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
hairs in a strand	149
and bring back nos	143
take it out and	101
on table like pattern	96
in the form of	88
place on table like	86
and place on table	86
then go to c	85
the size of the	80
in the british museum	79
from b to a	77
will bear without burning	76
until it is quite	75
it is quite dry	75
it will bear without	75
hot as it will	75
as it will bear	75
as hot as it	75
braid this over a	73
then boil in water	72
an oven as hot	69
oven as hot as	69
in an oven as	69
illustration braid this over	68
at a and b	66
and so on round	66
it out and put	65
and change the same	59
then take it out	59
the form of a	59
it in an oven	53
then you are through	49
and put it in	49
put it in an	49
out and put it	49
table to the right	49
are through the braid	47
you are through the	47
victoria and albert museum	46
commence as at first	45
in place of nos	44
from d to c	43
of the sixteenth century	42
and take it out	42
the place of the	42
in the place of	42
at c and d	42
that can be divided	41
it is ready for	41
can be divided by	41
the table to the	41
in water five minutes	40
inside row of figures	40
is ready for use	40
with the inside row	40
the inside row of	40
tie the ends fast	39
over a small wire	39
boil in water five	39
then it is ready	39
vary the size of	39
the number of hairs	39
of the fifteenth century	38
to vary the size	38
any number of strands	38
of hairs in a	38
take off your weights	38
size of the braid	38
with a hole in	38
number of hairs in	38
if you want it	38
the middle of the	38
so as to draw	37
to keep it fast	37
number of strands that	37
water about ten minutes	37
hole in one end	37
as to draw a	37
small cord in the	37
fast on the wire	37
so it will not	37
like the eye of	37
a small cord in	37
cord in the place	37
in water about ten	37
you have it braided	37
the braid so it	37
the ends fast on	37
place of the wire	37
be divided by four	37
in one end like	37
put a little shellac	37
vary the number of	37
ends fast on the	37
then go to b	37
a little shellac on	37
strands that can be	37
one end like the	37
end like the eye	37
and push the braid	37
a hole in one	37
draw a small cord	37
and put a little	37
the ends of the	37
it will not slip	37
when you have it	37
braid so it will	37
take any number of	37
little shellac on the	37
boil in water about	37
to draw a small	37
you want it elastic	37
this over a small	37
of strands that can	37
to the size of	36
one of the most	36
the eye of a	36
it out and slip	36
eye of a needle	36
so it will fit	35
size you want the	35
to the mold you	35
number of strands according	35
the mold you wish	35
you want the braid	35
this over a round	35
of strands according to	35
stick on to the	35
braid from the stick	35
and then boil in	35
varying the number of	35
the size you want	35
on to the mold	35
and slip it off	35
fit the mold exactly	35
want the braid for	35
over a round stick	35
according to the size	35
slip the braid from	35
from the stick on	35
it will fit the	35
size of the stick	35
will fit the mold	35
you wish to use	35
the braid from the	35
then slip the braid	35
mold you wish to	35
ready to commence as	35
the stick on to	35
out and slip it	35
strands according to the	35
to commence as at	35
the braid for use	35
so on round table	35
the number of strands	35
in right hand and	35
until the braid is	34
table to the left	34
the braid is finished	34
being the usual number	34
the end of the	33
lay in place of	33
the victoria and albert	32
the outside row of	32
outside row of figures	32
the corner house girls	32
of the middle ages	32
and lay in place	32
around the table to	32
ready to commence at	32
right hand and no	32
go to b and	31
on the end to	31
shellac on the end	31
across inside of nos	31
to commence at a	31
the end to keep	31
end to keep it	31
the duke of saint	31
at b in left	30
push the braid together	30
wire on to the	30
of the braid so	30
go to c and	30
sew the ends of	30
b in left hand	30
and sew the ends	30
the wire on to	30
on to the cord	30
ends of the braid	30
the jewellery of the	30
eighty hairs in a	29
it so it will	29
tying it so it	28
of the seventeenth century	28
with the outside row	28
for the most part	27
and change as before	27
on round table to	27
the old corner house	26
at the present day	26
a in right hand	26
to the right and	25
fifteen hairs in a	25
at the same time	25
at a in right	25
in the shape of	24
braid together on the	24
then commence at a	24
the braid together on	24
set with precious stones	24
together on the wire	24
b and change the	24
in left hand and	23
and put in an	23
not slip on the	23
put in an oven	23
slip on the cord	23
will not slip on	23
out and put in	23
in the victoria and	23
round table to a	22
on the wire and	22
slip it off of	22
the wire and push	22
it off of the	22
of the wire on	22
and change the nos	22
off of the wire	22
round table to the	22
wire and push the	22
to b and change	22
appear to have been	22
in the possession of	21
as you did at	20
round the table to	20
and lay outside of	20
over inside of nos	20
change the same way	20
appears to have been	20
around table to the	20
the door of the	20
commence at a and	19
sixty being the usual	19
then go to a	18
then change the nos	18
commence with the outside	18
in the case of	17
in the middle of	17
for the sake of	17
swing around table to	17
change the same as	17
the second half of	17
the same as you	17
so on round the	17
on round the table	17
lay outside of nos	16
table and lay in	16
in addition to the	16
as well as the	16
to be found in	16
the top of the	16
same as you did	16
the table and lay	16
a considerable number of	16
to the left and	15
are preserved in the	15
till you get to	15
the right and change	15
on account of the	15
seems to have been	15
the duchess of saint	15
the same as at	15
from b and lay	15
the greater part of	15
cross over inside of	15
bring back the nos	15
second half of the	14
pearls and precious stones	14
it off the wire	14
the beginning of the	14
in the middle ages	14
the close of the	14
four hairs in a	14
at e and f	14
of the art of	14
you did at a	14
i do not know	14
a in left hand	14
and place them on	14
the time of the	14
and bring back the	14
at a in left	14
lay inside of nos	14
slip it off the	14
engraved designs for jewellery	14
so on round to	14
on round to a	14
the jewels of the	13
and change places with	13
the ornaments of the	13
in place of no	13
will be through the	13
are to be found	13
same as at a	13
you will be through	13
the history of the	13
of the eighteenth century	13
to c and change	13
in the sixteenth century	13
be through the braid	13
braid round to the	13
on the other hand	13
you get to a	13
repeat until the braid	12
at b in right	12
the shape of a	12
and lay inside of	12
at the end of	12
across the table and	12
for the purpose of	12
the latter part of	12
latter part of the	12
b in right hand	12
lay in between nos	12
and swing them around	12
the first half of	12
them around the table	12
eighty being the usual	12
took the form of	12
and swing around table	12
of the corner house	12
c and change the	12
and lay between nos	12
and repeat until the	11
what do you know	11
first half of the	11
of the jewellery of	11
the possession of the	11
the commencement of the	11
in the inventory of	11
commence at a as	11
a large number of	11
in silver and enamel	11
twenty hairs in a	11
greater part of the	11
be found in the	11
i want to know	11
braid round table to	11
i did not know	11
left hand and swing	11
on the part of	11
in form of a	11
the whole of the	11
is formed of a	11
and lay in between	11
change places with them	11
the table like pattern	11
on the table like	11
as shown in diagram	10
inventories of the exchequer	10
of the fourteenth century	10
then commence at c	10
and when i had	10
of the nineteenth century	10
half of the sixteenth	10
was one of the	10
is known as the	10
the table to a	10
in the collection of	10
to have been worn	10
the inventories of the	10
she looked at me	10
it seemed to me	10
the art of the	10
illustration take sixteen strands	10
at the time of	10
the fact that the	10
out of the house	10
of gold and silver	10
that is to say	10
then take the nos	10
and braid round to	10
in the same manner	10
at a as at	10
c and d and	10
the british museum is	10
early part of the	10
preserved in the british	10
towards the close of	10
at the right of	10
with precious stones and	10
a as at first	10
at b and a	10
and lift over table	9
the edge of the	9
in the way of	9
it is to be	9
the use of the	9
in the history of	9
from ear to ear	9
and d and change	9
number for this braid	9
as well as in	9
swing them around the	9
designs for jewellery by	9
in accordance with the	9
in the fifteenth century	9
what do you want	9
then you will be	9
the early part of	9
in the style of	9
what do you mean	9
go to a and	9
to have been a	9
set with pearls and	9
from pattern on page	9
usual number for this	9
for the first time	9
is preserved in the	9
in the centre a	9
that i did not	9
corner house girls on	9
the head of the	9
the front of the	9
of the twelfth century	9
round to the right	9
of the jewels of	9
at the sight of	9
right and change places	9
the back of the	9
the usual number for	9
and cross over inside	9
in the first place	9
them on the table	9
c in right hand	8
in the seventeenth century	8
with pearls and precious	8
so on around the	8
the names of the	8
the strands white hair	8
lift across the table	8
in the ashmolean museum	8
swing around the table	8
necklace of green diamonds	8
over table and lay	8
in the national gallery	8
from a to b	8
the artists of the	8
lift over table and	8
now in the british	8
the period of the	8
place them on table	8
in the art of	8
repeat with the same	8
in the time of	8
the left and change	8
with the same strands	8
at c in right	8
in the manner of	8
i should not have	8
the centre of the	8
the head of a	8
in the direction of	8
for the decoration of	8
throughout the whole of	8
sixteenth and seventeenth centuries	8
take the form of	8
fancy square chain braid	8
seventy hairs in a	8
the royal irish academy	8
to go to the	8
place them on the	8
and lay the one	8
of the british museum	8
and b and change	8
the remainder of the	8
the productions of the	8
to c and take	8
on around the table	8
off the wire on	8
half of the century	8
ornaments of the middle	8
the sixteenth and seventeenth	8
and set with a	8
was not to be	8
and now in the	8
them on table like	8
hand and swing around	8
with the exception of	8
that he was a	8
then repeat with the	8
at the old corner	8
pendant in form of	8
from d and lay	8
the work of the	8
a and b and	8
set with diamonds and	8
what do you think	8
pendants in form of	7
of the present day	7
round to the left	7
in the right hand	7
the name of the	7
left and change as	7
in the production of	7
the rest of the	7
in connection with the	7
by la maison moderne	7
tying the braid so	7
gold pendant set with	7
on the left side	7
at d the same	7
of the order of	7
each side of the	7
the most important of	7
executed by la maison	7
do you know about	7
across table and lay	7
take out and put	7
in spite of the	7
pendant in the form	7
in the course of	7
the bottom of the	7
in the use of	7
the beauty of the	7
the figure of a	7
about the middle of	7
to correspond with the	7
by the fact that	7
in the precious metals	7
is one of the	7
then take out and	7
gold and precious stones	7
as at a and	7
in the museum of	7
then go to e	7
the greater number of	7
of gold set with	7
to tell me that	7
the right and lay	7
jewellery of the time	7
on the one hand	7
and then take out	7
off the wire and	7
ends so it will	7
enamelled and set with	7
it is impossible to	7
as early as the	7
with regard to the	7
on the first floor	7
them in between nos	7
and bring back no	7
the fourteenth and fifteenth	7
then go to d	7
part of the century	7
tess and dot were	7
and braid the same	7
of you to come	7
and change places by	7
the ends so it	7
and on the cord	7
for a pendant by	7
wire and on the	7
the order of the	7
bequest in the british	7
fourteenth and fifteenth centuries	7
one in right hand	7
of the duke of	7
the one in right	7
sew the ends so	7
house girls on a	7
the wire and on	7
of the virgin and	7
of the british isles	7
to the present day	7
lift across inside of	7
the revival of the	7
the bavarian national museum	7
have been found in	7
the property of the	7
of tess and dot	7
a great deal of	7
has in the centre	7
at a and change	7
set with a ruby	7
the most famous of	7
in gold and enamel	7
the body of the	7
jewellery of the period	7
in the inventories of	7
the green and yellow	6
in the latter part	6
by the name of	6
i had come to	6
as a matter of	6
of the sixteenth and	6
the jewellers of the	6
ends to keep it	6
of the same style	6
and change places as	6
the right of no	6
and lay the no	6
in the hands of	6
and commence with the	6
the virgin and child	6
one of the chief	6
b and lay in	6
of one of the	6
a few years ago	6
i could not see	6
cross over and lay	6
as far as the	6
in a variety of	6
for the use of	6
i told her that	6
as you did the	6
sets of paternosters of	6
push the braid close	6
it is true that	6
of this jewel is	6
is now in the	6
with diamonds and rubies	6
out of the car	6
which must have been	6
kings of the east	6
it is formed of	6
to the seventeenth century	6
as late as the	6
said i to myself	6
in the left hand	6
that i could not	6
at the back of	6
and set with precious	6
and the one in	6
it may be that	6
green and yellow basket	6
the most part the	6
in the centre is	6
that it was a	6
and repeat ten times	6
of the same date	6
in the same style	6
change places by swinging	6
them inside of nos	6
it looks as though	6
cross the right over	6
the sixteenth century the	6
table and lay between	6
half of the fifteenth	6
in the matter of	6
the hands of the	6
of the same period	6
the right over the	6
of the royal irish	6
commence again at a	6
it would have been	6
dates from about the	6
for a moment i	6
i should like to	6
in gold and silver	6
and d the same	6
the side of the	6
to the conclusion that	6
i am going to	6
b and lay outside	6
illustration then commence at	6
in place of the	6
lay them in between	6
d and change as	6
the national museum of	6
at the top of	6
the ends to keep	6
i did not doubt	6
during the middle ages	6
design for a pendant	6
c and take nos	6
of the second half	6
and from b to	6
in front of the	6
the end of it	6
in the corner house	6
a day or two	6
of the three kings	6
the personal ornaments of	6
as shown in the	6
to a and commence	6
by the use of	6
and one of the	6
and braid round table	6
portrait of a lady	6
the museum of the	6
on the ends to	6
personal ornaments of the	6
worn by both sexes	6
lay the one in	6
to the door of	6
he looked at me	6
shellac on the ends	6
the braid close together	6
national museum of antiquities	6
the necklace of green	6
over in place of	6
at the period of	6
change places as before	6
of charles the bold	6
and lay them in	6
places by swinging them	6
right over the left	6
smaller corner house girls	6
right and change as	6
on each side of	6
and i found myself	5
and lay them inside	5
had no intention of	5
and b as at	5
the jewel of st	5
why i should not	5
again at a and	5
d and lay in	5
on the right hand	5
the mystery of the	5
of the duchess of	5
on the buckshot road	5
his majesty the king	5
of the designs of	5
at c over between	5
with a number of	5
the treasury of the	5
have been discovered in	5
swing to the right	5
to tess and dot	5
is used for braiding	5
in the treasury of	5
of a lady by	5
as ornaments for the	5
correspond with the following	5
the way in which	5
that i had seen	5
c over between nos	5
treasure of white creek	5
you know very well	5
seem to have been	5
you did the nos	5
and change as at	5
was not at all	5
left hand and change	5
in the centre of	5
was a man of	5
of some of the	5
left hand and no	5
are a number of	5
that he had been	5
i thought you were	5
and lift over across	5
middle of the century	5
there is in the	5
british museum is a	5
from time to time	5
the spirit of the	5
for the display of	5
of the dukes of	5
across in place of	5
at first and repeat	5
of the ring is	5
e and f the	5
change across inside of	5
and inventories of the	5
what is the matter	5
old corner house and	5
in the sixteenth and	5
a and b as	5
to the sixteenth century	5
the designs of the	5
at d and c	5
a matter of fact	5
he told me that	5
lay them inside of	5
takes the form of	5
in the works of	5
in one of the	5
have come down to	5
there is no reason	5
the influence of the	5
to be able to	5
have been worn by	5
served the purpose of	5
the two little girls	5
a and change across	5
according to directions on	5
and from d to	5
the prisoner of zenda	5
the course of the	5
corner house girls among	5
the upper part of	5
la maison moderne plate	5
in such a manner	5
house girls among the	5
the sound of the	5
may be said to	5
is to be observed	5
with the jewellery of	5
g and h the	5
and i could not	5
a and commence as	5
and h the same	5
the surface of the	5
throughout the middle ages	5
girls among the gypsies	5
over across the table	5
and change across inside	5
commencement of the seventeenth	5
in the waddesdon bequest	5
the opal of carmalovitch	5
i thought it was	5
the lost and found	5
between the thumb and	5
beginning of the sixteenth	5
in the national portrait	5
on account of their	5
to the end of	5
to c and d	5
in the germanic museum	5
george and the dragon	5
to the right until	5
you get to the	5
the same manner as	5
d the same as	5
the part of the	5
set with a sapphire	5
franks bequest in the	5
and lift them across	5
the corner of the	5
the franks bequest in	5
gustave de berensac and	5
and commence as at	5
braid it over a	5
during the greater part	5
for the same purpose	5
set with rubies and	5
the manner of the	5
as well as of	5
on a ground of	5
by the side of	5
the lobe of the	5
and f the same	5
and that of the	5
and i did not	5
sixty hairs in a	5
to me that i	5
into the form of	5
of a variety of	5
it was evident that	5
twelve hairs in a	5
the man in the	5
i knew that i	5
in the museum at	5
the shores of the	5
what shall i do	5
the style of the	5
end of the fifteenth	5
it occurred to me	5
i was about to	5
me for a moment	5
names of the three	5
table to correspond with	5
of the jewel is	5
in silver and enamels	5
i do not think	5
eighths of an inch	5
i beg your pardon	5
to e and h	5
towards the end of	5
the introduction of christianity	5
the corner house girl	5
it seems to me	5
to directions on page	5
then commence as at	5
of the thirteenth century	5
b as at first	5
of the human figure	5
of the silver bracelet	5
out of the window	5
at d in left	5
is not to be	5
for the love of	5
the british museum contains	5
in the second half	5
of precious stones and	5
the case of the	5
of the most remarkable	5
jewellery of the middle	5
in half an hour	5
antiquities in the british	5
national museum at munich	5
jewellers of the day	5
d in left hand	5
as at first and	5
and the same way	5
a few of the	5
lift over table to	5
to one of the	5
and lift across the	5
with a ruby and	5
walked out of the	5
so far as i	5
in the midst of	5
the production of jewellery	5
the national portrait gallery	5
the sight of it	5
when you will be	5
a roll of parchment	5
set with a small	5
side by side with	5
some of them are	5
and lift over nos	5
them across the table	4
b over between nos	4
precious stones designed by	4
gave it to us	4
gold ornaments of the	4
change over in place	4
friend gustave de berensac	4
it was found in	4
at the beginning of	4
there was something in	4
and lay it inside	4
be said to have	4
until the middle of	4
art of the goldsmith	4
on account of its	4
the belt or girdle	4
that it is a	4
the crown of thorns	4
the last few years	4
the same style as	4
is in the victoria	4
formerly in the collection	4
over the table and	4
of objects of this	4
they are composed of	4
at the side of	4
in the corner of	4
end of the century	4
and then to the	4
jewels of the period	4
with which it is	4
to the british museum	4
give the bracelet to	4
the sake of their	4
from the fourteenth century	4
lady of the sapphires	4
any number that can	4
work of the second	4
the latter half of	4
in beaten silver and	4
fancy cable chain braid	4
around to the right	4
formerly the property of	4
and i began to	4
and then it is	4
the time of louis	4
they are going to	4
cameo of charles v	4
as enseignes upon the	4
the majority of these	4
saw at once that	4
the best known of	4
in the franks bequest	4
maison moderne plate illustration	4
table and lay them	4
in addition to these	4
on either side of	4
at c in left	4
figures of the virgin	4
directions of each pattern	4
a manner as to	4
of each pattern until	4
a part of the	4
on a flat stick	4
the thirteenth to the	4
by jacques androuet ducerceau	4
from the first half	4
it is composed of	4
the hoop of the	4
take sixteen strands eighty	4
to the front of	4
as i have said	4
it must be confessed	4
braid round the table	4
in a low voice	4
as the result of	4
room of the british	4
was evident that the	4
in a way that	4
to the old corner	4
the first of these	4
the advertisement in the	4
is to be hoped	4
that he had a	4
said to have been	4
one of the best	4
lay them between nos	4
form of a ship	4
enseignes upon the hat	4
enriched with blue enamel	4
the study of the	4
from the commencement of	4
and at a and	4
sixteen strands eighty hairs	4
in the portrait of	4
to a and change	4
lobe of the ear	4
it is of gold	4
that i was not	4
hand and change as	4
and so on till	4
as one of the	4
then go to g	4
hoop of the ring	4
well as in the	4
of the kings of	4
to the house of	4
employed for the purpose	4
is said to have	4
in the hope of	4
changing places with them	4
there is one thing	4
nothing to do with	4
i told him that	4
but there was a	4
looked up with a	4
reason why i should	4
dating from the first	4
that the duchess was	4
at h and g	4
from c down at	4
the leaders of the	4
the mind of the	4
looked up at me	4
strands eighty hairs in	4
in the tomb of	4
lay it inside of	4
at c across inside	4
sold us the basket	4
is it of yours	4
worthy of remark that	4
is ornamented with a	4
f and g to	4
the majority of the	4
museum of the royal	4
pattern until the braid	4
the use of earrings	4
do not know that	4
inventory of the jewels	4
the value of the	4
as i could see	4
rounds by the directions	4
out straight on a	4
the art of enamelling	4
did at a and	4
c down at the	4
be observed that the	4
so as to be	4
in the eighteenth century	4
on the night of	4
hand down at b	4
is the property of	4
that have come down	4
a man who is	4
to the little girls	4
the two gypsy women	4
enamels and precious stones	4
go to e and	4
and repeat the same	4
but it was the	4
to me in the	4
the one in left	4
ten rounds by the	4
in the early part	4
it out straight on	4
at b over between	4
the art of hair	4
by a number of	4
as though she had	4
number that can be	4
the termination of the	4
take the outside row	4
the finding of the	4
with enamels and precious	4
bijoux anciens et modernes	4
from f to e	4
glad to see you	4
in the church of	4
straight on a flat	4
was given to the	4
c across inside of	4
leda and the swan	4
jewels of the renaissance	4
on the opposite side	4
them side by side	4
that i should be	4
is set with a	4
we are going to	4
good of you to	4
half the strands white	4
that i had not	4
the point of view	4
ashbee executed by the	4
and lay them all	4
in the pitti gallery	4
and the other in	4
the matter with you	4
the place of nos	4
and g to e	4
a moment i was	4
on the back of	4
in a frame of	4
at the hands of	4
it is possible that	4
the city of london	4
the centre is a	4
is the use of	4
the strands at c	4
in england during the	4
intended to be worn	4
on the top of	4
over table to d	4
i did not like	4
fifteenth and sixteenth centuries	4
and at the same	4
is shown in the	4
the national museum at	4
etruscans appear to have	4
and on the other	4
and lay them between	4
the pursuit of the	4
in the manufacture of	4
the etruscans appear to	4
on the occasion of	4
gold pendants set with	4
end of the girdle	4
the fretted silver bracelet	4
of the strands white	4
to the use of	4
the british museum and	4
one side of the	4
it is of silver	4
it appears to have	4
to be observed that	4
examples of his work	4
a quarter of an	4
at the corner house	4
into the possession of	4
sometimes in the form	4
the inventory of the	4
over the top of	4
the directions of each	4
indiscretion of the duchess	4
in love with the	4
the exception of the	4
set with rose diamonds	4
table in place of	4
hung with little bells	4
gave it to me	4
to b and lay	4
i looked at the	4
in the bavarian national	4
looked at me with	4
with clusters of pearls	4
reference will be made	4
strands at c and	4
then commence again at	4
them over the table	4
them around table to	4
the story of the	4
in the fact that	4
from f and g	4
alternately ten rounds by	4
you have found it	4
in the list of	4
this sort of thing	4
the indiscretion of the	4
half in love with	4
up with a start	4
brooch in silver and	4
the isle of wight	4
the change of taste	4
illustration take twenty strands	4
the under side of	4
in the same way	4
but i had no	4
there was a pause	4
enriched with polychrome enamels	4
of the precious stones	4
suspended from the neck	4
did not know what	4
that there is a	4
from the fact that	4
the foot of the	4
to the bottom of	4
during the fifteenth century	4
during the course of	4
in the national museum	4
the development of the	4
was formerly in the	4
a glass of wine	4
middle of the seventeenth	4
a monogram of the	4
far as can be	4
by side with the	4
place a diadem plait	4
commence at a with	4
b and a the	4
out of the hotel	4
one in left hand	4
who had come to	4
with which they are	4
design for a pendent	4
he came to me	4
nothing of the sort	4
lay them all down	4
in the uffizi gallery	4
double rib chain braid	4
was supposed to possess	4
to the production of	4
my lady of the	4
the left and lay	4
until the chain is	4
the direction of the	4
over and lay between	4
of edward the confessor	4
time of james i	4
and i do not	4
have been employed as	4
of this class of	4
held out her hand	4
and place on the	4
of the fact that	4
by the guild of	4
kalendars and inventories of	4
jewels of this kind	4
the goldsmiths of the	4
and swing around the	4
swing around to the	4
and swing to the	4
are in the british	4
so far as it	4
a portrait of a	4
you are ready to	4
executed by the guild	4
right hand down at	4
out of my pocket	4
place on the table	4
to me when i	4
come down to us	4
to the jewellery of	4
it has in the	4
the form of the	4
worn in the hat	4
e and f and	4
it inside of no	4
how do you know	4
is to be found	4
to a certain extent	4
cross inside of nos	4
the legend of st	4
lift them across the	4
about the same time	4
part of the seventeenth	4
at g and h	4
i saw at once	4
her hand to me	4
body of the duke	4
the left side of	4
heat it in an	4
of the italian renaissance	4
c and d the	4
fancy twist chain braid	4
a certain amount of	4
the cameo of charles	4
the bracelet in the	4
seemed to me that	4
at f and g	4
the early seventeenth century	4
each pattern until the	4
for i did not	4
is in the form	4
for the sum of	4
to the fifteenth century	4
lift across table and	4
jewellery of all kinds	4
work in the form	4
know what to do	4
from c to d	4
under the name of	4
the corner house family	4
and braid round the	4
and i knew that	4
or any number that	4
the sixteenth and the	4
the portraits of the	4
a decision as to	4
tie it out straight	4
are ready to commence	4
so as to form	4
the guild of handicraft	4
but she did not	4
and lift across table	4
the possession of a	4
formed part of the	4
the dukes of burgundy	4
braiding alternately ten rounds	4
believed to have been	4
upon the front of	4
girls on a houseboat	4
g to e and	4
the time of james	4
i found myself at	4
upper part of the	4
lift them over the	4
it was the custom	4
by the directions of	4
such a manner as	4
with some of the	4
now preserved in the	4
be divided by two	4
right and lay in	4
latter half of the	4
and a the same	4
c in left hand	4
the various kinds of	3
figures of antony and	3
jewels and precious stones	3
in the royal library	3
he came to the	3
it is difficult to	3
rothschild bequest in the	3
at the left side	3
part of the fifteenth	3
articles of jewellery in	3
the aspect of the	3
part of the sixteenth	3
and in the end	3
i was at the	3
no alternative but to	3
joyaux de la couronne	3
pan of stew and	3
about the old corner	3
across the street to	3
left and lay in	3
for the production of	3
is the basis of	3
and jewels of mary	3
me that i should	3
the lower part is	3
he gave me a	3
and i left her	3
car out of the	3
and set with rubies	3
in proportion to the	3
count palatine of neuburg	3
enamelled gold set with	3
the braid inside out	3
and told me that	3
to be hoped that	3
spanish work of the	3
into the hands of	3
for the sale of	3
the portrait of a	3
and found column in	3
suspended from the girdle	3
worn round the neck	3
of the ornaments of	3
he is a good	3
in the first half	3
not know what to	3
and albert museum possesses	3
he on his part	3
over the possession of	3
i did not wait	3
make the best of	3
me in the house	3
of london and london	3
pendants of the same	3
the inside of the	3
the property of sir	3
i will set it	3
the shadow of the	3
of art in the	3
for the benefit of	3
and lay it across	3
i have ever known	3
some of the hair	3
then commence on the	3
at a and braid	3
out with the right	3
the germanic museum at	3
but it was not	3
the seventeenth and eighteenth	3
open the door of	3
on a swinging cot	3
at home and abroad	3
in the bay of	3
and is now in	3
clasps in silver and	3
are formed of two	3
the middle ages is	3
but he did not	3
a high degree of	3
b over across nos	3
ornamental rings of the	3
from to per pound	3
a ruby and a	3
the form of small	3
silver brooch with enamel	3
did not doubt that	3
the inner side of	3
side of the mold	3
and position in braiding	3
he would be at	3
i could not deny	3
nothing more than a	3
the hills and far	3
shadow of the kasbah	3
ornaments for the head	3
draw out with the	3
as long as the	3
is composed of a	3
of pearls and precious	3
corner house girls were	3
and fasten with shellac	3
in which they were	3
to the fact that	3
would be glad to	3
i wish i had	3
down at the right	3
it is a very	3
comb in silver and	3
in form of skulls	3
to the number of	3
then comb the hair	3
love with the duchess	3
the dress of the	3
the benefit of the	3
jewels in form of	3
as a central ornament	3
of greek and roman	3
then change again at	3
of the above bracelet	3
swinging them around the	3
no help for it	3
of a religious character	3
the patron saint of	3
jeweller to philip the	3
and i saw that	3
for the possession of	3
this is a case	3
weight on the strands	3
under the influence of	3
i did not even	3
a representation of the	3
and precious stones designed	3
to pay for the	3
with a cameo of	3
sets of aves of	3
the finest examples of	3
is true that the	3
the same at c	3
do not think that	3
push the strands together	3
the display of the	3
marygold by temple bar	3
across to g and	3
in a moment that	3
of an inch in	3
germanic museum at nuremberg	3
but i could not	3
on the side of	3
the virgen del pilar	3
will be made to	3
of a single figure	3
the left hand over	3
house girls growing up	3
a great pan of	3
did not lose the	3
table and position in	3
and b the same	3
that in which the	3
in the character of	3
to give up the	3
change as you did	3
i had seen in	3
from b at a	3
the best productions of	3
the dispersal of the	3
the littlest corner house	3
british museum contains a	3
garnished with sparcks of	3
it was a strange	3
hills and far away	3
and it was the	3
supposed to possess special	3
of english jewellery of	3
the most part of	3
the inventory of henry	3
across over inside of	3
lift over to b	3
the changes until the	3
which i did not	3
gems and jewels at	3
by the british museum	3
indulged in by the	3
f the same as	3
the way to the	3
in the rue de	3
above cut shows the	3
had the pleasure of	3
after it is braided	3
the hair between two	3
one end of the	3
classes of the community	3
change the figures on	3
with the arms of	3
letters and papers of	3
most beautiful of all	3
to the foot of	3
orazzi executed by la	3
ornaments of the british	3
under side of the	3
the one in the	3
the time taking the	3
of wearing the hair	3
formed of precious stones	3
the matter of that	3
the late celtic period	3
was too late to	3
i am inclined to	3
by grace brooks hill	3
the fifteenth and sixteenth	3
at c with the	3
watch and the scimitar	3
of the hoop is	3
of precious stones was	3
of this kind may	3
of the precious metals	3
had no idea that	3
in view of the	3
for this weft use	3
me that he had	3
suau de la croix	3
she did not wish	3
brought to light in	3
pursuit of the topaz	3
we have already spoken	3
to be associated with	3
after the manner of	3
young woman brought a	3
one in the british	3
no doubt that the	3
to the head of	3
presented me with photographs	3
surface of the metal	3
and it may be	3
major lex amor est	3
small braids from pattern	3
jewels of mary stuart	3
hair required for the	3
want that silver thing	3
and on his death	3
until about the middle	3
corner house girls snowbound	3
at e and h	3
left hand at a	3
bust of a woman	3
of the present work	3
figures on the table	3
and the other at	3
forty being the usual	3
sir hans sloane in	3
the most usual form	3
from the time of	3
one hundred and fifty	3
d in right hand	3
you did at c	3
the face of a	3
then she rose and	3
into the house and	3
beaten silver and enamel	3
the rue de morny	3
they will not let	3
is a pair of	3
he had left his	3
the recovery of the	3
to g and h	3
it must be admitted	3
figures in high relief	3
to have been presented	3
away from the house	3
at the foot of	3
said that he was	3
rings on a roll	3
then go back to	3
in the cabinet des	3
of the german school	3
in right hand down	3
most highly prized of	3
i know only that	3
come into the room	3
you did not lose	3
middle of the sixteenth	3
i could see that	3
are in the form	3
to be a pirate	3
worn by one of	3
the history of jewellery	3
of the century following	3
of course we would	3
there was nothing else	3
and cross over to	3
this class of work	3
to philip the good	3
as is clear from	3
we will have to	3
is no reason why	3
i was in a	3
parts of the body	3
you will have to	3
no less than twenty	3
the girls could sit	3
of thin plates of	3
give it to me	3
way in which the	3
about the end of	3
the man who took	3
gold mountings for hair	3
knew that i was	3
left till you get	3
house girls under canvas	3
the case of men	3
and change across to	3
he was a man	3
and lay on table	3
the numbers at d	3
braiding table and position	3
ten minutes after she	3
of elizabeth by hilliard	3
there is a good	3
the most highly prized	3
museum of antiquities at	3
of one hundred and	3
the path of the	3
would never forgive me	3
have been a common	3
on the following morning	3
half twist chain braid	3
taste for the antique	3
the collection of baron	3
the truth of this	3
lay on table like	3
mountings for hair jewelry	3
change the same at	3
order of the garter	3
with a text from	3
do you want to	3
strands to the right	3
the right until the	3
at this time of	3
to b and braid	3
there was no help	3
the gate of the	3
i will tell you	3
of wealth and distinction	3
the thirteenth and fourteenth	3
and the fact that	3
and hung with pearls	3
the table to correspond	3
then push the strands	3
worn throughout the middle	3
from the fifteenth century	3
as soon as they	3
of the work is	3
an important series of	3
of the earl of	3
as though i had	3
of the same color	3
in the silhouette manner	3
the fashion of wearing	3
go and see her	3
of arts and crafts	3
place them side by	3
silver and enamels kate	3
has already been noticed	3
told me that you	3
by the number of	3
it is not to	3
on his death in	3
it may be remembered	3
elbows on the table	3
in left hand at	3
is a matter of	3
a couple of thousand	3
it into the left	3
be that as it	3
three spoons to the	3
made a fool of	3
then tie it out	3
a number of other	3
this species of enamel	3
art productions of the	3
there had been a	3
the best of it	3
present day upon the	3
somewhat similar to the	3
b in place of	3
the duke and i	3
the hat or cap	3
the best examples of	3
will want to wear	3
of the same form	3
jewellery of this time	3
the middle ages was	3
in my mind as	3
from g to h	3
with jewelled and enamelled	3
it was supposed to	3
hair between two cards	3
saw that it was	3
the shrine of the	3
silk of the same	3
will be at the	3
was known as the	3
that there had been	3
and i am not	3
and the one from	3
of earrings of this	3
a over across nos	3
change it into the	3
which is a part	3
as is the case	3
of stew and bread	3
dating from the fourteenth	3
the form of an	3
and beauty of the	3
of the city of	3
of antony and cleopatra	3
the necklace and the	3
that she would be	3
lord mayor of london	3
is in the shape	3
do you know that	3
right hand and swing	3
head of a negro	3
is in the louvre	3
i am not an	3
and cross inside of	3
in the hope that	3
braid ready to commence	3
it would be an	3
pendants of the renaissance	3
drawings for jewellery by	3
of more solid construction	3
brooch worn by the	3
do you know of	3
as shown in cut	3
as can be judged	3
a good deal of	3
and other jewels of	3
wear it at the	3
and that he had	3
strands for usual size	3
hung with clusters of	3
the side door of	3
known also as the	3
by virtue of the	3
change again at a	3
to have been in	3
fact that it is	3
them outside of nos	3
was no help for	3
probably the work of	3
in use at the	3
the thumb and fore	3
with three pendent pearls	3
change as at first	3
by the goldsmiths of	3
it is probable that	3
the art of jewellery	3
of this period is	3
of the society of	3
in the sitting room	3
to go to bed	3
to get rid of	3
for the present purpose	3
virgin and child and	3
different parts of the	3
got out of the	3
the whole of his	3
tess and dot had	3
if you want to	3
the reverse of the	3
the rest of his	3
top of the stairs	3
little doubt that the	3
on the table and	3
seventeenth and eighteenth centuries	3
by sir hans sloane	3
the two smaller corner	3
b and braid the	3
part of the nineteenth	3
standing in the doorway	3
painted on silk by	3
part of the middle	3
by the santini family	3
lay the strand over	3
to d and lay	3
of antiquities of scotland	3
for all the world	3
is evident from the	3
return to a and	3
at the mercy of	3
i wanted to ask	3
hand and swing them	3
of the glyptic art	3
guild of handicraft plate	3
if it had not	3
brooch in form of	3
found myself at last	3
was presented to the	3
and was about to	3
as a rule in	3
cranach in the national	3
then lay the nos	3
lift across table to	3
you want to be	3
cannot fail to be	3
at the left of	3
me to be a	3
braid to the left	3
she was in the	3
for the exercise of	3
eyes fell on me	3
to the right of	3
quarter of an hour	3
front of the church	3
by orazzi executed by	3
change across to g	3
of sir francis drake	3
and in the centre	3
the hair of the	3
it is in the	3
head of the pin	3
it was worn by	3
had gone to bed	3
i have never heard	3
though the majority of	3
was that the duchess	3
the events of the	3
second quarter of the	3
of this kind were	3
is that in the	3
said this with a	3
pin in silver and	3
it was the first	3
the figures on the	3
shores of the bay	3
set with turquoises and	3
half an inch in	3
from the neck by	3
seventeenth and early eighteenth	3
jeweller to william iii	3
and lay them outside	3
chain to the girdle	3
seemed to wait for	3
it out of the	3
with the right hand	3
other articles of jewellery	3
struck on my ear	3
form of a single	3
to have been employed	3
a juell of golde	3
roman de la rose	3
artists of the renaissance	3
design in jewellery and	3
i had been in	3
years of the seventeenth	3
thin plates of gold	3
of the process of	3
brooches in chased gold	3
the hair from the	3
he turned to me	3
corner house girl was	3
the watch and the	3
illustration take any number	3
highly prized of all	3
but as a rule	3
of the first half	3
from the crown of	3
a lady by sodoma	3
the whole of this	3
and as a result	3
i have told you	3
time of louis xvi	3
sixteenth and early seventeenth	3
back of a miniature	3
one and the same	3
have been made by	3
precious stones in the	3
but at the moment	3
as that of a	3
as to form a	3
in the portraits of	3
i fell in with	3
on the edge of	3
of the back hair	3
that he did not	3
mary queen of scots	3
at the very moment	3
table till you get	3
at an early date	3
when i saw the	3
it over a small	3
in the united states	3
gold brooches designed by	3
the other in the	3
you know that i	3
it consists of a	3
in a portrait of	3
in all manner of	3
put it in the	3
the opera ball to	3
in course of time	3
came into the possession	3
on a roll of	3
fine examples of the	3
that i do not	3
and three spoons to	3
in jewellery and fans	3
appear to have had	3
part of the eighteenth	3
chuckled the old man	3
of this period are	3
in addition to a	3
london and london life	3
that i found myself	3
braiding around the table	3
the form of pendants	3
size of the weft	3
portrait of giovanna tornabuoni	3
the door was shut	3
a variety of ways	3
enriched with precious stones	3
his way through the	3
on the under side	3
and with that i	3
ornaments in the form	3
and in the middle	3
i thought that i	3
quantity of hair required	3
to be worn in	3
and other precious stones	3
to be carried out	3
in commencing to weave	3
you want to know	3
what appears to be	3
put in the paper	3
i must confess that	3
may be that the	3
the eye of the	3
b and change places	3
this species of ornament	3
room on the first	3
that of any other	3
do not seem to	3
of the fourteenth and	3
stood looking at me	3
in the fourteenth century	3
the fact that they	3
the nineteenth century the	3
figure of a saint	3
they want that silver	3
is the fact that	3
pass it over to	3
the reign of henry	3
in the evening when	3
side door of the	3
for a considerable time	3
for the reception of	3
the most beautiful of	3
the braid ready to	3
he was one of	3
among the leaders of	3
tess and dot in	3
of the fifteenth and	3
silver and enamel e	3
the other with a	3
on me for a	3
thirteenth to the fifteenth	3
in other parts of	3
a cup of coffee	3
there was a good	3
when she saw me	3
the stone in a	3
it was too late	3
of the finger ring	3
is worthy of remark	3
up to the table	3
like a man who	3
purpose for which they	3
for the second time	3
one young woman brought	3
the ears of the	3
the sides of the	3
that the duke of	3
the above cut shows	3
as though it had	3
on the strands at	3
and set in a	3
at d in right	3
go back to a	3
as far as can	3
as in the case	3
a great number of	3
and change as you	3
will be referred to	3
on the corn bin	3
a good look at	3
and bread and three	3
made up my mind	3
attention at the hands	3
on the following day	3
and must have been	3
the man had not	3
it at the ball	3
of my own will	3
of the late renaissance	3
c with the outside	3
of glass and gold	3
in dealing with the	3
to tell the truth	3
there would be no	3
the best we can	3
the sixteenth century and	3
was quite sure that	3
as shown by the	3
spoons to the van	3
as a man who	3
the surface of which	3
a small number of	3
the fourteenth to the	3
a ring with a	3
chattered with great excitement	3
the light of the	3
but i do not	3
until you get to	3
and set with diamonds	3
it came to me	3
as to be almost	3
late sixteenth and early	3
du suau de la	3
ornaments of the period	3
the painters of the	3
the chain is completed	3
of the virgen del	3
is at this moment	3
set with garnets and	3
the fact that it	3
designed by orazzi executed	3
precious stones and enamels	3
forms of personal ornament	3
girls the corner house	3
it was not until	3
and the other with	3
you will give me	3
the treasure of the	3
in the circle of	3
if you wish to	3
to which is attached	3
introduction of christianity into	3
to which they belong	3
i had heard of	3
into the left hand	3
that silver thing back	3
what i want to	3
to be that of	3
turn the braid inside	3
him that i would	3
it would not be	3
bracelet out of the	3
period of the renaissance	3
did not have to	3
what to say to	3
five hairs in a	3
by the firm of	3
d and lay inside	3
then change the same	3
he would not be	3
and early seventeenth centuries	3
frances mcnair plate illustration	3
to the left till	3
you do not know	3
to have been an	3
two strands of black	3
reserved in gold on	3
composed of beads of	3
pistol to his head	3
he went to the	3
no reason why i	3
brought a great pan	3
braided take off your	3
by queen elizabeth to	3
from the fourteenth to	3
with luke and cecile	3
hand at a over	3
pendant in gold and	3
and i took the	3
i should have been	3
the loch buy brooch	3
of about the same	3
parts of the british	3
of the golden fleece	3
i could not help	3
revival of the art	3
of many of the	3
of our lady of	3
corner house girls and	3
the action of the	3
public and private collections	3
the same to the	3
preserved in the ashmolean	3
the love of god	3
i was in the	3
to the back of	3
are mentioned in the	3
lost and found column	3
numbers at d the	3
silver and enamel d	3
he appears to have	3
out of the question	3
which she had been	3
was worn in the	3
did not wish to	3
swing them around table	3
for a moment in	3
had come to the	3
lift over across table	3
buried with the dead	3
they gave it to	3
it is evident that	3
in a quarter of	3
littlest corner house girl	3
in form of an	3
the contents of the	3
as has been shown	3
about the same date	3
one on each side	3
from patterns on pages	3
braids from pattern on	3
jewellery of the renaissance	3
the origin of the	3
were attached to the	3
it had not been	3
the base of the	3
number of objects of	3
and and lift over	3
over the hills and	3
and jewels at windsor	3
then you are ready	3
one of the greatest	3
corner house girls under	3
containing a miniature of	3
bequest in the louvre	3
fan painted on silk	3
the present day upon	3
through the braid ready	3
the same as that	3
the spot where the	3
i took up the	3
and so on around	3
sack of constantinople by	3
of the ring and	3
as long as you	3
d and change the	3
to do with it	3
and surmounted by a	3
richard coeur de lion	3
go and tell them	3
by one of the	3
will not let me	3
the above bracelet braids	3
all the time taking	3
the possession of sir	3
from the beginning of	3
is the matter with	3
and change across in	3
the inventory of edward	3
of jewellery in the	3
of the most elaborate	3
for the recovery of	3
it is worthy of	3
table to b and	3
of which i am	3
to gustave de berensac	3
he did not know	3
i saw that the	3
it is well to	3
to this later period	3
h the same as	3
then to the right	3
corner house girls growing	3
the second quarter of	3
the comedy of the	3
designs for jewellery are	3
productions of the time	3
in the same collection	3
i will not say	3
employed for fastening the	3
as far as its	3
jewels of the same	3
is the way in	3
best productions of the	3
fifty hairs in a	3
the manner in which	3
two smaller corner house	3
pin in beaten silver	3
it on the table	3
and that there was	3
it up to the	3
with an air of	3
commence on the left	3
out her hand to	3
jewellery brought back from	3
around to the left	3
my mind that the	3
i sat down on	3
which is attached a	3
the smaller corner house	3
he said this with	3
get to the bottom	3
a man in the	3
the neck by a	3
seems to be a	3
at the commencement of	3
a great quantity of	3
across table to b	3
les bijoux anciens et	3
place the hair between	3
of a number of	3
said in answer to	3
memorials of london and	3
as well as by	3
museum of antiquities of	3
from tharros in sardinia	3
girls on a tour	3
by a chain to	3
then change the figures	3
tell me all about	3
the possession of mr	3
house in boscobel place	3
the point of the	3
out of the ditch	3
a fan painted on	3
of hair required for	3
too much for him	3
usually in the form	3
english inventories of the	3
towards the middle of	3
lennox or darnley jewel	3
the strand over no	3
of the same kind	3
is a list of	3
that sold us the	3
up to the present	3
then heat it in	3
the other side of	3
the collection in the	3
effigy of henry iv	3
english jewellery of the	3
the matter with her	3
miniature of elizabeth by	3
of articles of jewellery	3
will be spoken of	3
on the table to	3
across with the numbers	3
rings of the time	3
hundred and fifty pounds	3
bavarian national museum at	3
on the question of	3
was the custom to	3
at the opera ball	3
and set with pearls	3
had eaten the last	3
the matter of the	3
stew and bread and	3
reproduced by quaritch in	3
such a thing as	3
i felt sure that	3
which i had seen	3
two small braids from	3
as has been said	3
and a considerable number	3
by swinging them to	3
by swinging them around	3
of jewels in the	3
the sound of a	3
for a wedding present	3
preserved in the victoria	3
in the setting of	3
the sight of him	3
for the matter of	3
fine silk of the	3
that it would be	3
the whole of europe	3
the opposite side of	3
left on my hands	3
in the street without	3
it is a circular	3
brought to light the	3
did at c and	3
a chain to the	3
with the following diagram	3
he chattered with great	3
of the chief treasures	3
to speak to me	3
from a at b	3
of a similar nature	3
containing a portrait of	3
from the early part	3
have thought of that	3
comb the hair back	3
and trim the ends	3
already been alluded to	3
swinging them to the	3
two of the finest	3
brooches of this kind	3
over and lay in	3
five years of age	3
of a sudden he	3
the possession of lord	3
to get away from	3
required for the size	3
by far the most	3
her eyes to mine	3
the bay of the	3
close of the fifteenth	3
almost complete absence of	3
i had time to	3
was not in the	3
that the duke had	3
the sixteenth century are	3
the origin of this	3
and pass it over	3
the nape of the	3
the splendour of the	3
pelican in her piety	3
meant to be worn	3
out of the stable	3
and his manner was	3
had made up my	3
lay them outside of	3
forms for braiding over	3
the ring of the	3
luke and cecile shepard	3
bread and three spoons	3
through the marriage of	3
get to the center	3
of the jeweled links	3
other parts of the	3
b and lay no	3
jewellery of the sixteenth	3
the majority of renaissance	3
part is formed of	3
the works of the	3
is a part of	3
lambert executed by p	3
not let me see	3
the interior of a	3
prehistoric gold ornaments of	3
in the majority of	3
productions of the renaissance	3
part of the country	3
then return to a	3
barbaric jewellery of europe	3
the left till you	3
the art of gem	3
with faceted crystal enclosing	3
and change over in	3
diamonds and other precious	3
the jewel is found	3
set with a large	3
thirteenth and fourteenth centuries	3
that she had been	3
then change it into	3
he was a good	3
the question of the	3
back in my chair	3
in many cases to	3
patterns on pages and	3
know where she is	3
for many minutes i	3
side of the road	3
changes until the braid	3
on the table before	3
when i saw that	3
told me that i	3
in the dress of	3
for the man was	3
continued to be worn	3
so that he could	3
a pair of earrings	3
gold set with diamonds	3
that the police would	3
the quantity of hair	3
at a over across	3
to have had a	3
the arrangement of the	3
about half an hour	3
collar of the order	3
told him that i	3
set with a cameo	3
nape of the neck	3
reclined on a swinging	3
change across in place	3
and came into the	3
but i did not	3
the owner of the	3
great pan of stew	3
i will give you	3
under the title of	3
i shut the door	3
the rings of the	3
did not seem to	3
jewellery and fans by	3
the majority of which	3
them are preserved in	3
in the house of	3
i do not believe	3
first and repeat ten	3
of the treasure of	3
from the twelfth century	3
like other articles of	3
as has been observed	3
at a time when	3
thousand pounds for it	3
of dealing with the	3
swinging to the right	3
portraits and jewels of	3
of this kind is	3
to be worn as	3
about the twelfth century	3
form of a small	3
the extraordinary abundance of	3
the three kings of	3
as one of his	3
jewels at windsor castle	3
for the size of	3
wars of the roses	3
that marie delhasse was	3
one of the finest	3
and lift them over	3
upon the heels of	3
of the seventh century	3
comedy of the jeweled	3
but at last he	3
with the numbers at	3
middle of the road	3
she gave it to	3
would not have been	3
with which they were	3
during the last few	3
advertisement in the paper	3
and early eighteenth centuries	3
said i with a	3
about the eighth century	3
wanted to ask you	3
i cannot tell you	3
and when she had	3
woman brought a great	3
in the wallace collection	3
repeating until the braid	3
go back to the	3
the custom of wearing	3
of richard coeur de	3
lex amor est nobis	3
of the old corner	3
a pendant by hans	3
mystery of precious stones	3
found column in the	3
formed of beads of	3
shown in the diagram	2
every one of the	2
and change them by	2
she might have been	2
for the making of	2
designs of the time	2
hair jewelry and hair	2
not infrequently met with	2
centre is a raised	2
and comb the hair	2
he saw that the	2