do you mean	8
of the power of	8
as it is in	8
as to be able	8
it is evident that	8
a good deal of	8
so far as i	8
at the same angle	8
the centre of gravity	8
the look of a	8
the size of the	8
air interposed between the	8
the head of a	8
the drawing of a	8
to the same point	8
i have just said	8
the parts of the	8
of the old water	8
so as to give	8
to speak of the	8
on the outside of	8
that is to be	8
on account of the	8
angles to the base	8
far as you can	8
is to be the	8
so long as the	8
the life in vasari	8
of this kind are	8
the look out for	8
will have to be	8
one and the same	8
all the way up	8
of the most curious	8
it is not always	8
top and bottom of	8
or it may be	8
if you happen to	8
it may be well	8
light from the sun	8
the strength of the	8
the church of st	8
one or other of	8
your light and shade	8
is of no use	8
be found in the	8
proportion as they are	8
of it to the	8
for it is not	8
the rays of the	8
or a piece of	8
one side of the	8
you can draw with	8
a part of the	8
it is very difficult	8
that you are to	8
is to be done	8
to the use of	8
worth of the currency	8
you have done the	8
you cannot draw the	8
by means of diagonals	8
you have got it	8
it is as well	8
of the liber studiorum	8
so that it is	8
need not hope to	8
be of the same	8
the run of the	8
if you have to	8
into the required number	8
you find you can	8
when you begin to	8
the same length as	8
the refectory of the	8
the angle at which	8
the sake of the	8
the law of principality	8
do you mean by	8
be seen in the	8
you ought to be	8
of the same size	8
it is not only	8
with that of the	8
so that you can	8
a greater or less	8
at the basis of	8
in the king of	8
as far as possible	8
in the collection of	8
and more or less	8
as well as you	7
because it does not	7
and it is a	7
as those of the	7
be able to see	7
can be drawn by	7
of light and shadow	7
point of view is	7
the figure of the	7
the heads of the	7
from point of sight	7
of the present work	7
of demand and supply	7
rays of the sun	7
in the drawing of	7
into four equal parts	7
it is in reality	7
be more or less	7
the reason of the	7
the difference between a	7
i have told you	7
the right of the	7
it is the same	7
the works of the	7
the size of a	7
you will get a	7
the law of repetition	7
much may be done	7
is due to the	7
to be said for	7
it is a good	7
the distance of the	7
will see that the	7
the quantity of labour	7
additions to the life	7
the art of painting	7
so as to see	7
as well as by	7
in the habit of	7
because it is a	7
in the direction of	7
from left to right	7
never be able to	7
with the colour of	7
is interesting to note	7
of the art of	7
at the present time	7
as well as of	7
the fact that the	7
the business of the	7
as not to be	7
when the sun is	7
as if it had	7
into the hands of	7
so much as the	7
the top of it	7
of four photographs of	7
will be necessary to	7
you in the least	7
as it is called	7
to look at the	7
in the refectory of	7
view from which the	7
of all that is	7
to remain in the	7
at the time of	7
be able to get	7
to draw a circle	7
the sun is in	7
as far as they	7
to be observed in	7
but there is a	7
is always to be	7
that it is a	7
the possession of sig	7
on the one side	7
is the expression of	7
with the nature of	7
the mind of a	7
with the idea of	7
at the same distance	7
what you are about	7
the object of the	7
of any of the	7
set of four photographs	7
in front of the	7
one over the other	7
a brush full of	7
the angle of the	7
in a state of	7
will give us the	7
for a moment to	7
to the number of	7
in the heart of	7
that i know of	7
of what may be	7
the imagination of the	7
may be said to	7
it is at the	7
it will be a	7
the thing to be	7
from each division draw	7
the form and colour	7
surprised to find how	7
being one of the	7
is to be observed	7
we shall find that	7
the beginning of the	7
of the work of	7
then there is the	7
the depth of the	7
the dust of the	7
so that if you	7
this is proved by	7
the cause of the	7
side of the picture	7
the unity of the	7
will find it is	7
it is well to	7
were it not for	7
when you are in	7
it up to the	7
you will not be	7
part of the line	7
all the way down	7
to point of distance	7
at the side of	7
to have been the	7
two sides of the	7
though it may be	7
not so much on	7
it will be best	7
foot of the luminary	7
it is just as	7
the first volume of	7
the expression of the	7
so far as to	7
the weight of the	7
which is to be	7
to do is to	7
the fact of the	7
the mental idea of	7
whatever may be the	7
of some of the	7
reason of this is	7
it does not in	7
great part of the	7
in this kind of	7
not be able to	7
i have asked you	7
in pen and ink	7
in relation to the	7
between it and the	7
the elements of drawing	7
in the first case	7
may be seen in	7
but there is no	7
four photographs of the	7
with top and bottom	7
the edges of the	7
i am not sure	7
as you see it	7
which we have to	7
photographs of the same	7
on the same principle	7
made use of the	7
will not be able	7
the darkest part of	7
colour is to be	7
the manner of the	7
the valley of diamonds	7
in the space between	6
further illustration of the	6
one of the best	6
required number of parts	6
have made use of	6
which receive the light	6
as long as you	6
distant from the eye	6
the law of contrast	6
do you think the	6
in the arrangement of	6
in precisely the same	6
if it were not	6
at the expense of	6
be found to be	6
to the eye and	6
go over the edge	6
if you want the	6
some parts of the	6
cuts the horizon at	6
and if you are	6
if you have an	6
in these days of	6
the present state of	6
of the picture to	6
lines on which the	6
the expression of form	6
you have got the	6
was one of the	6
will be at once	6
where there is no	6
you can draw the	6
you lay on a	6
a b c d	6
ought to be able	6
the quantity of the	6
be as well to	6
than the dark side	6
in all good work	6
volume of modern painters	6
darker than the dark	6
are in a hurry	6
of light on the	6
in the matter of	6
and apply it to	6
there may be in	6
to make use of	6
each division draw lines	6
make use of the	6
in some of the	6
there is a great	6
if you cannot draw	6
as it is more	6
the extremities of the	6
the making of a	6
soon as you find	6
over the edge of	6
it is quite possible	6
proportion with top and	6
of the kind of	6
of a piece of	6
with one eye only	6
the eye and hand	6
pit of the neck	6
there is no more	6
base line of the	6
i believe that the	6
to the right or	6
in black and white	6
the way up the	6
the boughs of trees	6
and it is the	6
in the ambrosian library	6
line of the horizon	6
much the same way	6
is to be made	6
a painter ought to	6
when i tell you	6
right as you can	6
the possession of the	6
and light and shade	6
a series of experiments	6
in the one case	6
will be useful to	6
i do not want	6
a word or two	6
in the upper part	6
we have to consider	6
in the close of	6
participates of the colour	6
by no means the	6
i do not care	6
of the head of	6
soon as you can	6
in the act of	6
the case may be	6
to know how to	6
it was in the	6
the diameter of the	6
it will be as	6
as you see them	6
it not for the	6
one of the simplest	6
lower part of the	6
a great part of	6
three or four times	6
nothing to do with	6
to the drawing of	6
much to be said	6
will be of great	6
and we think we	6
number of equal parts	6
front of the picture	6
those connected with the	6
as in the former	6
with more and more	6
the square and diagonal	6
under the law of	6
at which it is	6
the field of vision	6
those parts which are	6
be good for you	6
in the history of	6
painting from a cast	6
the labour of the	6
on the perspective plane	6
of the way in	6
the base line of	6
than those which are	6
you will have the	6
the others prepare for	6
of any opake body	6
depends not so much	6
if you live in	6
the surface of your	6
it will be well	6
the treatise on painting	6
it is no matter	6
far as it goes	6
there is in the	6
the blue of the	6
division draw lines to	6
if you want a	6
that there is no	6
will be the same	6
in the church of	6
the great mass of	6
from each division on	6
as a matter of	6
and it may be	6
in the same plane	6
in order to get	6
the same proportion as	6
the worship of the	6
you can lay on	6
of a great master	6
that it would be	6
it may be so	6
proceed to draw the	6
the life of the	6
when they are in	6
it does not follow	6
it is not necessary	6
will be found that	6
to return to our	6
of the surface of	6
is of the greatest	6
so much as one	6
that it does not	6
the paper very lightly	6
with the greatest care	6
associations connected with the	6
an example of the	6
a few of the	6
in the chapter on	6
the whole of the	6
height of each step	6
the meaning of the	6
one part of it	6
should be allowed to	6
other parts of the	6
the height of each	6
so that you may	6
in the nature of	6
a sign of distance	6
by means of a	6
the left of the	6
amount of reflected light	6
remote from the eye	6
the two vanishing points	6
as the case may	6
like that of a	6
we are going to	6
surface of the water	6
you may as well	6
in the use of	6
to the distance of	6
form of the whole	6
the lower part of	6
i have not yet	6
b c d e	6
you will constantly find	6
and two lateral ones	6
it is advisable to	6
by the addition of	6
we come to the	6
you had better get	6
if it had been	6
a certain quantity of	6
as you did the	6
the great laws of	6
is composed of a	6
it is in this	6
it will be observed	6
of the present day	6
in different stages no	6
at the root of	6
as to make the	6
the shadows on the	6
from time to time	6
always be on the	6
points of view from	6
the picture on the	6
it is more difficult	6
that you will be	6
of these patches of	6
so as to form	6
seen through the water	6
the same distance from	6
and that all the	6
it will be necessary	6
for its own sake	6
drawn to the same	6
at some distance from	6
the law of continuity	6
it is not to	6
the production of a	6
if it were possible	6
so as not to	6
ought not to be	6
must be able to	6
on a light ground	6
will never be able	6
and here is a	6
darkest part of the	6
i will tell you	6
in the middle distance	6
to the quantity of	6
but i have never	6
to get into the	6
the image of the	6
it is impossible for	6
to the top of	6
but you must not	6
it as well as	6
if you cannot get	6
on the white paper	6
begin the study of	6
line of the picture	6
it were possible to	6
to a certain point	6
the works of leonardo	6
of the variety of	6
to the base of	6
some distance from the	6
take care not to	6
if you look at	6
will give you some	6
to learn to draw	6
so far as this	6
with regard to the	6
the diminution of colours	6
phi proportion with top	6
edge of the square	6
so far as the	6
of the form of	6
in sympathy with the	6
have the power of	6
far as i remember	6
is divided into two	6
see note in appendix	6
the light part of	6
of such and such	6
as large as a	6
it is of great	6
do not think it	6
of the picture on	6
the same as the	6
on a flat surface	6
of this kind is	6
the surface of any	6
studies of this kind	6
you have made a	6
different parts of the	6
the color of the	6
would not have been	6
means of the vanishing	6
of which we have	6
the next thing to	6
the relation of the	6
soon as it is	6
in the appearance of	6
note in appendix i	6
have asked you to	6
receive the light from	6
you are in a	6
position of the eye	6
the difference between the	6
the possession of his	6
appears to have been	6
to be done with	6
when once you have	6
one place than another	6
the distance at which	6
motions of the body	6
the right or left	6
it is only in	6
there are so many	6
you will find some	6
it may be as	6
the curves of the	6
and in the same	6
in the way of	6
for the purpose of	6
at the distance of	6
parts of the face	6
the same angle as	5
the straight lines of	5
and when you have	5
on an inclined plane	5
that they are all	5
of which we shall	5
of the head is	5
shall be able to	5
and it is very	5
is seen in the	5
do not think there	5
drawing is to be	5
there is a very	5
to do but to	5
is out of harmony	5
when you want it	5
there is a pretty	5
of the sides of	5
know that it is	5
from the shoulder to	5
which is the most	5
which of the two	5
for a long while	5
sun is in the	5
the idea of a	5
with respect to the	5
in the placing of	5
the body of st	5
of the great schools	5
of the body of	5
in order to give	5
be said to be	5
by the beauty of	5
on a white ground	5
from black to white	5
in the present state	5
seen through a fog	5
i have good hope	5
the library of the	5
has nothing to do	5
this is the case	5
think of them as	5
which it is the	5
in the shape of	5
have nothing to do	5
the wall on which	5
i could show you	5
seen at a great	5
you will see what	5
we make use of	5
you have nothing to	5
necessary for you to	5
as a piece of	5
if we are to	5
as we shall see	5
as far as the	5
it is only when	5
the towers of ehrenbreitstein	5
when it is quite	5
is little more than	5
the waves of the	5
so much for the	5
what is to be	5
a man may be	5
there may be a	5
the leaves of the	5
the author of the	5
not so much as	5
straight lines and curves	5
the case in the	5
near the top of	5
to be considered in	5
you may have to	5
with the pencil point	5
and it does not	5
that is what he	5
the situation of the	5
of this kind of	5
of the fact that	5
sometimes you will see	5
when you look at	5
the reader will find	5
but do not let	5
of the shadows of	5
so far as he	5
the midst of the	5
let ab be the	5
but when you are	5
and where they are	5
the same point on	5
you will find this	5
you are dissatisfied with	5
the end of it	5
and it is quite	5
draw a line from	5
visual point of view	5
of what it is	5
be lower than the	5
when the water is	5
not so much by	5
in a given time	5
is what he saw	5
soon be able to	5
on the floor of	5
in front of us	5
the painting of the	5
it is the most	5
of every kind of	5
a great master in	5
with pen and ink	5
it is by the	5
not think there is	5
but it is also	5
i shall have to	5
not enable you to	5
but you need not	5
there are one or	5
you are painting into	5
the same study from	5
sense of the word	5
of the line is	5
as shown in fig	5
you will never be	5
a little to the	5
if it be a	5
is sure to be	5
a picture is to	5
are one or two	5
the principle of the	5
the gist of the	5
far as i have	5
you mean to be	5
that the side of	5
this is the most	5
will soon find out	5
and i am not	5
nothing to do but	5
can only be done	5
do as much as	5
point of distance d	5
you find you have	5
warm and cold colours	5
the root of the	5
different qualities of air	5
of doing the hair	5
it does not appear	5
the ends of the	5
finding of the body	5
the life in different	5
be looked at from	5
of more or less	5
have been in the	5
which comes upon the	5
conveyed to the eye	5
your work will be	5
that there is as	5
they ought to be	5
connected with each other	5
nearest to the eye	5
the hand of a	5
to be made of	5
you may be sure	5
of the color of	5
same study from the	5
be of use to	5
with a piece of	5
of the one and	5
the work of a	5
of the importance of	5
is the root of	5
draw lines from the	5
the importance of the	5
the side of your	5
to the right of	5
which i have not	5
look as if it	5
of the square and	5
part of the shadow	5
the shape of a	5
upon a dark ground	5
of the greatest importance	5
azure of the air	5
that is the wholesomest	5
at the same moment	5
in the library of	5
have a tendency to	5
see that they are	5
removed from the eye	5
of the qualities of	5
the measures of the	5
and bottom of picture	5
is the character of	5
the sense of touch	5
from dark to light	5
be brought into harmony	5
you will see it	5
in the present work	5
a type of the	5
the application of the	5
as they are more	5
study from the life	5
of the diminution of	5
you have got a	5
at the beginning of	5
which it is placed	5
is to have a	5
perhaps one of the	5
it is quite dry	5
under the direction of	5
the number of the	5
of the temple of	5
the inside of the	5
to the best of	5
of the greatest value	5
top of the tower	5
dark against the sky	5
i am sorry to	5
we have but to	5
can be brought into	5
that it is always	5
if they had been	5
of the whole body	5
and it is only	5
same distance from the	5
such a manner as	5
will be noticed that	5
we shall have to	5
and then you may	5
the spirit of the	5
the rape of europa	5
whether it is to	5
a little bit of	5
any opake body participates	5
there is as much	5
of the right angle	5
i do not believe	5
are sure to be	5
is the quantity of	5
phi proportion with sides	5
draw lines to the	5
separated from each other	5
the magnitude of the	5
there would be no	5
as one of the	5
will be found in	5
but at all events	5
in an earlier chapter	5
the folds of draperies	5
reproduced on page transcribers	5
and from each division	5
you wish to know	5
one of the first	5
in a piece of	5
the floor of the	5
lines drawn at random	5
we have made use	5
we have seen that	5
of great use to	5
the result is the	5
picture is to be	5
that it is to	5
from the centre of	5
a number of men	5
i have been telling	5
to show you the	5
for the figure of	5
ethics of the dust	5
and power of the	5
the subject to be	5
and as long as	5
quarter of an inch	5
the sole object of	5
have been accustomed to	5
that every part of	5
and the manner of	5
and the result of	5
that they are not	5
you are to see	5
the walls of the	5
picture is out of	5
the reverse of the	5
to draw from nature	5
all that i have	5
in the sketch of	5
if we wish to	5
as shown in this	5
the most important of	5
is the fact that	5
as if they had	5
in this case the	5
when you are tired	5
the same time to	5
which passes through the	5
in different qualities of	5
but because it is	5
the point of light	5
sides of the square	5
if you take the	5
must be content to	5
a pane of glass	5
in the field of	5
but it does not	5
the light should be	5
it will be noticed	5
is to be found	5
the picture to be	5
to enable you to	5
same way as in	5
the top of a	5
the fourth volume of	5
in that of the	5
would be the best	5
will not enable you	5
the degree in which	5
remain in the state	5
and as soon as	5
you are going to	5
object of their lives	5
proportion with sides of	5
it with the brush	5
on the one hand	5
on the horizon are	5
the first of all	5
do you mean to	5
more or less in	5
of which you can	5
in much the same	5
the expression of a	5
and sometimes you will	5
be able to understand	5
proportion as it is	5
same point on the	5
when you are not	5
if there were no	5
be on the look	5
on account of their	5
one of the principal	5
surface of the paper	5
for the same reason	5
in regard to painting	5
cuts the horizon in	5
the figures of the	5
is no reason why	5
the colour of any	5
the idea of their	5
if you in the	5
as a type of	5
such as those of	5
of the vanishing scale	5
as long as the	5
depends wholly on the	5
will tell you that	5
to be paid for	5
as the centre of	5
two points of view	5
by the figure of	5
any other part of	5
to the nature of	5
there is nothing in	5
may be well to	5
the succession of the	5
the place of the	5
it will be remembered	5
a circle in perspective	5
in any other way	5
is supposed to be	5
ways of doing the	5
through a thick air	5
as shown in the	5
are at right angles	5
and all the other	5
will participate of the	5
if you were drawing	5
the dimensions of the	5
can do is to	5
as high as the	5
the painter ought to	5
as the goddess of	5
the drawing of the	5
for the use of	5
life in different stages	5
motions of the human	5
as you look at	5
to find out what	5
is quite possible to	5
times the length of	5
if they are to	5
which it may be	5
is at an angle	5
there is no reason	5
the look of power	5
in the expression of	5
till it meets the	5
seen through a thick	5
soon find out how	5
they are full of	5
of the perspective square	5
in the life of	5
is only to be	5
is a matter of	5
the holders of the	5
be done in this	5
study for the figure	5
thing to be done	5
is the perspective of	5
of the characters of	5
tinged with the colour	5
and you will have	5
turned away from the	5
one side of a	5
you have to do	5
so that if we	5
to draw a figure	5
of the religion of	5
is a kind of	5
is it to be	5
the shoulder to the	5
in the management of	5
if you are not	5
what it is you	5
the purity of the	5
the figures on the	5
at the back of	5
to be of the	5
be such as to	5
from the life in	5
the arrangement of masses	5
colour of the body	5
into any number of	5
to show that the	5
the top of your	5
i told you to	5
the surface of all	5
thickness of the air	5
a knowledge of the	5
the sum of the	5
nature of the thing	5
each side of it	5
of the disposition of	5
it does not look	5
one side of it	5
the colours of the	5
disposition of the masses	5
of the quantity of	5
is to be expressed	5
to the character of	5
by the side of	5
it might have been	5
one part of the	5
the simplest and most	5
a minute or two	5
of no use to	5
to be full of	5
the aim of the	5
no part of the	5
it is best to	5
in a very interesting	5
from that of the	5
wish it to be	5
which it would have	5
the space between the	5
participate of the colour	5
work is to be	5
what to do with	5
colour of that object	5
as an expression of	5
than a great many	5
the curve of the	5
on the horizontal plane	5
of the inclined plane	5
in the name of	5
of the termination of	5
is a very important	5
and what is the	5
you cannot have a	5
their intersections with the	5
of the motions of	5
with the edge of	5
as in the case	5
is a good deal	5
it is a great	5
on which they are	5
it is proved thus	5
will teach you the	5
to refer to the	5
in the duomo of	5
as has already been	5
a colour is to	5
of the quality of	5
go back to our	5
it may perhaps be	5
the positions of the	5
of the simplest and	5
it is capable of	5
out of the way	5
that it is only	5
parallel to the picture	5
up to a certain	5
with which they are	5
the first thing to	5
the sense of the	5
principles of light and	5
from the divisions on	5
is the wholesomest way	5
on the face of	5
would have been the	5
apply it to your	4
to ask you about	4
none he could be	4
of the conditions of	4
any number of equal	4
best drawings by the	4
line in the picture	4
in the window you	4
is the more essential	4
for a minute or	4
to the practice of	4
half a right angle	4
to be remembered that	4
crimson or blue in	4
have got it to	4
as a strong man	4
which the artist has	4
but there are two	4
between straight lines and	4
a certain amount of	4
that you cannot get	4
is to be in	4
lessons on light and	4
have strong contrasts of	4
one point of sight	4
point of sight and	4
when they look at	4
the name of the	4
of the whole tree	4
all that you need	4
objects seen at a	4
put leaves on the	4
measurements on the base	4
in the painting of	4
part of the stone	4
and all day long	4
you have been taught	4
the course of your	4
the vertical plane k	4
therefore it will be	4
to catch the eye	4
so that it can	4
a view to its	4
the heart of midlothian	4
study of the effect	4
the shape of an	4
you know that it	4
in the nineteenth century	4
the surrender of breda	4
joints of the human	4
you paint one part	4
though placed in different	4
be one of the	4
the horizontal lines of	4
the points of the	4
are too pale to	4
perfect knowledge of the	4
i shall be able	4
know what you are	4
at the end by	4
when you have thus	4
parts of the stone	4
little on one side	4
try to fill in	4
central and two lateral	4
of the solid objects	4
some of the most	4
of the run of	4
that i have not	4
the width of the	4
wish to understand the	4
not always easy to	4
it must not be	4
another part of the	4
you have to fight	4
draw a straight line	4
distance of the spectator	4
is part of a	4
in the best sense	4
fourth volume of modern	4
in front of it	4
but if it should	4
with a soft pencil	4
then by means of	4
of the whole subject	4
the plane of shade	4
to do so in	4
a typical example of	4
if you can once	4
if you were going	4
it is obvious that	4
by the great composers	4
placed on the ground	4
to take care of	4
of the shadows on	4
though sometimes a little	4
seen in a fog	4
eye up to the	4
you should be able	4
the vanishing point v	4
to the strength of	4
trust me for the	4
the real nature of	4
will of course be	4
and proceed to draw	4
interesting to note how	4
draperies ought to be	4
various precepts in painting	4
be able to gradate	4
am sorry to say	4
are the same in	4
of colour in the	4
as quickly as you	4
drawings by the old	4
on with a dash	4
thing to do is	4
in the sight of	4
but the chances are	4
from the foot of	4
of the action of	4
of what you are	4
p be the given	4
the observation of the	4
may be obtained by	4
the paper will be	4
to the duke of	4
not very white paper	4
praise it for being	4
to me to be	4
there is a good	4
then the reflection of	4
the use of this	4
as you can have	4
is parallel to the	4
and if you want	4
in the usual way	4
of the greatest men	4
of the shape of	4
the perspective of a	4
the life prefixed to	4
of which there are	4
the measuring point for	4
and instead of the	4
the character of your	4
the divisions on the	4
an easy matter to	4
in this figure we	4
appears to be a	4
for the high lights	4
that all good drawing	4
lighter or darker than	4
the drawings of the	4
will be best to	4
the beauty of a	4
as it is not	4
concerned only with the	4
beyond a certain point	4
finally from the inferior	4
the picture to the	4
of towns and other	4
it is better in	4
the introduction of others	4
but they are only	4
parts of objects disappear	4
there is a single	4
it will depend on	4
harm there is in	4
and i have done	4
is to be seen	4
intended to be seen	4
in the treatise on	4
of the previous problem	4
the edges where they	4
you like in the	4
you will make it	4
in general you may	4
in the beauty of	4
while the other is	4
that you do not	4
a little attention will	4
on a ground of	4
a part of some	4
the quantity of its	4
the ground upon which	4
at one place than	4
effect could only be	4
round the head of	4
where the ground is	4
between good and bad	4
cannot be said to	4
by the old masters	4
reflected to the eye	4
which is nearest to	4
are the noble characters	4
he will find that	4
top of the tree	4
can be drawn to	4
to the look of	4
is the goddess of	4
if it does not	4
know what you have	4
and when it is	4
if you have been	4
on the right and	4
are said to be	4
dark side of the	4
too much than too	4
the rounded mass of	4
you will thus have	4
the centre of its	4
than that he should	4
you may draw the	4
to put a given	4
you have been accustomed	4
precept for the painter	4
we must remember that	4
and shade you like	4
children and grown men	4
you will find yourself	4
who work with the	4
the pen and ink	4
in the production of	4
the state in which	4
the sense of being	4
to its distance from	4
of the painting from	4
will be the vanishing	4
are lost to the	4
a careless habit of	4
so as to leave	4
used to express the	4
treatment of nature by	4
but in general you	4
the pressure of the	4
how a painter ought	4
a young shoot of	4
under the guidance of	4
not to be found	4
the same quality of	4
and that it is	4
i do not see	4
lose sight of the	4
can be used with	4
as nearly right as	4
this figure we have	4
nothing more than a	4
brush full of paint	4
of it is not	4
it cuts the base	4
the study of drawing	4
be drawn by compasses	4
in the works of	4
of the balance of	4
ideal of a bridge	4
ink in your pen	4
and are benefited by	4
of the rounded mass	4
the same may be	4
little at a time	4
with reference to the	4
the state of the	4
till you find you	4
a log of wood	4
able to lay on	4
the same as in	4
greater or less degree	4
given when the thing	4
and if not a	4
a sign of nearness	4
egg and dart moulding	4
may come in your	4
of the equipoise of	4
darker part of the	4
is the business of	4
of the poor by	4
the swing of the	4
not hope ever to	4
from the picture plane	4
only so far as	4
to look as if	4
of the most beautiful	4
of the same nature	4
horizontal line of the	4
be looked out for	4
you will see how	4
a window which the	4
same manner as the	4
to you that the	4
is to be placed	4
much more difficult to	4
other side of it	4
the ideal of a	4
in which he can	4
with the most subtle	4
this point in the	4
the art of others	4
of buildings seen in	4
by some of the	4
which he can begin	4
nearly as possible to	4
the life of leonardo	4
lies at the root	4
leaving the edge of	4
the greatest of all	4
but when once you	4
the higher branches of	4
touching the paper very	4
aspects of the same	4
what do you like	4
of a man standing	4
so great as to	4
you could have done	4
you must be able	4
or less indicative of	4
as you have been	4
the feeling of the	4
being on the side	4
arrangement of the whole	4
will find that you	4
to look at it	4
centre of the picture	4
surface of any opake	4
according to the effect	4
bank on which the	4
in your earlier studies	4
the angle of incidence	4
you happen to be	4
the line and tone	4
so as to produce	4
i never hope to	4
of which it was	4
to do the best	4
as thick as it	4
that which is in	4
of the thing to	4
much than too little	4
other part of the	4
means to an end	4
nature of the subject	4
i am trying to	4
in the hearts of	4
to accustom yourself to	4
it is never advisable	4
from the inferior ones	4
to fill in the	4
experiments of this kind	4
the first of these	4
the horizon at the	4
show you how the	4
little more than the	4
in one place than	4
of line and colour	4
were it not that	4
is better to make	4
will soon be able	4
the sun does not	4
is not in the	4
art of the world	4
the representation of the	4
edge of the shade	4
will be seen in	4
so far as we	4
in a thick air	4
or in any other	4
the use of outline	4
the tower on the	4
to see a number	4
are the most desirable	4
the simplicity of the	4
the least matter whether	4
tinged with its colour	4
heart of the tree	4
the one and the	4
is placed on the	4
of the air above	4
dark and light sides	4
the whole top of	4
on the mind of	4
lines are to be	4
lines to point of	4
and shade are added	4
exactly in proportion to	4
you may see it	4
is to show how	4
that the surface of	4
the centre of their	4
of the duke of	4
you will gradually come	4
to be done in	4
picture on the right	4
the older point of	4
and delicacy of hand	4
it will always be	4
draw lines to point	4
the most difficult of	4
form and colour of	4
is continued by the	4
in the sketches in	4
of direction of lines	4
wholesomest way in which	4
on the side towards	4
it often happens that	4
think that it is	4
drawn by means of	4
that the work is	4
get a photograph of	4
whole top of the	4
how to divide a	4
of twelve or fourteen	4
as with the pen	4
of thought in the	4
named in the note	4
to those who are	4
show you how to	4
the artist or draughtsman	4
you have access to	4
the play of life	4
unrelated can be brought	4
age of twelve or	4
body participates of the	4
be the result of	4
little ink in your	4
come in your way	4
to lay it on	4
the point at which	4
to the making of	4
you do not know	4
good and bad drawing	4
will never do it	4
as long as your	4
in all sorts of	4
looked at from a	4
you ought not to	4
suppose you have a	4
draw a circle in	4
the fact that it	4
the picture is out	4
days of cheap illustration	4
so much of the	4
porch of san zenone	4
the study of the	4
you to do so	4
but it would take	4
of not very white	4
is common to all	4
on the right of	4
of this kind in	4
are those which are	4
see one side of	4
of political economy to	4
that it can be	4
have made a few	4
i do not doubt	4
of any object in	4
then take a piece	4
which it can be	4
how to put a	4
of the nineteenth century	4
will find that all	4
it can be done	4
the student should be	4
is no fear of	4
to do it well	4
of the pen or	4
here and there to	4
part of the face	4
and that there is	4
because their line is	4
you will find in	4
but if you take	4
in proportion to its	4
any other in the	4
any of the others	4
very different thing from	4
in its right place	4
centre of gravity in	4
will see one side	4
with the result that	4
is the work of	4
and it is then	4
the fault of the	4
always when you are	4
and to be able	4
the crown of wild	4
may be called the	4
when you have time	4
of the lake of	4
it is not easy	4
pointed out to you	4
the attitudes of the	4
at a given angle	4
which would have been	4
the eye to the	4
of work would be	4
there is a peculiar	4
four degrees of thickness	4
lower than the other	4
have been telling you	4
of the blue and	4
illustrating variety in symmetry	4
when you can manage	4
preparation of originals for	4
out of the ground	4
of the arts of	4
meet the horizon at	4
in accordance with the	4
how lines unrelated can	4
labor on the earth	4
which the sun does	4
of the objects above	4
the outline of a	4
the diminution of the	4
surface of the block	4
and a great deal	4
is the same as	4
subject to be drawn	4
gist of the business	4
in the series of	4
the treatment of nature	4
colours in regard to	4
the more you look	4
about the size of	4
a sheet of glass	4
considered in relation to	4
look carefully at the	4
if you put the	4
not matter how small	4
the hand of the	4
by the ninth proposition	4
idea of what it	4
will see all the	4
horizontal lines of the	4
from beginning to end	4
the first elements of	4
is the vanishing point	4
to lay on the	4
diagram on opposite page	4
between variety and unity	4
farthest from the window	4
with the addition of	4
of the england series	4
with a brush full	4
they are not to	4
the forms of distant	4
it is only necessary	4
of colour and form	4
quickly as you can	4
by the motion of	4
in flanders and germany	4
will be seen by	4
be of the greatest	4
of the natural world	4
will find that a	4
a society in which	4
will find that many	4
example as you can	4
thus we have the	4
will do well to	4
refectory of the fathers	4
which would be a	4
possession of his britannic	4
is a great deal	4
be at the same	4
the laws of perspective	4
have to tell you	4
they are all of	4
whatever it may be	4
he can begin the	4
upon it you will	4
opake body participates of	4
convey the idea of	4
the painting from a	4
sweep of the brush	4
do one or two	4
have got it as	4
not that you are	4
that the air is	4
in a greater or	4
a means to an	4
what are the noble	4
be seen by the	4
give an idea of	4
as much of his	4
the interstices of the	4
to meet with the	4
some of the more	4
will gradually come to	4
you will see more	4
this part of the	4
some of its own	4
you are trying to	4
balanced between the two	4
we can measure any	4
blending it with the	4
of his britannic majesty	4
you as a beginner	4
into the discussion of	4
way as in the	4
light and shade drawing	4
side of the room	4
and for that reason	4
who will tell you	4
showing how lines unrelated	4
of the greatest possible	4
to the study of	4
if you find your	4
as an example of	4
it has not been	4
as connected with the	4
which i have recommended	4
if you get the	4
which it is impossible	4
so thick as to	4
the table in front	4
nothing whatever to do	4
i have said above	4
more or less indicative	4
that it is better	4
different distances from the	4
you will do well	4
objects disappear first by	4
of power in the	4
it is well worth	4
most difficult of all	4
you that it is	4
it receives the light	4
the account of the	4
in the representation of	4
in the process of	4
when he comes to	4
point of the shadows	4
is to be a	4
light and shade from	4
the exclusion of the	4
in the making of	4
you must be content	4
mirror at an angle	4
not only by the	4
on the edges of	4
of the highest order	4
if you examine them	4
in the hand of	4
hope to get on	4
these days of cheap	4
light in the same	4
upon a light ground	4
piece of white paper	4
light sides of the	4
the whole value of	4
the skill by which	4
is a more important	4
so as to show	4
in any of the	4
as you will see	4
find that you cannot	4
of the church of	4
be discouraged if you	4
from the base of	4
if a boy has	4
study for a picture	4
difference between good and	4
the satire of the	4
lead it up to	4
be of great use	4
of action taking place	4
work for people who	4
if you like to	4
drawn on the same	4
the light comes from	4
in a previous figure	4
in the state in	4
are to be done	4
on the vertical plane	4
about as large as	4
shall have more to	4
the clouds will not	4
with sides of picture	4
of a blueish cast	4
angle at which it	4
the base ab into	4
the position of a	4
of the same volume	4
suppose it to be	4
is not easy to	4
do not try to	4
on its dark side	4
the first necessity of	4
the base line at	4
this is an important	4
part of the sky	4
there cannot be any	4
for the study of	4
make a simple flat	4
ought to have been	4
if you have time	4
spoiled in the cutting	4
begin at the top	4
in which case it	4
will more or less	4
you are putting on	4
a large amount of	4
the pains that turner	4
till you have done	4
draw a line at	4
soon as you feel	4
as you see the	4
by none he could	4
and by a series	4
do not mean that	4
the greatest men have	4
if all were equally	4
artifices of this kind	4
the first is the	4
we have come to	4
let p be the	4
are the best you	4
i think it is	4
as soon as the	4
the essence of composition	4
you have an opportunity	4
addition of masses to	4
the first of the	4
since none would be	4
a man has the	4
be serviceable to you	4
this and the next	4
not at all to	4
we have to find	4
of what is meant	4
shady part of the	4
a more important thing	4
if you paint one	4
when it has been	4
on the th of	4
be the vanishing point	4
to be of use	4
i was going to	4
the view from above	4
to be one of	4
the side towards the	4
as much of the	4
on a larger scale	4
by the fact of	4
your way to it	4
and when you are	4
of any object which	4
in the human body	4
green or blue in	4
the shadows will be	4
colour of any other	4
if any part of	4
that it will be	4
is at the same	4
as seen in the	4
if you had not	4
in one of his	4
which gives us the	4
on that side of	4
since by none he	4
when you are drawing	4
in the worth of	4
you get to the	4
to the centre of	4
a little on the	4
see that there are	4
till you have got	4
its part in the	4
but it is so	4
to you when you	4
it to your drawing	4
method of angular perspective	4
the sweep of a	4
may be seen by	4
going to have b	4
to run his course	4
the air which is	4
the duke of milan	4
is to be of	4
and it is no	4
the difference in the	4
made to look more	4
of the bending of	4
to do it in	4
the green of the	4
of the spirit of	4
it is composed of	4
it as if you	4
a repetition of the	4
the general tone of	4
be expressed by the	4
more and more complicated	4
that there are two	4
poor by the rich	4
of the great laws	4
strong light and shade	4
the edge of your	4
the most beautiful of	4
have more to say	4
rest of the picture	4
a very different thing	4
all the rest of	4
is needful to them	4
at a loss to	4
middle tone of the	4
of the postures of	4
to show the working	4
deeper in the scale	4
and is called the	4
there shall be no	4
of the appearance of	4
put a sheet of	4
into the middle of	4
and proceed with the	4
to the force of	4
get to the bottom	4
greater part of the	4
of the different parts	4
the same number of	4
reflected from other things	4
but though you cannot	4
to give an idea	4
you will be puzzled	4
so as to catch	4
will be found of	4
o o o o	4
it has been said	4
and i thought it	4
take the form of	4
in the same proportions	4
into a careless habit	4
towards the point of	4
and if you have	4
tone over the whole	4
the best you can	4
the first condition of	4
will appear larger than	4
of each bough to	4
what do you think	4
if they do not	4
a point in the	4
in such a position	4
than any other part	4
do the best for	4
strong contrasts of tone	4
we come to talk	4
the under side of	4
i do not say	4
the lightest part of	4
the kind of drawing	4
when you can draw	4
remains to be noted	4
the full meaning of	4
which the image is	4
take a piece of	4
stages of the painting	4
nearly right as you	4
you are able to	4
the species of tree	4
of the attitudes of	4
half the size of	4
you look at them	4
if you look carefully	4
the higher lights with	4
far as may be	4
any object in the	4
of the outline is	4
the texture of the	4
to the eye of	4
a master is not	4
and that you can	4
figure of the farmer	4
be able to lay	4
the means by which	4
will see how the	4
we think we are	4
placed in different qualities	4
than that of any	4
this kind of sketch	4
advantage or harm there	4
run of the water	4
as it has been	4
depend upon it you	4
from a common type	4
white paper behind it	4
the manner of drawing	4
is nearest to the	4
not appear to have	4
the greatest amount of	4
according to the situation	4
of the setting sun	4
position of the spectator	4
to draw figures at	4
of the work is	4
am not sure that	4
is most interesting when	4
and the other a	4
have an opportunity of	4
the disposition of the	4
is the object of	4
with the law of	4
when they are not	4
on your power of	4
by leaving the lines	4
the man who has	4
the ease with which	4
be of any use	4
a more or less	4
spots and lines of	4
a sense of the	4
and it has been	4
of the luminary on	4
object of political economy	4
as i have said	4
should be the purest	4
which is the real	4
what to guard against	4
things to be studied	4
the power of athena	4
in the least matter	4
show you that the	4
by looking at any	4
life will make you	4
then another coat over	4
is the result of	4
a perfect knowledge of	4
it is always better	4
divide the base ab	4
the law of interchange	4
try to make the	4
scale at the side	4
but if it is	4
and a piece of	4
vertical and horizontal lines	4
for you to draw	4
the great painters put	4
and the outline is	4
point of view that	4
till they meet at	4
you must try to	4
when pressed for time	4
are fond of the	4
but it would have	4
of the position of	4
be considered as a	4
in which no man	4
ever introduced by a	4
what i want you	4
with respect to things	4
it has to be	4
how by means of	4
the solid objects so	4
to the degree of	4
on the same subject	4
light through the hole	4
dark object will appear	4
stages of the same	4
gamboge and prussian blue	4
of a colour is	4
to be the most	4
an infinite variety of	4
and connected with the	4
can begin the study	4
if you cannot obtain	4
would have done this	4
to have a principal	4
if you can at	4
it is a little	4
the tiles of the	4
the appearance of projection	4
so that all the	4
the wall of a	4
b of b is	4
it would be a	4
dark side of your	4
it is merely the	4
to the surface of	4
at the first glance	4
a note of the	4
the picture plane are	4
of the great curve	4
same length as the	4
will show you that	4
like those of the	4
there is a certain	4
you can at all	4
character of the sitter	4
by the appearance of	4
what is meant by	4
is not so in	4
they are more or	4
there is always some	4
mass or tone rhythm	4