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
the centre of the	78
that is to say	71
the colour of the	70
the surface of the	68
the middle of the	66
between the eye and	56
the eye and the	56
of the colour of	55
in proportion as the	54
the top of the	54
in the middle of	51
of light and shade	44
in the same way	44
in proportion to the	42
at the same time	41
the bottom of the	41
in proportion as they	38
of the nature of	38
at the end of	36
in proportion as it	36
in the possession of	36
the nature of the	33
by the side of	33
the thickness of the	33
the image of the	32
the motion of the	32
the face of the	31
proportion as they are	29
of the human body	29
the space between the	29
the side of the	29
a book of the	29
proportion as it is	29
is equal to the	28
of leonardo da vinci	28
by reason of the	27
to be found in	27
the body of the	27
the rest of the	26
it seems to me	26
the base of the	26
from the centre of	26
when the sun is	25
the length of the	25
one and the same	25
by means of the	25
the distance from the	25
the form of a	25
the eye of the	24
the size of the	24
in such a way	24
as may be seen	24
in front of the	24
the th day of	24
that part of the	24
is proved by the	24
the darkness of the	23
the foot of the	23
the rays of the	23
of the same size	23
to the top of	23
the light of the	23
the end of the	23
the cause of the	23
there can be no	22
at the foot of	22
on the th of	22
distance from the eye	22
on the opposite side	21
be found in the	21
if you want to	21
the beginning of the	21
the sun is in	21
in light and shade	21
this is proved by	21
at a distance of	21
be seen in the	21
for the first time	20
seems to have been	20
sun is in the	20
at a great distance	20
the width of the	20
pen and ink drawing	20
with regard to the	20
the level of the	20
an infinite number of	20
rays of the sun	19
the joint of the	19
on the surface of	19
the weight of the	19
on the other hand	19
in the form of	19
at the beginning of	19
on light and shade	19
the centre of gravity	19
and this is the	19
is in the east	19
the pit of the	19
the head of the	18
the position of the	18
the motions of the	18
if you wish to	18
on the th day	18
it is to be	18
and in the same	18
the images of the	18
than that of the	18
in the course of	18
the duke of milan	17
the height of the	17
is more or less	17
the name of the	17
the order of the	17
the proportion of the	17
in the centre of	17
of the human figure	17
of the last supper	17
of the same colour	17
to the bottom of	17
illuminated by the sun	17
may be seen in	17
is to be seen	17
that portion of the	17
it is evident that	17
the form of the	17
of the cause of	17
pupil of the eye	17
the point of sight	17
is to be found	16
the hands of the	16
on the same sheet	16
to that of the	16
the roots of the	16
such a way as	16
is shown by the	16
bottom of the chin	16
in the hands of	16
the shadow of the	16
surface of the water	16
on the right hand	16
top of the head	16
of the pyramid of	16
the insertion of the	16
of the motion of	16
the course of the	16
the pupil of the	16
light of the sun	15
it is impossible that	15
it is impossible to	15
the tip of the	15
eye of the spectator	15
is nearer to the	15
interposed between the eye	15
and you will see	15
colour of the object	15
the sides of the	15
the movement of the	15
the shoulder to the	15
eye and the object	15
roots of the hair	15
of the surface of	15
in the church of	15
the direction of the	15
between the light and	15
which is nearest to	15
after the manner of	15
from the top of	14
is produced by the	14
you will see that	14
be of the same	14
in the original ms	14
the part of the	14
on account of the	14
is nearest to the	14
the light from the	14
in the service of	14
in proportion to their	14
to the centre of	14
of the duke of	14
the joints of the	14
from right to left	14
the edges of the	14
the reason is that	14
the light and the	14
as that of the	14
a way as that	13
between the sun and	13
in the midst of	13
it is the same	13
the whole of the	13
remote from the eye	13
from time to time	13
the death of the	13
said to have been	13
on the other side	13
in front of it	13
the fury of the	13
in the first place	13
the way in which	13
for a long time	13
of light and shadow	13
the character of the	13
the shores of the	13
seen by the eye	13
the waves of the	13
the flow and ebb	13
as far as the	13
is caused by the	12
in the presence of	12
the chin to the	12
the reflection of the	12
nearest to the eye	12
the colours of the	12
the fact that the	12
in the house of	12
the strength of the	12
at an equal distance	12
on the same page	12
a great deal of	12
the perspective of colours	12
in the same manner	12
for the sake of	12
the structure of the	12
from the shoulder to	12
the images of objects	12
on the left hand	12
book on light and	12
if you were to	12
are more or less	12
is one of the	12
in his edition of	12
and if it is	12
the colour of that	12
you will see the	12
it is nearer to	12
the book on painting	12
every part of the	12
as is shown by	12
a distance of miles	12
the sun and the	12
a b c d	12
by the colour of	12
of santa maria delle	11
which is farthest from	11
are to be found	11
pound lire s d	11
is said to have	11
at the time of	11
in regard to the	11
is smaller than the	11
in order that the	11
the action of the	11
the walls of the	11
and the reason is	11
is now in the	11
as it is nearer	11
is shown in the	11
the head of a	11
the surface of a	11
to the duke of	11
on each side of	11
the church of st	11
the pound lire s	11
light from the sun	11
on the left side	11
to me to be	11
by means of a	11
light and shade in	11
the right hand side	11
will be the same	11
of the derived shadow	11
the house of the	11
written on the margin	11
at the top of	11
in the name of	11
colour of the atmosphere	11
to be seen in	11
as if it were	11
is of the same	11
on which it is	11
it is necessary to	11
any part of the	10
of the motions of	10
relative proportions of the	10
to the eye by	10
santa maria delle grazie	10
the same as that	10
can be no doubt	10
of the body which	10
to the surface of	10
of the works of	10
the eye which sees	10
image of the sun	10
in the refectory of	10
the azure of the	10
the summits of the	10
at the head of	10
be no doubt that	10
if it were not	10
to the space between	10
and at the same	10
and this happens because	10
the straits of gibraltar	10
as if they were	10
of the height of	10
is farthest from the	10
ser piero da vinci	10
body of the earth	10
the mouth of the	10
the central line of	10
the parts of the	10
on the side of	10
the outlines of the	10
at the same distance	10
i paint and i	10
pit of the throat	10
and that of the	10
the plan of a	10
of the church of	10
in the ambrosian library	10
will be found in	10
the battle of anghiari	10
the force of the	10
as is shown in	10
is that which is	10
waves of the sea	10
it seemed as if	10
is seen in the	10
you will find that	10
the arrangement of the	10
the service of the	10
in the fact that	10
was one of the	10
lost to the sight	10
may be seen by	10
is the cause of	10
to be able to	10
in a straight line	10
the king of france	10
to the length of	10
the same with the	10
the elbow to the	9
in the same proportion	9
as they are nearer	9
at the bottom of	9
in the act of	9
for the arrangement of	9
let a b be	9
to the distance from	9
the movements of the	9
as well as the	9
of the luminous body	9
that it may not	9
the refectory of the	9
the waters of the	9
from the elbow to	9
each side of the	9
function of the eye	9
the summit of the	9
the proportions of the	9
for the last time	9
and if you were	9
the construction of the	9
so that it may	9
a sketch of a	9
but there is no	9
the function of the	9
in the time of	9
the relative proportions of	9
sole of the foot	9
the possession of the	9
as it seems to	9
equally distant from the	9
images of the objects	9
paint and i paint	9
distant from the eye	9
for the purpose of	9
the figure of the	9
farther from the eye	9
to the effect that	9
is to say the	9
on a level with	9
the left hand side	9
seem to have been	9
the fourth part of	9
the water of the	9
placed in front of	9
hill of the mill	9
from the bottom of	9
on the margin of	9
if you do not	9
the pen and ink	9
thickness of the arm	9
to be in the	9
the apparent size of	9
on the right side	9
at the distance of	9
are not to be	9
and this is proved	9
and is equal to	9
the sole of the	9
in the direction of	9
the point of the	9
if the sun is	9
a great number of	9
of the perspective of	9
the heat of the	9
if you look at	9
into the hands of	9
the th of this	9
proportion to their distance	9
equal to each other	9
is not to be	9
to say that the	8
the surface of any	8
by the motion of	8
be equal to the	8
we may conclude that	8
of the primary shadow	8
be seen by the	8
the edge of the	8
and the same thing	8
to the position of	8
shoulder to the elbow	8
in the east and	8
the sign of the	8
you mean to represent	8
are to be seen	8
the son of a	8
for the most part	8
the breadth of the	8
image to the eye	8
he seems to have	8
air interposed between the	8
and in proportion as	8
in the original the	8
that part of a	8
those parts which are	8
the ends of the	8
in the mind of	8
which of the two	8
the spots on the	8
a great part of	8
it seemed to him	8
the element of fire	8
the beginning of this	8
of the solar rays	8
between it and the	8
the angle of incidence	8
the portion of the	8
this happens because the	8
the side which is	8
the difference between the	8
in the king of	8
a b be the	8
with reference to the	8
to the study of	8
to the life in	8
the brightness of the	8
at s the pound	8
may be regarded as	8
of the head of	8
the feet of the	8
that side of the	8
a man who is	8
the object to the	8
the treatise on painting	8
santa maria del fiore	8
it is easy to	8
not to be found	8
from the roots of	8
to one of the	8
the origin of the	8
all the images of	8
and this will be	8
you must know that	8
the time of the	8
when the arm is	8
on the top of	8
now in the louvre	8
the sea to the	8
the inside of the	8
is turned towards the	8
last supper in the	8
by the fury of	8
the object and the	8
the greater part of	8
the parting of the	8
is larger than the	8
of the eye is	8
colours of the rainbow	8
the resurrection of the	8
di leonardo da vinci	8
body in light and	8
by the hand of	8
of one of the	8
the library of the	8
on the face of	8
nearer to the eye	8
the centre of its	8
it was in the	8
the most christian king	8
statue of francesco sforza	8
with the colour of	8
centre of the world	8
let a be the	8
of the palazzo vecchio	8
the hill of the	8
and for this reason	8
it is proved that	8
one of the most	8
part of the face	8
the lights and shadows	8
in such a manner	8
colour of the air	8
the number of the	8
the life in vasari	8
towards the centre of	8
to represent a man	8
centre of the earth	8
a pen and ink	8
you must make the	8
to the level of	8
the same way as	8
raised his eyes to	8
it and the eye	8
the work of the	8
where there is no	8
when the moon is	8
that he did not	8
reflection of the sun	8
as long as the	8
of the foot to	8
i say that the	8
of the sea and	8
equal to the distance	8
the spaces between the	8
corner of the eye	8
so as to be	8
the meaning of the	8
were to say that	8
the soul of the	8
the same size as	8
by the light of	8
the wisdom of god	7
the last supper in	7
the situation of the	7
the side of this	7
of the florentine republic	7
darker in proportion as	7
at the time when	7
messer leonardo da vinci	7
be the cause of	7
the banks of the	7
to the tip of	7
his eyes to the	7
the cause of this	7
and it is the	7
are nearest to the	7
of the object which	7
of the sun and	7
heat of the sun	7
of santa maria del	7
conveyed to the eye	7
i do not know	7
does not seem to	7
a part of the	7
it is necessary that	7
the light and shade	7
in the library of	7
centre of gravity in	7
for the study of	7
a great quantity of	7
equal to the space	7
to the angle of	7
light and shade on	7
parting of the lips	7
such a way that	7
in the words of	7
body of the sun	7
close to the eye	7
from the chin to	7
the study of the	7
to the width of	7
lire s d pounds	7
in the collection of	7
of the book on	7
between them and the	7
in the national gallery	7
be the same as	7
to be regarded as	7
spots on the moon	7
additions to the life	7
the source of light	7
so long as the	7
the greatest width of	7
this may be seen	7
the angle of the	7
resurrection of the gods	7
of the shadows of	7
the end of a	7
motions of the body	7
to prove this let	7
be seen on the	7
from the surface of	7
the mind of the	7
surface of the sea	7
the church of santa	7
virgin of the rocks	7
seen at a great	7
that the surface of	7
you were to say	7
to the glory of	7
of the xvith century	7
the mass of the	7
part of the body	7
the knowledge of the	7
so far as i	7
the convent of san	7
on the back of	7
which treat of the	7
this is to be	7
to the number of	7
the sun in the	7
in the history of	7
affected by the colour	7
as it would seem	7
as is seen in	7
the art of painting	7
the day of his	7
the centre of a	7
that it is not	7
the duke of valentinois	7
in the days of	7
the depth of the	7
a greater or less	7
the diameter of the	7
are nearer to the	7
that he was a	7
when the eye is	7
half way between the	7
of the eye which	7
they are nearer to	7
the valley of the	7
the works of nature	7
the works of leonardo	7
be lower than the	7
the author of the	7
the words of the	7
in the way of	7
one above the other	7
the possession of sig	7
on account of his	7
it were not for	7
lower than the other	7
is impossible that the	7
from the eye will	7
the anatomy of the	7
against a background of	7
the diminution of the	7
it is possible to	7
the hand to the	7
the length from the	7
of the castle of	7
the nose to the	7
of the sides of	7
you wish to represent	7
fury of the winds	7
to the house of	7
and on the other	7
of the head and	7
proportions of the head	7
of this passage is	7
will be seen in	7
the faces of the	7
on the vertical plane	7
a b is the	7
if the eye is	7
in a short time	7
a painter ought to	7
of the cathedral at	7
the wall of the	7
s d pounds of	7
the will of the	7
you see that the	7
the plan of the	7
the mother of god	7
objects of equal size	7
as they are more	7
will be the most	7
are written on the	7
of the proportion of	7
the greatest thickness of	7
the left side of	7
of the shadow of	7
the hand of the	7
the right or left	7
placed between lines and	7
its image to the	7
s the pound lire	7
they are more or	7
greatest width of the	7
and all the rest	7
the composition of the	7
th day of september	7
has already been published	7
of which the first	7
the light on the	7
the same colour as	7
the tops of mountains	7
from the object to	6
of the two is	6
you want to represent	6
at a greater distance	6
he was about to	6
to be seen at	6
than those which are	6
of the hair to	6
pit of the neck	6
lighted up by the	6
is not in the	6
lighted by the sun	6
on the nature of	6
are written in the	6
objects seen at a	6
of a man who	6
and if you do	6
there shall be wings	6
not be able to	6
to be of the	6
it were possible to	6
the bending of the	6
seems to me to	6
way in which the	6
from the tip of	6
if you mean to	6
the face of a	6
the picture of the	6
the forms of the	6
from the fact that	6
the ambrosian library at	6
on the subject of	6
at a distance from	6
and i paint and	6
the th of september	6
receive the light from	6
proved by the th	6
of the sun in	6
is to be the	6
at some distance from	6
the palm of the	6
derived shadow will be	6
of the sea to	6
to prove that the	6
is the same with	6
reason is that the	6
so that they may	6
the diagram belonging to	6
torso and of the	6
the divisions of the	6
as has been said	6
in the line of	6
on the banks of	6
from the opposite side	6
it is hardly necessary	6
in which they are	6
it is in the	6
same size as the	6
i will give you	6
like those of a	6
of the diminution of	6
the foot to the	6
a few days later	6
that of the body	6
of the sforza monument	6
from left to right	6
the depths of the	6
on which they are	6
which is to be	6
parts of the face	6
the back of the	6
in a position to	6
the dimensions of the	6
the shape of the	6
which is in the	6
to the end of	6
the lower portion of	6
was the first to	6
proportions of the torso	6
in the autumn of	6
head of john the	6
when it is seen	6
to the right or	6
at a b c	6
of the order of	6
in the east the	6
the members of the	6
colour of the body	6
adoration of the magi	6
at the spot marked	6
is remote from the	6
the line a b	6
the first of the	6
the figure of a	6
is equal to that	6
left side of the	6
that is from the	6
to have been the	6
one of the two	6
a member of the	6
does not occur in	6
with the centre of	6
the canal of martesana	6
marc antonio della torre	6
than the surface of	6
in the depth of	6
out of the ground	6
bottom of the sea	6
that they may not	6
the nature of a	6
in the garden of	6
the water in the	6
in a low voice	6
it follows that the	6
the chin and the	6
the perception of the	6
of the great toe	6
the end of this	6
of the nose to	6
to draw a figure	6
in the place of	6
so as to form	6
perfect knowledge of the	6
palm of the hand	6
public and private buildings	6
have not been able	6
if you have to	6
and all the other	6
will find that the	6
the light of a	6
the hair to the	6
are in the original	6
the light part of	6
length of the foot	6
the diminution of colours	6
there would be no	6
ought not to be	6
he said to himself	6
and when it is	6
infinite number of lines	6
part of the man	6
and if you say	6
of the waves of	6
were not for the	6
the elbow and the	6
in face of the	6
bodies of equal size	6
to their distance from	6
into a dark chamber	6
eyes on the ground	6
on the l th	6
in one of the	6
on the walls of	6
ambrosian library at milan	6
the side towards the	6
for the head of	6
to the court of	6
the light should be	6
is seen by the	6
the laws of the	6
of the torso and	6
the extent of the	6
to the point of	6
are equal to each	6
it would seem that	6
braccia and a half	6
the place where it	6
of the battle of	6
the hand of a	6
a level with the	6
and ebb of the	6
to the middle of	6
in the castle of	6
and for that reason	6
his eyes on the	6
by which they are	6
the shadow cast by	6
than any other part	6
the year eighteen hundred	6
smaller than the light	6
the intersection of the	6
and there is no	6
as to whether the	6
in the month of	6
the tops of the	6
it is true that	6
it had not been	6
how to draw a	6
the lines of the	6
this is caused by	6
at the point a	6
in the codex atlanticus	6
eye and the light	6
of any opake body	6
the age of gold	6
there is in the	6
the inhabitants of the	6
lies between the eye	6
the virgin of the	6
which receive the light	6
the master of the	6
is hardly necessary to	6
this can be proved	6
be more or less	6
tinged with the colour	6
of the body and	6
greatest thickness of the	6
the shadows cast by	6
drawing in red chalk	6
not far from the	6
the effect of light	6
between your eye and	6
the life of the	6
it is said that	6
in a contrary direction	6
written by the side	6
participates of the colour	6
it is a great	6
of the whole figure	6
in consequence of the	6
flow and ebb of	6
is placed between lines	6
in which it is	6
then i say that	6
of this which says	6
in contact with the	6
equestrian statue of francesco	6
the church of san	6
would seem to be	6
the eye is above	6
part of the earth	6
the shadow on the	6
the torso and of	6
the blue of the	6
the mouth and the	6
the distance between the	6
of the same nature	6
in the beginning of	6
the royal library at	6
of the thickness of	6
colour of that object	6
as it is farther	6
which are nearest to	6
book of the various	6
from the joint of	6
equal distance from the	6
it does not appear	6
central line of the	6
into the mouth of	6
the possession of his	6
by leonardo da vinci	6
of the most high	6
the tips of the	6
the manner of a	6
top of the breast	6
by the th of	6
sign of the cross	6
the lower part of	6
of the whole body	6
there is no doubt	6
the side of a	6
is evident that the	6
light from the window	6
which is turned towards	6
of the present work	6
the sketch of a	6
when you want to	6
the top of a	6
on the day of	6
their distance from the	6
the head of john	6
that of the sun	6
in the british museum	6
of john the baptist	6
in the present work	6
where it is said	6
may be compared to	6
at the same moment	5
the middle of its	5
the painter ought to	5
the sun does not	5
of a latin cross	5
as if he were	5
of water in the	5
be placed in the	5
the colour of any	5
to the roots of	5
which are the muscles	5
position of the eye	5
the same time that	5
on that side will	5
by the aid of	5
romance of leonardo da	5
one and the other	5
any opake body participates	5
peaks of the mountains	5
a pyramid of lines	5
the eye by a	5
on the road to	5
the same proportion to	5
no connection with the	5
the gates of the	5
is the daughter of	5
of the joint of	5
with the addition of	5
azure of the air	5
and there shall be	5
shores of the sea	5
the eye is in	5
object to the eye	5
the same thing is	5
the original between lines	5
the place of the	5
centre of the light	5
the heart of a	5
the front of the	5
but it must be	5
the definition of the	5
through a thick air	5
sun and the eye	5
know very well that	5
the meaning of this	5
it may be that	5
sides of the octagon	5
th day of august	5
to have been a	5
the circulation of the	5
the extremities of the	5
its waters into the	5
as well as in	5
proportions of the human	5
where there is a	5
a picture of the	5
are caused by the	5
face of the christ	5
the glow of the	5
the fact that he	5
i will tell you	5
they had not been	5
seen through a fog	5
the proof of this	5
in advance of his	5
be darker than the	5
than in any other	5
is the centre of	5
and if you have	5
at such a distance	5
the l th of	5
as if he had	5
summits of the mountains	5
near to the eye	5
width of the shoulders	5
on the same leaf	5
we know very well	5
the spot where the	5
is of the year	5
the glory of the	5
a b c are	5
as the thickness of	5
the reason of this	5
of some of the	5
force of the wind	5
the line of the	5
the solar rays reflected	5
here and there in	5
of the water which	5
on the shores of	5
the alterations in the	5
the opening of the	5
in the year of	5
and if you see	5
in the following year	5
to the south east	5
equal to the width	5
the piazza della signoria	5
of the way in	5
a drawing in red	5
will participate of the	5
in that case the	5
equal to that of	5
the bones of the	5
the natural colour of	5
the text of this	5
the side of it	5
proportion of light and	5
on the centre of	5
the other on the	5
at a certain distance	5
between the elbow and	5
object in front of	5
be in proportion to	5
a description of the	5
different qualities of air	5
at the feet of	5
and you must know	5
to return to the	5
and in the middle	5
it would follow that	5
in the valley of	5
of good and evil	5
the corner of the	5
leonardo looked at him	5
and it will be	5
between the object and	5
and so on by	5
the pyramid of sight	5
motions of the human	5
half the size of	5
and this is because	5
a man and his	5
in the original between	5
such a manner as	5
one to the other	5
and the same with	5
on a light ground	5
with the help of	5
in the book of	5
if you place yourself	5
by the mixture of	5
to the right hand	5
diagram belonging to this	5
of the house of	5
to the eye and	5
of wings for men	5
as we see in	5
the breast to the	5
side of the body	5
smaller in proportion as	5
the ebb and flow	5
on which the light	5
and when you have	5
same as that of	5
thickness of the air	5
of the mediterranean sea	5
in the human body	5
the midst of the	5
on the morning of	5
the corners of the	5
it is caused by	5
the power of the	5
how to represent the	5
through the centre of	5
and the rest of	5
light of the atmosphere	5
the other side of	5
the windows of the	5
top of the tower	5
is a sketch of	5
so on by degrees	5
the memory of the	5
its distance from the	5
is illuminated by the	5
in the style of	5
blue of the sky	5
is the same in	5
they do not know	5
it might be a	5
howled in the chimney	5
leonardo seems to have	5
and all in each	5
of the hand to	5
the accademia at venice	5
and the object seen	5
what is the matter	5
or any thing else	5
stands in the original	5
fourth part of the	5
of the lake of	5
i have not been	5
a distance of braccia	5
and the old man	5
and is of the	5
of the holy nail	5
those objects which are	5
you look at a	5
by means of which	5
the plane on which	5
to its distance from	5
of the water in	5
joints of the fingers	5
and this may be	5
are of the same	5
darkness of the earth	5
as those of the	5
is written by the	5
and the top of	5
the days of the	5
to the eye will	5
of a letter to	5
at the place marked	5
equal to the length	5
which lies between the	5
and if it were	5
an equal distance from	5
so as not to	5
any other part of	5
shadow cast by a	5
the earth and the	5
of the earth which	5
of the two lights	5
it would have been	5
in the case of	5
the chapel of the	5
the palazzo della signoria	5
of the course of	5
the adoration of the	5
the various forms of	5
dark object will appear	5
in a way that	5
are equal to the	5
appears to have been	5
in such wise that	5
of the size of	5
towards the close of	5
mention is made of	5
and this is caused	5
the right side of	5
insertion of the leaves	5
will appear larger than	5
the pyramid of rays	5
to be the work	5
with a variety of	5
participate of the colour	5
that it was a	5
of the art of	5
in the year ten	5
and if it be	5
by the death of	5
it is proved thus	5
will be the darkest	5
their way to the	5
in the space between	5
to those of the	5
original between lines and	5
movements of the human	5
eye and the sun	5
some distance from the	5
it is better to	5
the voice of the	5
all the parts of	5
the text breaks off	5
will be seen to	5
be such as to	5
on which the sun	5
there is nothing in	5
to such a height	5
the romance of leonardo	5
as it might be	5
to have been in	5
in spite of his	5
to the king of	5
in the art of	5
round the centre of	5
the style of the	5
death of the gods	5
the south to the	5
the third part of	5
the figures of the	5
that side which is	5
there will be many	5
the outline of the	5
as it is more	5
the head of st	5
the eye will be	5
the order in which	5
same colour as the	5
appear to me to	5
and his own phantom	5
and the more so	5
the countenance of the	5
is in the original	5
between the mouth and	5
the son of man	5
because it does not	5
published in the saggio	5
face of the earth	5
is surrounded by a	5
of the way to	5
on the plan of	5
of the chin to	5
how it is that	5
from the luminous body	5
of the atmosphere is	5
seems to be the	5
the branches of a	5
the quality of the	5
do the same with	5
the sources of the	5
the elevation of the	5
of the treatise on	5
as compared with the	5
removed from the eye	5
it may be a	5
from the sole of	5
is said to be	5
the lake of como	5
portion of the sky	5
is accompanied by the	5
the text of no	5
which is the most	5
in regard to painting	5
seems to be a	5
the bank of the	5
the objects seen by	5
the spirit of the	5
the year ten hundred	5
colour is to be	5
if it were a	5
in different qualities of	5
tinged with its colour	5
apparent size of objects	5
reason of this is	5
on the choice of	5
object and the eye	5
th day of july	5
the quality and quantity	5
at the side of	5
the margin of the	5
and equal to the	5
the muscles of the	5
that it might be	5
of the centre of	5
of the hand and	5
above the surface of	5
in the upper part	5
the flight of birds	5
man and his own	5
drawing in black chalk	5
up by the sun	5
is affected by the	5
the flame of the	5
come down to us	5
a special interest in	5
th of this which	5
you wish to see	5
which is surrounded by	5
and where they are	5
the equestrian statue of	5
the half of the	5
on the same side	5
the angles of the	5
from the hand of	5
of the forms of	5
where there is most	5
with that of the	5
depths of the sea	5
he raised his eyes	5
belonging to this passage	5
same proportion to the	5
lies in the fact	5
the top to the	5
lower part of the	5
you place yourself between	5
the libro di pittura	5
the remainder of the	5
removed from the centre	5
joint of the foot	5
that the image of	5
upon a dark ground	5
sprang to his feet	5
tower of the palazzo	5
appear of the same	5
and in this way	5
to the thickness of	5
distance from the top	5
of the same shape	5
far as concerns the	5
written in the margin	5
we see that the	5
seen through a thick	5
the sixth part of	5
as well as those	5
is written on the	5
will not be able	5
his eyes to heaven	5
you look towards the	5
by the sun and	5
in the same direction	5
way as that the	5
the folds of draperies	5
reason of the great	5
on the relation of	5
the theory of the	5
painted on the wall	5
that he could not	5
the space from the	5
to ludovico il moro	5
the height of a	5
in honour of the	5
of the sea which	5
between you and the	5
was the daughter of	5
which is now in	5
bottom of the nose	5
side of this text	5
the original text is	4
is the case with	4
only a few miles	4
as they are remote	4
from the middle of	4
from the under side	4
surface of any opake	4
d wine s d	4
objects disappear first by	4
in the open air	4
that he had been	4
a third of the	4
maria delle grazie at	4
with the exception of	4
and that it was	4
various precepts in painting	4
in one and the	4
the th of july	4
and there in the	4
the number of times	4
necessary to point out	4
a perfect knowledge of	4
the spot marked a	4
and these will be	4
be added to the	4
the facsimile of the	4
of the sun from	4
to the eye in	4
different parts of the	4
larger than the body	4
the castle of st	4
the distinctness of the	4
he was induced to	4
in the sacristy of	4
the part of a	4
is placed between the	4
is of the whole	4
the joy of the	4
as the centre of	4
the eyes of a	4
written on the left	4
in the windsor collection	4
seems to me that	4
as far as to	4
the shape of a	4
proportion to the number	4
the foot is as	4
the same in the	4
necessary to observe that	4
there is a great	4
on the verge of	4
s c t d	4
proportion to the distance	4
order in which they	4
the right of the	4
drafts of letters to	4
seemed as if the	4
from the south to	4
just such pictures as	4
form of the body	4
children and grown men	4
to lodovico il moro	4
through a small hole	4
by the porta vercellina	4
with the greatest care	4
of a colour is	4
on the shape of	4
be larger than the	4
will be in a	4
of the face and	4
all the objects in	4
to the insertion of	4
light and shade is	4
the man who has	4
in his right hand	4
a body in light	4
of every opaque body	4
is as long as	4
character of the writing	4
of the same height	4
weight of the body	4
the eye will appear	4
that side where the	4
a large number of	4
in the brera gallery	4
in the saggio delle	4
as much of the	4
on account of their	4
which ought to be	4
at the court of	4
of the postures of	4
on the construction of	4
the body which casts	4
he burst into tears	4
of julian the apostate	4
is to be a	4
are in the middle	4
the violence of the	4
in a greater or	4
if the ball is	4
gives and bequeaths to	4
draperies ought to be	4
why did you not	4
we see in the	4
will be necessary to	4
the side of lines	4
saltness of the sea	4
after the death of	4
this note is written	4
this text is written	4
the human body in	4
a colour is to	4
middle of the tree	4
is placed at a	4
many will there be	4
it would be rash	4
so far as concerns	4
in the mountains of	4
to him from the	4
the motion of water	4
times into its length	4
love is the daughter	4
and if the ball	4
this proceeds from the	4
daughter of great knowledge	4
the lake of pusiano	4
in the cathedral of	4
of the hand of	4
the proportions of light	4
and where there is	4
from east to west	4
to have been written	4
placed between the eye	4
the text on the	4
so little of the	4
is from the eye	4
is lighter than the	4
the hue of the	4
according to the difference	4
in the company of	4
he looked at the	4
the transmission of the	4
fourth part of a	4
proportion as the eye	4
that there was no	4
the bending of members	4
sketch on the right	4
you wish to make	4
the foot of monte	4
by reason of their	4
the high peaks of	4
the amount of light	4
of the chin and	4
be seen from the	4
this passage is written	4
by the ninth proposition	4
seen at a distance	4
bodies in light and	4
of an opaque body	4
what think you of	4
the marriage of the	4
in facsimile on pl	4
image of the object	4
that is on the	4
young student in painting	4
in the glow of	4
light and the eye	4
the same way the	4
two thirds of the	4
the manner of the	4
to light and shade	4
at the present day	4
the face of his	4
a letter to the	4
i have found that	4
seem to prove that	4
of a young man	4
lower portion of the	4
to have been done	4
the sea by the	4
b c are equal	4
you mean to draw	4
the body that casts	4
strength of the arch	4
and you will find	4
f g is the	4
not agree with the	4
when he came to	4
be one of the	4
will be darker than	4
objects seen through a	4
the cortile del belvedere	4
the ball is to	4
at the height of	4
to be the most	4
in the vicinity of	4
the sphere of the	4
to the west and	4
is divided into two	4
and shade in the	4
on the point of	4
to the said church	4
year ten hundred seven	4
from side to side	4
the entrance of the	4
objects which are high	4
the fact that they	4
all the rest of	4
i would kiss thy	4
seen in a fog	4
shadow of the body	4
ought to be made	4
and the old woman	4
part of the wall	4
the body m n	4
of the bending of	4
in many parts of	4
and you will have	4
to the tops of	4
to whom she was	4
put in possession of	4
which they are placed	4
one from the other	4
are to be represented	4
a drawing of a	4
of the lines of	4
if you look towards	4
of this is that	4
to say that there	4
text of this passage	4
colours in regard to	4
each part of the	4
at this moment the	4
which it is seen	4
it is farther from	4
a fragment of a	4
of ludovico il moro	4
a light which is	4
drawn in red chalk	4
of the tree of	4
s d wine s	4
and by the th	4
on the lighting of	4
in the arrangement of	4
of the new wall	4
drawn with a pen	4
have been in the	4
the joy of life	4
quality of its necessary	4
the body and the	4
it was too late	4
towards the middle of	4
to put in practice	4
in the height of	4
the centre of their	4
which is seen in	4
the course of its	4
by the sound of	4
of the luminous rays	4
of the value of	4
the eye is placed	4
looked at him with	4
is known to have	4
of the shores of	4
part of the whole	4
the nearer they are	4
the subject of this	4
wind howled in the	4
a man in the	4
dinari the square braccio	4
colour of any other	4
third part of the	4
of the sphere of	4
so far as the	4
of the same form	4
the fate of the	4
the growth of the	4
the luminous body and	4
it is not the	4
and all the more	4
of the taurus mountains	4
than in the plains	4
is situated in the	4
at the point d	4
the trial by fire	4
the first is the	4
precept for the painter	4
proved by the ninth	4
east at a distance	4
width of the mouth	4
of the prime mover	4
in the mass of	4
side which is in	4
when he spoke of	4
this does not happen	4
that is of the	4
four degrees of thickness	4
when you draw from	4
quality and quantity of	4
part of the head	4
by a pyramid of	4
where it joins the	4
equal to the angle	4
is it not written	4
the arm is extended	4
of the lips to	4
be proved to have	4
towards the end of	4
the prior of the	4
because it has no	4
light is that which	4
when you wish to	4
of the light from	4
the same distance from	4
rays of the moon	4
the presence of the	4
that there is no	4
his way through the	4
men will be seen	4
in the first of	4
of the monastero maggiore	4
body on which the	4
the pyramid of shadow	4
the centre of each	4
it must be admitted	4
want to represent a	4
in those parts which	4
of the air is	4
that is in the	4
not been able to	4
to the size of	4
would be rash to	4
picture of the last	4
the front of a	4
the leaves on the	4
in the life of	4
the life prefixed to	4
of the point of	4
interfering with each other	4
it is inevitable that	4
is nothing else than	4
he was in the	4
buildings seen in a	4
in the sense of	4
is half way between	4
size of the sun	4
the name of god	4
in the royal library	4
on one and the	4
is proved in the	4
because there is more	4
for that reason the	4
of the length of	4
i have written to	4
right side of the	4
are the muscles which	4
distribution of light and	4
by the tone of	4
opake body participates of	4
a distance from the	4
s d meat s	4
the earth is a	4
the text is also	4
object and the light	4
it must be understood	4
the meaning is obscure	4
a treatise on painting	4
the highest part of	4
this being the case	4
will see that the	4
fifty pounds a year	4
light and shade and	4
this passage has been	4
of the life of	4
placed in different qualities	4
as soon as the	4
an infinite variety of	4
it is not a	4
would kiss thy lips	4
possession of his britannic	4
the size of it	4
made by those who	4
on either side of	4
object in light and	4
for a few minutes	4
since the days of	4
convent of santa maria	4
side than on the	4
draft of a letter	4
was not to be	4
the tone of the	4
he had been in	4
proportions of light and	4
there is but one	4
of the light of	4
the surface on which	4
the edge of a	4
equal to the greatest	4
the sphere of waters	4
far as i know	4
at the centre of	4
of those who have	4
to live with me	4
as they are farther	4
the close of the	4
now in the library	4
the other in the	4
the sketches on the	4
and in the morning	4
his way to the	4
the surface of all	4
the text of lines	4
surface of every opaque	4
is opposite to the	4
separated from each other	4
by the name of	4
that when it is	4
through the straits of	4
the sound of the	4
be the work of	4
and the side which	4
and if one of	4
body that casts it	4
copy of the last	4
the captain of justice	4
top to the bottom	4
of the mass of	4
as i have said	4
and from the elbow	4
this happens when the	4
red light a b	4
by the darkness of	4
of the balance of	4
delle grazie at milan	4
of the laws of	4
the outer corner of	4
in accordance with the	4
greater or less degree	4
the sun from the	4
face to face with	4
as to be able	4
on the movements of	4
from the mass of	4
not seem to me	4
part of the figure	4
that the earth is	4
be regarded as a	4
is the man who	4
because they do not	4
the expression of the	4
and the sun are	4
plan of a latin	4
to do with the	4
the casting of the	4
as that of a	4
is on a level	4
upon a light ground	4
rivers which flow into	4
beyond the reach of	4
the nearest to the	4
a grain of millet	4
and there was a	4
an object in light	4
of objects disappear first	4
must be admitted that	4
from a to b	4
difference between the lights	4
i will treat of	4
the door of the	4
of the camera obscura	4
the th of the	4
the same proportion as	4
the knee to the	4
of a man standing	4
seen from the under	4
are darker than the	4
the apex of the	4
in the th of	4
the practice of perspective	4
raising his eyes to	4
b is equal to	4
it will be necessary	4
body participates of the	4
convent of san paola	4
between the lights and	4
to the will of	4
were to be seen	4
will there be who	4
the centre of his	4
body which casts it	4
the said place of	4
the air interposed between	4
a quarter of a	4
the heads of the	4
than those of the	4
a precept for the	4
on that side where	4
your eye and the	4
a virgin and child	4
that it will be	4
i say that if	4
now in the uffizi	4
only on one side	4
it is of the	4
to point out that	4
point in the eye	4
of the atmosphere which	4
which is equal to	4
and to the space	4
of the age of	4
there is not a	4
of the blessed virgin	4
and the light is	4
is farthest from its	4
of the light and	4
of the convent of	4
shady part of the	4
at from the south	4
is most remote from	4
it receives the light	4
it seemed to her	4
the adversary says that	4
the upper part of	4
to the man who	4
of light in the	4
will appear of a	4
the court of the	4
of the images of	4
a large part of	4
will appear to be	4
the son of the	4
the works of others	4
as though he were	4
in the treatise on	4
effect is produced by	4
on the faces of	4
which the images are	4
does not appear that	4
is the same thing	4
parts of the body	4
to us in the	4
of the action of	4
the angel of the	4
with whom he had	4
any of the above	4
and ink drawing on	4
the rule of the	4
according to the distance	4
which was to be	4
map of the world	4
the perspective of disappearance	4
of the eye and	4
of the longest finger	4
and from this it	4
a small portion of	4
in the position of	4
are lost to the	4
the surface of every	4
on the waves of	4
of the object that	4
the real size of	4
of his britannic majesty	4
take me with you	4
in connection with the	4
the text given as	4
in the darkness of	4
the fear of death	4
the positions of the	4
in the face of	4
the light which illuminates	4
and if you should	4
in the cathedral at	4
can be proved to	4
the land of russia	4
on the authority of	4
is equal to a	4
to be made of	4
joints of the human	4
his edition of ms	4
the shadows of the	4
the inner corner of	4
more or less of	4
and of the colour	4
of the moon is	4
that of the object	4
the castle of milan	4
are in the same	4
of the variety of	4
to the right of	4
same remark applies to	4
is higher than the	4
to prove that it	4
will be affected by	4
the tower of the	4
in a single point	4
by the lines of	4
in a thick air	4
painting is superior to	4
in the highest light	4
a flock of sheep	4
the perspective of colour	4
as much as possible	4
the bottom to the	4
is seen against a	4
and the more the	4
are seen to be	4
a piece of wood	4
is placed in the	4
on the side towards	4
there should be a	4
without interfering with each	4
in the vatican copy	4
in the eye and	4
the diffused light of	4
the body which is	4
which are illuminated by	4
of the movement of	4
picture is to be	4
body is affected by	4
and if you wish	4
and a half high	4
other parts of the	4
in the contrary direction	4
saggio delle opere di	4
the relative size of	4
of the termination of	4
the captain of the	4
it is only a	4
the treatment of light	4
the attitudes of the	4
and the same is	4
in one of his	4
but it will be	4
the science of the	4
is to be observed	4
in the matter of	4
of the knowledge of	4
be found in this	4
and if you look	4
the objects in the	4
as is shown at	4
no more than a	4
to the colour of	4
on the proportions and	4
the red chalk drawing	4
to the definition of	4
the length of a	4
and the eye is	4
the dark part of	4
as they are higher	4
sources of the nile	4
the life of a	4
so much as the	4
text given as no	4
the currents of rivers	4
to the sun and	4
in which he had	4
the wall on which	4
circulation of the blood	4
gazette des beaux arts	4
in the whole of	4
the beauty of the	4
be put in possession	4
a man has the	4
enlightened by the sun	4
the art of the	4
histoire des sciences mathematiques	4
the daughter of great	4
the east and the	4
and they will be	4
the waters in the	4
you will have to	4
treats of the diminution	4
that the air is	4
far off as the	4
on the colours of	4
for the good of	4
from the parting of	4
to the construction of	4
same distance from the	4
after the fashion of	4
solar rays reflected from	4
i am ready to	4
to have been painted	4
it may be observed	4
and this being so	4
to the extent of	4
as a matter of	4
which is the cause	4
the same time i	4
you want to make	4
it is a very	4
the help of the	4
lines of the text	4
and when they are	4
he did not know	4
to the book on	4
it not for the	4
of the breast to	4
in the uffizi gallery	4
not seem to have	4
is exposed to the	4
the saltness of the	4
objects seen by the	4
refer to the same	4
came to live with	4
the inventor of the	4
by reason of its	4
centre of the globe	4
part of the foot	4
but it is a	4
it is quite evident	4
length of the face	4
he returned to the	4
in the sala del	4
in men and animals	4
as is well known	4
the rivers which flow	4
great love is the	4
the life of leonardo	4
the necessity of anatomical	4
in the original a	4
be no more than	4
of the diameter of	4
to the eye of	4
refectory of the fathers	4
the distance of a	4
it must not be	4
though placed in different	4
on the treatment of	4
i shall not be	4
at the price of	4
at the door of	4
among objects of equal	4
the whole mass of	4
the th of august	4
were it not for	4
which there is no	4
to the other is	4
light of the sky	4
will appear of the	4
for his own good	4
of the colours of	4
of the original work	4
of the object seen	4
must be at the	4
shadow is that which	4
the shadow will be	4
that which is most	4
at the same level	4
it will not be	4
goes times into the	4
we may infer from	4
that as soon as	4
will appear as a	4
of the attitudes of	4
light and shade will	4
the trees to the	4
painted what he saw	4
the difference between light	4
there will be a	4
on the contrary it	4
ball is to be	4
the wisdom of the	4
is the same as	4
to the base of	4
take care that the	4
centre of the body	4
from the lake of	4
letter to the duke	4
have come down to	4
is farther from the	4
of equal size and	4
when the light is	4
it is more or	4
the history of the	4
life of the author	4
one shoulder to the	4
as it is in	4
the air is thicker	4
which supports the body	4
the grand duke of	4
the same proportion in	4
according to the situation	4
the red light a	4
if you see a	4
with an air of	4
as they recede from	4
it is smaller than	4
how a painter ought	4
which is inseparable from	4
at every stage of	4
of the plan of	4
the choice of a	4
as though he had	4
on the hill of	4
the place marked a	4
seems to me highly	4
darkness of the night	4
the diminution in the	4
between the walls of	4
of the moon and	4
as well as on	4
accounted for by the	4
of the function of	4
and that it is	4
under the shadow of	4
already been published by	4
diffused light of the	4
between children and grown	4
books on light and	4
seen by the sun	4
the shady part of	4
that portion of a	4
one after the other	4
that it would be	4
the court of milan	4
parts of objects disappear	4
the place where they	4
placed between the light	4
front of the eye	4
there was a silence	4
the same remark applies	4
of an old man	4
of the air above	4
a drawing in black	4
the course of study	4
number of times that	4
sends its image to	4
the great quantity of	4
necessity of anatomical knowledge	4
on the sides of	4
say that if the	4
the simple derived shadow	4
the object in front	4
far removed from the	4
lines of this passage	4
the saggio delle opere	4
the reader will find	4
it is accompanied by	4
right hand side of	4
mixture of other colours	4
to the south and	4
long as it is	4
it will seem to	4
if they are of	4
the strata in the	4
proportion as the light	4
azure of the sky	4
in the foreground of	4
the distribution of light	4
the castle of pavia	4
is given in the	4
to the end that	4
shoulder to the other	4
treatment of light for	4
objects at various distances	4
as far off as	4
and the cause of	4
character of the handwriting	4
in the expression of	4
in his life of	4
in every part of	4
of the work of	4
supper in the refectory	4
it is impossible for	4
part of the picture	4
the same side as	4
not being able to	4
south to the south	4
equal to g h	4
the same age as	4
corners of the mouth	4
the middle of each	4
that which is nearest	4
no part of the	4
that it is impossible	4
and in like manner	4
which are to be	4
of buildings seen in	4
there cannot be any	4
it would be necessary	4
that it was the	4
the images of things	4
of the beginning of	4
the angle of reflection	4
can be proved by	4
produced by the light	4
the other to the	4
let a b c	4
it may not be	4
he pointed to the	4
if one of the	4
the seat of the	4
the nature of water	4
would not have been	4
that is where the	4
he listened to the	4
there are in the	4
between the earth and	4
side of the moon	4
the first time the	4
is not a colour	4
are remote from the	4
goes times from the	4
we know that the	4
what part of a	4
has written on the	4
eye is above the	4
are illuminated by the	4
roofs of the houses	4
for the benefit of	4
the construction of a	4
the cry of the	4
like that of the	4
against a light background	4
for the chapel of	4
for the use of	4
receiving the light from	4
one point of sight	4
of the nose and	4
how to represent a	4
said place of cloux	4
the reason is this	4
on the same level	4
of towns and other	4
have no knowledge of	4
in that part of	4
part of the moon	4
principles of light and	4
as well as any	4
the palace of the	4
the sphere of fire	4
by the solar rays	4
with a view to	4
of the weight of	4
the map of the	4
will appear larger at	4
every stage of its	4
difference between light and	4
the point in the	4
the description of the	4
will be upside down	4
the cause of its	4
the peaks of the	4
the earth by the	4
in proportion as one	4
the same as in	4
the use of the	4
inner corner of the	4
there will be no	4
you do not understand	4
in pen and ink	4
of the equipoise of	4
him on the shoulder	4
of the rivers which	4
of the rays of	4
at the left hand	4
years of his life	4
height of a man	4
the various kinds of	4
of a blueish cast	4
to the eye at	4
that the images of	4
of the various kinds	4
have mercy on us	4
a part of some	4
this it may be	4
the exterior of the	4
with its own colour	4
the same thing happens	4
did not wish to	3
mountain and the sun	3
the judgment to be	3
eye fell on the	3
what is meant by	3
of the branches to	3
the measures of the	3
the appearance of trees	3
which it receives the	3
a pool of blood	3
why do you not	3
he had lost his	3
moving against the wind	3
the hour has come	3
caused by the light	3
in the diminution of	3
that he might not	3
a great privilege to	3
full in the face	3
tinged by the colour	3
if it is braccia	3
ye wise as serpents	3
he was going to	3
for the equestrian statue	3
the nostrils to the	3
let n be the	3
the intervals between the	3
extremities of distant objects	3
san lorenzo at milan	3
same height as the	3
else occurs to me	3
the moment of reconciliation	3
la a di questo	3
and in what way	3
of the earth and	3
the minds of men	3
the th of december	3
may be said to	3
will give way at	3
a portrait of a	3
is full of infinite	3
the slope of the	3
is the sixth part	3
illumined by the sun	3
was caused by rain	3
lighter or darker than	3
the pyramid of light	3
of the substance of	3
pen and ink drawings	3
how much a man	3
but the first is	3
be higher than the	3
which are in the	3
be a reminiscence of	3
knowledge of the nature	3
the sketches on pl	3
on the left the	3
the light which causes	3
i got up and	3
south east at a	3
and clinging to the	3
the alps which divide	3
the genius of the	3
when you mean to	3
most christian king of	3
where the line of	3
the tree of the	3
the windings of the	3
we shall see the	3
between lines and of	3
portrait of monna lisa	3
which does not happen	3
is inseparable from a	3
according to the laws	3
on the colour of	3
this is not the	3
in proportion as those	3
in his youth he	3
the piazza del broletto	3
i say that when	3
seen in the water	3
the east the trees	3
divided into two parts	3
the diary of giovanni	3
the atmosphere which lies	3
of the medici family	3
the waves of sound	3
that where it is	3
as in the middle	3
will not sit down	3
the laws of light	3
figure standing upon its	3
between the bottom of	3
the greatest of all	3
to be above the	3
of all the parts	3
the pillars of hercules	3
proportion to its distance	3
space between the mouth	3
early in the morning	3
a greater quantity of	3
narrow at the top	3
by light and shade	3
have done the same	3
for the composition of	3
its thickness at the	3
be careful not to	3
to a strange colour	3
belongs to this passage	3
thus it will be	3
same side as the	3
from the sea of	3
the boughs of the	3
the distance of the	3
he stretched out his	3
the air and the	3
they recede from the	3
this is that the	3
in the library at	3
of the sun as	3
when it wants to	3
what do you think	3
in any other way	3
little difference between the	3