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
it is not	203
you will find	188
part of the	184
one of the	183
is to be	172
it will be	159
in the same	159
and it is	151
more or less	145
that it is	144
so as to	136
there is no	132
light and shade	126
on the other	126
the point of	121
that is to	121
it is the	120
there is a	118
as it is	118
it may be	118
it is a	116
be able to	116
is to say	116
as well as	110
of the same	110
but it is	107
out of the	105
and you will	104
in order to	103
that of the	102
of the picture	101
point of sight	100
side of the	98
i do not	97
a piece of	96
you will see	96
the colour of	95
are to be	95
according to the	94
the power of	91
as far as	89
as in the	88
it does not	84
so far as	83
as you can	83
the form of	82
this is the	81
at the same	81
the law of	79
the use of	77
and if you	76
and in the	76
in proportion to	75
when you have	73
the side of	72
some of the	70
so that the	70
the top of	69
the expression of	69
the nature of	69
it is only	68
by means of	68
in the first	67
in which the	67
which it is	67
and of the	66
to the eye	66
of this kind	65
to have been	65
the same way	64
of the most	64
you will be	63
the work of	63
of the great	63
will find that	63
of the colour	62
if you have	62
if you can	62
is one of	61
point of view	61
it would be	61
of the whole	61
of light and	60
the surface of	60
to draw the	59
not to be	59
as it were	58
ought to be	58
to be the	58
the centre of	58
and so on	57
and that the	55
the effect of	55
the lines of	55
on the contrary	55
when you are	54
as much as	54
is in the	54
colour of the	53
when it is	53
use of the	53
will be found	53
the height of	53
it is to	53
will be the	53
on the side	53
of all the	53
of the two	52
of the human	51
in the middle	51
which is the	51
a great deal	51
the idea of	50
from the eye	50
would have been	50
of the air	50
on the same	50
any of the	50
it is in	50
but if you	49
that there is	49
and this is	49
to each other	49
can only be	48
if it were	48
of the square	48
parts of the	48
it has been	48
that they are	48
proportion to the	48
on the right	48
to be done	48
line of the	47
you wish to	47
the quantity of	47
as they are	47
the laws of	47
on one side	47
the possession of	47
lines of the	47
because it is	46
will be seen	46
of the figure	46
of the body	46
of the other	46
if you are	46
as soon as	46
to be a	46
to the point	45
the study of	45
the same time	45
of the earth	45
to draw a	45
the head of	45
form of the	45
when they are	45
the art of	44
and the other	44
the end of	44
of which the	44
the other hand	44
on the ground	43
it is of	43
the character of	43
so much as	43
it must be	43
for the sake	43
the works of	42
page transcribers note	42
of the object	42
it is impossible	42
the course of	42
the beauty of	42
the shape of	42
the sake of	42
it is quite	42
but there is	42
at the end	42
the appearance of	42
the eye and	41
the perspective of	41
we have to	41
you do not	41
at right angles	40
will not be	40
to the other	40
in proportion as	40
this is a	40
surface of the	40
the edge of	40
it to be	40
edge of the	39
that is the	39
of the first	39
sides of the	39
more and more	39
leonardo da vinci	39
the case of	39
on the left	39
to be in	39
is not the	39
it is better	39
of the greatest	39
point of the	39
not in the	39
instead of the	39
you have to	38
to the right	38
is not a	38
of the thing	38
in the case	38
is not so	38
the direction of	38
and all the	38
top of the	37
form and colour	37
but in the	37
of the stone	37
in the world	37
power of the	37
at the top	37
on the whole	37
you are to	36
which i have	36
they are not	36
of it is	36
connected with the	36
on each side	36
the mind of	36
the base line	36
the sense of	36
it is very	36
point of distance	36
look at the	35
of the sun	35
on which the	35
the habit of	35
the middle of	35
height of the	35
pen and ink	35
the other side	35
not so much	34
the subject of	34
but do not	34
as in fig	34
you have got	34
here and there	34
it should be	34
as may be	34
far as i	34
as to the	34
in this way	34
up to the	34
i have not	34
you mean to	34
of the eye	34
to be able	34
is a very	34
the forms of	34
to make a	34
seen in the	33
of the sky	33
the position of	33
of the world	33
if it be	33
knowledge of the	33
part of it	33
to make the	33
and it will	33
you will not	33
those of the	33
how to draw	33
that you can	32
the manner of	32
which they are	32
but this is	32
the shadow of	32
in the least	32
in front of	32
nature of the	32
of the subject	32
to do so	32
the drawing of	32
the kind of	32
will find it	32
distance from the	31
by no means	31
in the picture	31
a series of	31
right angles to	31
this is not	31
that you are	31
at an angle	31
in the possession	31
as if they	31
one or two	31
of the tree	31
it is always	30
it in the	30
in all the	30
may be made	30
is the most	30
it can be	30
a kind of	30
the fact that	30
there may be	30
to the same	30
that you may	30
of the line	30
you must not	30
to get the	30
side of it	30
is not to	29
you may be	29
the base of	29
in this respect	29
here is a	29
the human body	29
and they are	29
as to be	29
as long as	29
as i have	29
the look of	29
there will be	29
this kind of	29
in such a	29
the production of	29
way in which	29
enable you to	29
they will be	29
the strength of	29
of the shadow	28
and on the	28
in the form	28
of the lines	28
it would have	28
the reflection of	28
the vanishing point	28
the method of	28
of the artist	28
character of the	28
it is more	28
to see the	28
as if it	28
if they were	28
in this figure	28
the difference between	28
it to the	28
each side of	28
will give you	28
one side of	28
work of the	28
it is well	28
the object of	28
all that is	28
against the sky	28
of the original	28
the number of	28
between the eye	28
be in the	28
means of the	28
to do with	28
the means of	27
the representation of	27
that in the	27
on the horizon	27
to make it	27
does not matter	27
you have done	27
the hands of	27
than any other	27
to the base	27
in regard to	27
do not think	27
far as it	27
the shadows of	27
the most important	27
the motion of	27
to be seen	27
the part of	27
and do not	27
to the left	27
if you cannot	27
more than a	27
much of the	27
in the text	27
for you to	27
for it is	27
of the work	27
outline of the	27
three or four	27
of the light	27
as in a	26
there is in	26
effect of the	26
of the brush	26
the length of	26
exactly the same	26
or any other	26
if you were	26
of which we	26
such as the	26
the first place	26
of the leaves	26
of his own	26
you need not	26
for the most	26
if it is	26
might have been	26
in the course	26
of the face	26
the picture plane	26
the value of	26
parallel to the	26
the rest of	26
to give the	26
in like manner	26
the most beautiful	26
over the whole	25
the force of	25
you can get	25
it with the	25
away from the	25
centre of the	25
a number of	25
that can be	25
and there is	25
the dark side	25
depends on the	25
middle of the	25
be seen that	25
shape of the	25
in the other	25
the influence of	25
from the point	25
is more or	25
the result of	25
the most part	25
you can draw	25
but you will	25
in which it	25
more than the	25
eye and the	25
you will have	25
not at all	25
in the most	24
is that of	24
they do not	24
black and white	24
to the picture	24
of their own	24
of the objects	24
is on the	24
of what is	24
darker than the	24
first of all	24
of the best	24
difference between the	24
is that the	24
do you think	24
of the head	24
and for the	24
end of the	24
of such a	24
make use of	24
in this case	24
account of the	24
there are many	24
part of a	24
in the midst	24
if you want	24
the cause of	24
and the like	24
draw a line	24
but there are	24
soon as you	24
the beginning of	24
at all events	24
is of the	24
to point of	24
it will not	24
is the same	24
in the second	24
should not be	24
the knowledge of	24
the size of	24
to do it	24
you have a	24
you have been	24
the best of	24
that i have	24
so long as	24
the midst of	24
with the pen	24
as if you	24
the same manner	24
but they are	24
that of a	24
can be drawn	24
will be of	24
which will be	23
in the work	23
if they are	23
of the shadows	23
the reason of	23
but you must	23
of the art	23
to find the	23
you will soon	23
on account of	23
as you see	23
of the old	23
to look at	23
of the ground	23
great deal of	23
the eye of	23
of course the	23
and in a	23
the line of	23
published by j	23
there are two	23
of the wall	23
taylor high holborn	23
drawn to the	23
that which is	23
you must be	23
of the perspective	23
are not to	23
that all the	23
you will never	23
with the brush	23
position of the	23
at a distance	23
has to be	23
you look at	23
in a picture	23
direction of the	23
to tell you	23
angles to the	23
it is true	23
for some time	23
the figure of	23
little more than	23
of the right	23
the amount of	23
in any other	23
will see that	23
beauty of the	23
they may be	23
it is necessary	23
those which are	23
the variety of	23
that part of	23
will be able	23
a great many	22
the man who	22
of the water	22
be seen in	22
to show you	22
two or three	22
and you may	22
points of view	22
the bottom of	22
it seems to	22
in relation to	22
have to be	22
and to the	22
the other day	22
a part of	22
the quality of	22
at the bottom	22
that if you	22
it is possible	22
to show the	22
so that it	22
an angle of	22
you see the	22
removed from the	22
all the way	22
of the muscles	22
it is an	22
base of the	22
of its own	22
out of a	22
for the present	22
some of them	22
we have seen	22
one of these	22
of the spectator	22
will be a	22
of the currency	22
the outlines of	22
is the best	22
the light and	22
to be of	22
the parts of	22
draw lines to	22
in the present	22
the same thing	22
the degree of	22
the making of	21
and if the	21
the impression of	21
such as a	21
of the present	21
to be observed	21
tone of the	21
than that of	21
the necessity of	21
forms of the	21
of the highest	21
which has been	21
it is no	21
that it was	21
till it cuts	21
to keep the	21
only in the	21
in the mind	21
should always be	21
to be made	21
which we have	21
you will get	21
lights and shadows	21
which may be	21
to make them	21
that you will	21
if you find	21
as shown in	21
portions of the	21
in the previous	21
of the store	21
that we have	21
in doing this	21
in the best	21
as we have	21
i am not	21
so that you	21
is impossible to	21
is the first	21
you had better	21
the cost of	21
on the paper	21
it is so	21
you want to	21
if you wish	21
than the other	21
is a great	21
the first thing	21
seems to have	21
the same size	20
find that the	20
the worth of	20
in the hands	20
and that of	20
we have the	20
we are to	20
of the leaf	20
the meaning of	20
on the opposite	20
you are not	20
a matter of	20
to that of	20
what it is	20
the angle of	20
the hand of	20
is better to	20
to be considered	20
to be found	20
of the figures	20
it is this	20
on the base	20
he does not	20
of the poor	20
the depth of	20
point on the	20
with the same	20
at the time	20
is a good	20
the picture is	20
of all that	20
in so far	20
there are no	20
will be more	20
on the floor	20
in the air	20
to do this	20
the motions of	20
can be made	20
in the way	20
the outline of	20
many of the	20
owing to the	20
of one of	20
rest of the	20
as nearly as	20
in a great	20
on the table	20
a good deal	20
i want you	20
supposed to be	20
in the whole	20
would be the	20
of which is	20
that there are	20
to be drawn	20
you have the	20
out of it	20
is only a	19
and try to	19
of your hand	19
if you will	19
if you do	19
or of the	19
and that is	19
do not know	19
see that the	19
in the original	19
a point of	19
a means of	19
the sides of	19
expression of the	19
any kind of	19
and when you	19
in the drawing	19
regard to the	19
you can see	19
it is all	19
always to be	19
said to have	19
only by the	19
is only the	19
from the base	19
head of the	19
of a picture	19
be found in	19
from each division	19
towards the light	19
any more than	19
the spirit of	19
according to their	19
is apt to	19
with respect to	19
on the surface	19
but if the	19
have been the	19
want you to	19
that you have	19
we shall find	19
they can be	19
thing to be	19
to meet the	19
the great masters	19
in which you	19
of any object	19
the opposite side	19
in the centre	19
proportion to their	19
of the sea	19
of a man	19
of his work	19
look at it	19
and at the	19
and the object	19
them in the	19
instead of a	19
of your own	19
is not only	19
the air is	19
is necessary to	19
the close of	19
till you have	19
of the pen	19
it as a	18
things that are	18
what do you	18
would be a	18
the darkness of	18
where they are	18
a variety of	18
it is that	18
eye of the	18
you may see	18
it is difficult	18
it was not	18
the same colour	18
the minds of	18
as you would	18
any part of	18
they should be	18
by the way	18
between the two	18
only to be	18
be done by	18
be of the	18
an example of	18
the same as	18
on that side	18
in which a	18
the history of	18
be found to	18
on the subject	18
the principle of	18
most of the	18
drawing of the	18
may be seen	18
as to make	18
they are all	18
i tell you	18
where there is	18
in the national	18
one of them	18
if you like	18
to the horizon	18
a state of	18
where it is	18
the heart of	18
works of art	18
the aspect of	18
the time of	18
from each other	18
the difference of	18
it cuts the	18
and you have	18
from the first	18
light and shadow	18
you to do	18
force of the	18
such and such	18
the king of	18
is difficult to	18
are drawn to	18
it is one	18
and such a	18
you will always	18
so that if	18
in the manner	18
which he has	18
the arrangement of	18
they are in	18
motion of the	18
down to the	18
of an inch	18
study of the	18
the action of	18
to have a	18
and you must	18
and the more	18
of the greek	18
you ought to	18
a picture of	18
and the eye	18
ought not to	18
the proportion of	18
of the point	17
of the painter	17
equal to the	17
of the nation	17
it cannot be	17
of the members	17
with the point	17
the first of	17
will always be	17
at the side	17
was in the	17
much the same	17
action of the	17
be the same	17
we wish to	17
can be done	17
of a great	17
and i am	17
the previous figure	17
on the one	17
a little more	17
a sense of	17
the liber studiorum	17
we shall have	17
it is easy	17
each of these	17
the same point	17
be necessary to	17
far as they	17
which you may	17
which is a	17
the life of	17
idea of the	17
you would have	17
the eye is	17
they must be	17
that it should	17
of the last	17
the horizon at	17
of form and	17
which is not	17
it is said	17
the colours of	17
there can be	17
of the real	17
is said to	17
seen that the	17
of those who	17
of the upper	17
in angular perspective	17
attention to the	17
of sight s	17
to speak of	17
it is as	17
will have to	17
to be avoided	17
produced by the	17
of the tower	17
all kinds of	17
from the light	17
can be seen	17
by the great	17
it in a	17
with each other	17
it is also	17
front of the	17
like that of	17
given to the	17
from the ground	17
at any rate	17
are of the	17
mind of the	17
you have not	17
on the wall	17
as that of	17
but you may	17
and then the	17
other side of	17
of the one	17
piece of paper	17
that he may	17
may not be	17
as i know	17
they are to	16
to show that	16
it is at	16
to form a	16
sense of the	16
the tone of	16
to the end	16
if you look	16
in which they	16
may be a	16
the conditions of	16
of the black	16
do not mean	16
point in the	16
the sum of	16
and from the	16
it ought to	16
the artist has	16
and the same	16
are more or	16
of the way	16
as not to	16
one part of	16
or at least	16
be observed in	16
likely to be	16
what you have	16
the light from	16
the more you	16
which to draw	16
the national gallery	16
of great importance	16
the fact of	16
of which you	16
worth of the	16
aspect of the	16
can be no	16
depend on the	16
motions of the	16
a quarter of	16
same way as	16
of which it	16
it is by	16
one of his	16
no less than	16
i have just	16
colour in the	16
will enable you	16
there is another	16
of the colours	16
in the last	16
the british museum	16
meaning of the	16
on page transcribers	16
is easy to	16
the distance of	16
from which the	16
of the paper	16
for a little	16
to take the	16
the lights and	16
quarter of an	16
relation to the	16
note that the	16
of this is	16
the result is	16
end of a	16
portion of the	16
but if we	16
in the art	16
of it in	16
there is the	16
through which to	16
will be at	16
power in the	16
is possible to	16
the way in	16
and that it	16
the loss of	16
of the drawing	16
to lay on	16
of a drawing	16
much as you	16
of the bridge	16
by the sun	15
of the hand	15
of the past	15
in any direction	15
with a view	15
i think it	15
of straight lines	15
need not be	15
the work is	15
to put a	15
will make it	15
the lines are	15
i will not	15
that he should	15
but when the	15
i have already	15
what i have	15
though it is	15
of the laws	15
that we may	15
of the word	15
light on the	15
the thickness of	15
even in the	15
the best for	15
in his work	15
to be represented	15
and what is	15
of the more	15
quantity of the	15
of the kind	15
to express the	15
of some of	15
to think that	15
it might be	15
for an instant	15
in this book	15
any number of	15
but it would	15
is not always	15
as those of	15
the form and	15
to the distance	15
tell you that	15
vanishing point of	15
that you cannot	15
light from the	15
we have a	15
and there are	15
there are some	15
to produce a	15
a view to	15
on the top	15
proportion as the	15
type of the	15
seen in a	15
the perspective plane	15
at some distance	15
what you are	15
sure to be	15
to have the	15
that is not	15
that we are	15
to give a	15
of an object	15
the root of	15
of line and	15
in that case	15
the life in	15
we have been	15
than it is	15
the difficulty of	15
which is to	15
which you can	15
this may be	15
light of the	15
said to be	15
is capable of	15
of the horizon	15
which have been	15
there must be	15
in which case	15
a man of	15
by the eye	15
into the other	15
the folds of	15
the white paper	15
interposed between the	15
drawing in the	15
the practice of	15
in which he	15
all the other	15
and here is	15
to some extent	15
again and again	15
and the whole	15
which does not	15
of the mind	15
reflection of the	15
at the back	15
the name of	15
the collection of	15
precisely the same	15
it has a	15
a sign of	15
things to be	15
that they may	15
length of the	15
you must have	15
treatise on painting	15
one or other	15
the vanishing scale	15
the face of	15
of it to	15
there is not	15
are apt to	15
will find the	15
of any kind	15
the whole of	15
of the base	15
there is nothing	15
in the distance	15
be the most	15
and he will	15
of political economy	15
quality of the	15
not of the	15
a habit of	15
shadow of the	15
in looking at	15
of the masses	15
it from the	15
in other words	15
those who are	15
do you mean	15
an expression of	15
sight of the	14
i told you	14
and will be	14
that may be	14
the relation of	14
with reference to	14
will depend on	14
seen through a	14
to be said	14
from the other	14
you cannot get	14
will see the	14
that a man	14
of the roof	14
a little while	14
a sheet of	14
appears to be	14
whether it is	14
the curves of	14
and to be	14
of a tree	14
the same in	14
every part of	14
the mass of	14
found in the	14
would not be	14
change in the	14
of the three	14
in one of	14
seems to me	14
the labour of	14
corners of the	14
in that of	14
on either side	14
is at the	14
perspective of colours	14
to the sight	14
the sight of	14
the second is	14
which of the	14
at this moment	14
the foot of	14
law of radiation	14
by the same	14
the pursuit of	14
of the simplest	14
that i know	14
at a given	14
all the rest	14
any of them	14
not only the	14
if we are	14
in any wise	14
nearer to the	14
of the chief	14
made by the	14
of the room	14
that you should	14
but i do	14
to those who	14
and in all	14
the introduction of	14
the drawing is	14
appearance of the	14
the fact is	14
or two of	14
the goddess of	14
in the upper	14
of the matter	14
of leonardo da	14
depend upon it	14
i need not	14
a much more	14
of the law	14
they are so	14
on the white	14
one of its	14
side by side	14
he will be	14
we shall see	14
due to the	14
to think of	14
of the features	14
at which the	14
in speaking of	14
of the things	14
has been said	14
in consequence of	14
from the same	14
is by no	14
it will appear	14
the play of	14
at the distance	14
of the day	14
and the most	14
in the lower	14
they are the	14
are in the	14
are full of	14
for the first	14
what is the	14
would not have	14
in a hurry	14
you may have	14
do is to	14
fill in the	14
in the figure	14
of the principal	14
learn to draw	14
the weight of	14
that this is	14
never to be	14
of the natural	14
there is one	14
he is not	14
them to the	14
was to be	14
the purpose of	14
the sun is	14
be on the	14
in the water	14
the same principle	14
perspective of the	14
the place of	14
the treatment of	14
side of your	14
the relations of	14
to give it	14
parts of it	14
you find you	14
the present work	14
the unity of	14
out of harmony	14
what may be	14
the church of	14
one in the	14
the horizontal line	14
you to be	14
the human figure	14
to begin with	13
the range of	13
to represent the	13
be done in	13
the first instance	13
must be the	13
which it was	13
in sympathy with	13
in the dark	13
the way of	13
in your own	13
will be less	13
to let the	13
let it be	13
we come to	13
so that all	13
the mode of	13
you see it	13
up in the	13
it is often	13
intended to be	13
has not been	13
to get a	13
it at all	13
nothing to do	13
art of the	13
you have no	13
in the country	13
from the original	13
phi proportion with	13
it is good	13
side of a	13
and shade are	13
colour of that	13
a light ground	13
a straight line	13
as they can	13
be said to	13
applied to the	13
on this subject	13
the diminution of	13
i have said	13
but it will	13
but if it	13
as you do	13
to understand the	13
long as the	13
will soon find	13
the fault of	13
may be the	13
a and b	13
give you a	13
is composed of	13
it is just	13
which are the	13
as i said	13
it is evident	13
examples of the	13
you to draw	13
with the most	13
the visual rays	13
of the lower	13
is not in	13
and by the	13
the color of	13
for the time	13
but i have	13
manner in which	13
the most difficult	13
it is on	13
the half tones	13
given by the	13
has been the	13
of an hour	13
the same proportion	13
and all other	13
to be placed	13
of each other	13
and at last	13
the back of	13
only to the	13
to which the	13
found to be	13
to give an	13
i have been	13
to represent a	13
but as the	13
give us the	13
are the most	13
form of a	13
of a good	13
must not be	13
of no use	13
the extremities of	13
the boundaries of	13
of our own	13
it was the	13
in a very	13
and i have	13
this will be	13
it had been	13
of the following	13
in these days	13
is a little	13
know how to	13
so that they	13
that they have	13
be allowed to	13
number of parts	13
on a level	13
you are in	13
believe that the	13
proportion as they	13
look of a	13
we are not	13
in the sky	13
to the whole	13
is that it	13
of the composition	13
but for the	13
used in the	13
and with the	13
to try to	13
and may be	13
with the greatest	13
with a brush	13
of which are	13
may be able	13
the things that	13
of the arts	13
in the minds	13
to do the	13
for this reason	13
and that you	13
be made to	13
you begin to	13
is produced by	13
to his own	13
the elements of	13
in parallel perspective	13
the thing is	13
will tell you	13
with as much	13
as there is	13
to a certain	13
you would be	13
with all the	13
from that of	13
may be used	13
value of the	13
so that a	13
if you had	13
the high lights	13
as much of	13
of the pyramid	13
they will not	13
as it has	13
no more than	13
to leave the	13
every kind of	13
in due time	13
than on the	13
were it not	13
nearest to the	13
of the book	13
this is done	13
on the vertical	13
is also a	13
to consider the	13
by which the	13
are not so	13
far as you	13
the right of	13
darkness of the	13
to the ground	13
from the picture	13
to which i	13
drawn from the	13
on the part	13
drawing of a	12
at the head	12
if you try	12
opposed to the	12
is out of	12
example of the	12
of the works	12
i could not	12
out of his	12
are in a	12
so that in	12
it has to	12
i have to	12
that we can	12
will be very	12
to see that	12
the perspective square	12
of the surface	12
as you have	12
go back to	12
in the end	12
is in reality	12
of the building	12
one and the	12
to draw them	12
at one time	12
the first is	12
not have been	12
all the great	12
the required number	12
of the third	12
interfere with the	12
of any other	12
the front of	12
is a sign	12
and a few	12
as at a	12
to you in	12
the perception of	12
on a piece	12
mass of the	12
the importance of	12
for a moment	12
illustration of the	12
in order that	12
it is too	12
enable him to	12
if it had	12
we should have	12
and the first	12
always in the	12
use of this	12
with which you	12
of the people	12
to which they	12
life of the	12
made up of	12
you cannot do	12
at any moment	12
the characters of	12
on all sides	12
the great composers	12
on which they	12
you mean by	12
and the second	12
the masses of	12
we have now	12
because there is	12
the width of	12
of the shoulders	12
we do not	12
be done with	12
and i will	12
to make his	12
example of this	12
of a large	12
and out of	12
to the subject	12
a level with	12
you may always	12
a tendency to	12
is true that	12
as you like	12
proportion of the	12
of the general	12
variety in the	12
of a figure	12
size of the	12
the lines which	12
to be used	12
of the vertical	12
to be so	12
if he had	12
look at them	12
but you know	12
the light of	12
as a means	12
to the light	12
of which i	12
if they can	12
in drawing a	12
of the second	12
of a very	12
will never be	12
can draw the	12
to all the	12
part of their	12
the edges of	12
a certain point	12
joints of the	12
a look of	12
able to do	12
the sky is	12
i can tell	12
for the purpose	12
which you will	12
there was no	12
on the earth	12
when he is	12
the central line	12
and they will	12
when this is	12
to deal with	12
of the use	12
the god of	12
weight of the	12
if he is	12
as large as	12
of a square	12
to such a	12
i should think	12
have to do	12
there is an	12
you will probably	12
of the different	12
you in the	12
the square and	12
be seen by	12
the advantage of	12
on the edges	12
for the same	12
at that time	12
as at b	12
as to give	12
of the drawings	12
every one of	12
end of it	12
of its being	12
this point of	12
of view of	12
i want to	12
your power of	12
at a time	12
lost to the	12
the management of	12
the desire of	12
in one place	12
a b c	12
the love of	12
does not in	12
expression of form	12
of the nature	12
in a few	12
that it shall	12
looking at the	12
mental idea of	12
all sorts of	12
if there were	12
there would be	12
into the habit	12
out of their	12
of it are	12
level with the	12
more of the	12
of the country	12
the basis of	12
in many cases	12
does not appear	12
than in the	12
the principles of	12
the duke of	12
to examine the	12
is supposed to	12
much more than	12
may be done	12
down in the	12
this can be	12
have been done	12
very difficult to	12
the body of	12
view of the	12
go to the	12
is just as	12
in harmony with	12
the arts of	12
the balance of	12
on to the	12
only for the	12
bottom of the	12
color in the	12
the process of	12
the secret of	12
of them as	12
will teach you	12
with which they	12
let us suppose	12
greater or less	12
be made of	12
a bit of	11
for that reason	11
and of course	11
which you have	11
with a little	11
joint of the	11
in the one	11
from the window	11
know what you	11
those that are	11
of the white	11
with which the	11
be the given	11
the truth of	11
come to the	11
that will be	11
same manner as	11
there is much	11
well as the	11
of the rock	11
upon the ground	11
are going to	11
the qualities of	11
the boughs of	11
told you to	11
to observe the	11
in the greek	11
of a given	11
a middle tone	11
to a point	11
of this picture	11
is necessary for	11
to be studied	11
if they had	11
let it dry	11
in a good	11
too much to	11
in every direction	11
the idea that	11
the subject is	11
he has to	11
and it was	11
much as possible	11
to judge of	11
delight in the	11
further illustration of	11
and the shadows	11
of a few	11
the sound of	11
the straight line	11
work will be	11
in the sense	11
by a great	11
and it may	11
case of the	11
to work out	11
on a white	11
may have been	11
according to its	11
angle of the	11
at the point	11
of your work	11
the joints of	11
draw lines from	11
the possibility of	11
over the edge	11
not matter how	11
or in any	11
themselves to the	11
the projection of	11
the other vanishing	11
expressed by the	11
will be as	11
effects of light	11
when there is	11
a great measure	11
in all things	11
the imagination of	11
be a little	11
all the arts	11
in all good	11
through the water	11
the leaves of	11
the corners of	11
four or five	11
you cannot have	11
may as well	11
of them are	11
so much on	11
when you can	11
is in this	11
and we have	11
the same length	11
of the arm	11
to it by	11
a little farther	11
will be in	11
a row of	11
most of them	11
pit of the	11
of the cube	11
idea of a	11
different parts of	11
seem to be	11
what is it	11
with those of	11
the points of	11
the eyes of	11
and is not	11
the process is	11
such a manner	11
of the steps	11
the painting of	11
the heads of	11
as opposed to	11
which are not	11
expressive of the	11
in the very	11
will be best	11
of the parts	11
and that he	11
great part of	11
be drawn by	11
as well to	11
cuts the horizon	11
appears to have	11
each of them	11
such things as	11
to be quite	11
too much of	11
associated with the	11
of the effect	11
and the result	11
able to draw	11
first draw the	11
out to the	11
in his own	11
but when you	11
of the luminary	11
far as the	11
and in this	11
then you will	11
in the former	11
certain number of	11
straight lines and	11
and that all	11
is equal to	11
of the state	11
is of no	11
you know that	11
for if you	11
at the moment	11
in a more	11
a little too	11
in the morning	11
is from the	11
try to draw	11
if you get	11
to the artist	11
which are in	11
or in the	11
they are always	11
them with the	11
and not to	11
but in a	11
number of the	11
is proved by	11
necessary for the	11
look out for	11
a great master	11
points through which	11
but you cannot	11
will show you	11
eye and hand	11
happen to be	11
the plane of	11
of the little	11
made use of	11
a certain number	11
painter ought to	11
from the sun	11
lines of shading	11
through all the	11
to know what	11
that is in	11
reason of this	11
you try to	11
larger than the	11
than those which	11
has already been	11
may be well	11
to find out	11
the pit of	11
taken from the	11
in the meantime	11
of the back	11
i am sure	11
as it does	11
as in this	11
art of painting	11
the men who	11
him to be	11
like those of	11
instead of being	11
strength of the	11
is made in	11
to the last	11
he is a	11
by the light	11
is full of	11
edges of the	11
but that the	11
the picture to	11
out of which	11
of the outline	11
if he has	11
out of them	11
disposition of the	11
of the circle	11
of what i	11
the difficulty is	11
to draw from	11
the chances are	11
there is always	11
they had been	11
so much of	11
all of them	11
line and tone	10
the modes of	10
and when it	10
of lines and	10
the same study	10
how to paint	10
in this kind	10
the science of	10
a flat surface	10
be looked for	10
the two great	10
to admit of	10
the student to	10
and see how	10
if you take	10
not hope to	10
of the spirit	10
in another place	10
felt to be	10
as a flat	10
you have made	10
in the light	10
will always find	10
a sort of	10
will not look	10
who are the	10
the manner in	10
put in the	10
lower than the	10
the most subtle	10
the visual ray	10
nearly as you	10
of tone values	10
which the artist	10
the field of	10
to do a	10
of distant objects	10
of these lines	10
art is not	10
the holders of	10
to paint the	10
that they were	10
remote from the	10
of the various	10
the series of	10
must be done	10
that if the	10
in light and	10
not for the	10
the feeling of	10
in the human	10
is very difficult	10
can be used	10
thickness of the	10
but only to	10
that kind of	10
at first to	10
of the scale	10
to their distance	10
is not enough	10
the conception of	10
but as soon	10
and if we	10
view from which	10
to be more	10
of a nation	10
until you have	10
in the arrangement	10
picture of the	10
depends wholly on	10
image of the	10
of them is	10
different qualities of	10
by a few	10
but all the	10
of their work	10
may be said	10
that by the	10
is of great	10
up to a	10
in a note	10
how far the	10
of such things	10
of the nose	10
there are three	10
distance of the	10
in its place	10
a type of	10
i did not	10
up and down	10
of the forms	10
how much of	10
to be at	10
a little bit	10
such as to	10
is darker than	10
the words of	10
the shadows are	10
points on the	10
may perhaps be	10
in your mind	10
that the light	10
of the time	10
to know how	10
the succession of	10
bacchus and ariadne	10
and we shall	10
the whole subject	10
to be had	10
and should be	10
to say that	10
for those who	10
the rays of	10
when a man	10
i have seen	10
in the foreground	10
is the only	10
to make your	10
of a circle	10
vertical and horizontal	10
elements of drawing	10
the colour is	10
can never be	10
be useful to	10
of the author	10
appear to be	10
show you how	10
method of drawing	10
and even the	10
of a certain	10
so far from	10
of these two	10
you cannot draw	10
and if he	10
of colour and	10
of masses of	10
a very fine	10
have been made	10
is the true	10
and you are	10
it is interesting	10
the source of	10
are sure to	10
the reverse of	10
to be noted	10
order to be	10
just as the	10
you lay on	10
participates of the	10
of doing this	10
are the same	10
in this work	10
the same distance	10
the head is	10
of the joints	10
will appear the	10
in the book	10
the flow of	10
either side of	10
the development of	10
in any way	10
and then you	10
the hearts of	10
nor is it	10
from which it	10
object of the	10
need not hope	10
the vanishing line	10
a patch of	10
which we are	10
on the bridge	10
master of the	10
the dry brush	10
the whole tree	10
know what to	10
will at once	10
reference to the	10
the first time	10
it would take	10
in all its	10
those parts which	10
of any of	10
is divided into	10
or it may	10
with that of	10
could not be	10
soon as it	10
exactly phi proportion	10
the want of	10
flow of the	10
this is so	10
show you the	10
lines to the	10
we can make	10
with his own	10
looking at a	10
we want to	10
to the life	10
other vanishing point	10
is to the	10
if there is	10
lay on a	10
there is more	10
foot of the	10
as you are	10
shadows on the	10
to the utmost	10
of the motion	10
get out of	10
yet it is	10
is a more	10
and as the	10
on the outside	10
and a very	10
to be as	10
placed on the	10
works of the	10
part of his	10
to get into	10
remember that the	10
of a building	10
centre of gravity	10
which you are	10
truth of the	10
that it has	10
to return to	10
of the english	10
dark side of	10
had to be	10
are capable of	10
back to the	10
use to you	10
be well to	10
that has been	10
in your work	10
in the general	10
on which it	10
proceed to draw	10
and a half	10
is sure to	10
look as if	10
may be called	10
that it will	10
done with the	10
and if it	10
the state of	10
of the color	10
as to see	10
that he had	10
and the light	10
you can do	10
heart of the	10
or on the	10
with the other	10
over all the	10
the type of	10
it be a	10
now it is	10
of this subject	10
the power to	10
in a state	10
at the other	10
by the student	10
to him in	10
be surprised to	10
a more important	10
the same angle	10
so much to	10
can tell you	10
and such others	10
a mixture of	10
in which we	10
long as it	10
as distinguished from	10
of all things	10
i thought it	10
in all cases	10
the addition of	10
is no more	10
in the british	10
the greatest possible	10
you have an	10
up by the	10
with which he	10
the bending of	10
stages of the	10
much as the	10
is to have	10
may be in	10
that he is	10
with the penknife	10
on the retina	10
of the form	10
at different distances	10
which he had	10
for the expression	10
of the plate	10
the worst of	10
picture in the	10
should be in	10
rather than the	10
as on the	10
the reader will	10
in point of	10
which are at	10
be obtained by	10
the purity of	10
proved by the	10
is always to	10
and in that	10
good for you	10
a thick air	10
proportion as it	10
the ground is	10
you can only	10
as it was	10
ought to have	10
in the scale	10
much as a	10
of the rich	10
of the beauty	10
will be surprised	10
may be found	10
because they are	10
associations connected with	10
the ambrosian library	10
and the best	10
is only in	10
of the fingers	10
dependent on the	10
them by the	10
get into the	10
the presence of	10
in the matter	10
shall have to	10
in any case	10
if there be	10
but to be	10
so it is	10
when we come	10
the student should	10
of the blue	10
of intrinsic value	10
may have to	10
the birth of	10
surprised to find	10
the other is	10
of the neck	10
which it would	10
of the vanishing	10
the drawings of	10
in the larger	10
in the lights	10
formed by the	10
we ought to	10
than you could	10
it may not	10
in some of	10
a picture is	10
if i were	10
of the above	10
nearly as possible	10
and power of	10
with the dry	10
he could not	10
a great distance	10
figure of the	10
could not have	10
the first and	10
of the squares	10
of the rocks	10
that he has	10
some of its	10
you that the	10
the figure is	10
as you did	10
the eye by	10
representation of the	10
must always be	10
what is meant	9
is not merely	9
all the parts	9
of great use	9
from a draw	9
remain in the	9
of the dust	9
the angle at	9
in this world	9
of his life	9
by leonardo da	9
passes through the	9
which in the	9
meant to be	9
it into the	9
as compared with	9
in the appearance	9
the aim of	9
characteristic of the	9
to the use	9
mean to represent	9
the choice of	9
represented by the	9
much to be	9
that he was	9
of view from	9
the first volume	9
as to form	9
is the case	9
will participate of	9
described in the	9
so great a	9
the matter of	9
you want it	9
pane of glass	9
in a single	9
for him to	9
the business of	9
the sun and	9
be represented by	9
purpose of the	9
in other places	9
out of its	9
the walls of	9
the greater part	9
it shall be	9
which he is	9
drawings of the	9
positions of the	9
it is much	9
in a square	9
the outside of	9
the vertical line	9
different stages of	9
and must be	9
not in a	9
to the great	9
he has been	9
demand and supply	9
objects which are	9
the base ab	9
it is placed	9
i believe that	9
the wealth of	9
to work with	9
i have asked	9
few of the	9
and draw the	9
the most curious	9
and in which	9
concerned with the	9
to be asked	9
draw from nature	9
in the collection	9
the water is	9
you will thus	9
to find how	9
more difficult to	9
back of the	9
you are about	9
placed in the	9
as will be	9
for a long	9
is only one	9
and can only	9
and instead of	9
which it has	9
and a little	9
height of each	9
to the effect	9
do away with	9
find it is	9
head of a	9
and put it	9
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the battle of	9
the darkest part	9
something of the	9
two kinds of	9
we must not	9
the right or	9
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for all that	9
in your picture	9
and cannot be	9
and the third	9
to use the	9
parallel to each	9
course of the	9
the greatest care	9
the way to	9
has always been	9
sympathy with the	9
in the year	9
and also the	9
not the same	9
state of the	9
be capable of	9
as you will	9
the light side	9
by the time	9
not mean that	9
he will find	9
one into the	9
the placing of	9
of his time	9
at a great	9
and how much	9
you may make	9
in the arts	9
speak of the	9
to show how	9
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for all the	9
to catch the	9
is allowed to	9
be too much	9
in the great	9
the point to	9
the space between	9
in his mind	9
rays of the	9
the faculty of	9
the right angle	9
is at once	9
the anatomy of	9
it on the	9
is due to	9
additions to the	9
the treatise on	9
be the best	9
in the state	9
can do it	9
should be a	9
of the modern	9
of colours in	9
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the whole body	9
at all in	9
do with the	9
go over the	9
and the outline	9
is interesting to	9
it and the	9
the house of	9
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refectory of the	9
different from the	9
of the very	9
heads of the	9
you think the	9
to the original	9
to the drawing	9
is called the	9
the line is	9
either of these	9
the facts of	9
these lines will	9
lights and shades	9
in your power	9
vanishing point v	9
seen through the	9
fact of the	9
how much more	9
extremity of the	9
as a rule	9
a dark ground	9
a feeling of	9
the absence of	9
of the lights	9
you get the	9
if you mean	9
leg of the	9
is only to	9
reason of the	9
the color is	9
that the first	9
to be either	9
the reader must	9
get a good	9
to get it	9
when he was	9
on the bank	9
it with a	9
the simplest and	9
half of the	9
in spite of	9
into the required	9
and as it	9
that the whole	9
the royal academy	9
of them to	9