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
by the hand of	172
the church of s	121
the church of the	63
the art of painting	59
on the right hand	53
early english books online	41
at the great door	38
of the great altar	34
on the left hand	33
the lights and shadows	32
on your left hand	32
was a disciple of	31
is the work of	30
at the same time	30
the right hand of	29
in the same manner	28
the middle of the	25
in the church of	25
right hand of the	25
the top of the	24
hand of the great	24
part of the body	23
the rest of the	23
in the middle of	23
of the lights and	22
church of the fathers	22
on the other side	21
in the art of	21
and when it is	20
that is to say	20
a picture of the	20
of the most eminent	20
on your right hand	19
for the most part	19
one of the most	19
a quarter of a	19
all the parts of	18
and when you have	18
is one of the	18
enter at the great	18
the nuns church of	17
a quarter of an	17
in the midst of	17
the hand of tintoret	17
the picture of the	17
you enter at the	16
there is a picture	16
as you enter at	16
represented either as utf	16
characters represented either as	16
the sides of the	16
of leonardo da vinci	16
and in a word	16
the assumption of the	15
half an ounce of	15
in the time of	14
the same manner as	14
the history of the	14
one of the best	14
over a gentle fire	14
a singular work of	14
in the mean time	13
is to be seen	13
the greatest part of	13
the other side of	13
as well as the	13
there is a square	13
to be seen in	13
is all painted by	13
the point of sight	13
hand as you enter	13
there is also a	13
in this church you	13
is the picture of	13
the end of the	13
of the art of	13
in a little time	13
other side of the	12
that they may be	12
quarter of a pound	12
hand of paulo veronese	12
the palace of the	12
that it may be	12
at the end of	12
the aqua fortis from	12
in all the parts	12
the beauty of the	12
so much the more	12
is not to be	12
the best part of	12
was the first who	12
text and markup reviewed	11
to the early english	11
markup reviewed and edited	11
iv tiff page images	11
terms of creative commons	11
described above is co	11
is available for reuse	11
and markup reviewed and	11
by little and little	11
for keying and markup	11
institutions providing financial support	11
all without asking permission	11
the institutions providing financial	11
you see a square	11
lower part of the	11
encoded edition of the	11
and encoded edition of	11
books online text creation	11
picture of the b	11
of the work described	11
the work described above	11
support to the early	11
the terms of creative	11
half a pound of	11
one and the same	11
tcp assigned for keying	11
according to the terms	11
assumption of the b	11
text is available for	11
keyed and coded from	11
of the blessed virgin	11
the lower part of	11
to the terms of	11
owned by the institutions	11
work described above is	11
financial support to the	11
phase i text is	11
notes for div a	11
coded from proquest page	11
and coded from proquest	11
from proquest page images	11
encoded text transcribed from	11
english books online text	11
keyboarded and encoded edition	11
nuns church of s	11
providing financial support to	11
by the institutions providing	11
this keyboarded and encoded	11
images scanned from microfilm	11
i text is available	11
of a pound of	11
online text creation partnership	11
the text can be	11
even for commercial purposes	11
assigned for keying and	11
work of paulo veronese	11
text can be copied	11
it with a little	11
is seen a picture	11
is a picture of	11
edition of the work	11
the early english books	11
this phase i text	11
and amongst the rest	11
in the first place	10
one side of the	10
to have been the	10
with the history of	10
parts of the body	10
the story of the	10
take a piece of	10
hand of guido reno	10
pour the aqua fortis	10
the works of the	10
chapell on the right	10
at the great altar	10
from the top of	10
the picture of a	10
the chapell on the	10
the most eminent painters	10
and according to the	10
the whole art of	10
and it will be	10
by reason of the	10
of an ounce of	10
as if they were	10
the time of the	10
in all its parts	10
the figure of the	10
you may observe a	10
the hand of guido	10
the chappel of the	10
the other is the	10
the hand of titian	10
a most fair work	9
on the sides of	9
to the perfection of	9
put it into a	9
the use of the	9
the first altar on	9
was divided into two	9
about the same time	9
not being able to	9
the parts of the	9
an ounce of the	9
seen a picture of	9
the painting of the	9
a piece of his	9
the bottom of the	9
of guercin da cento	9
those things which are	9
by the means of	9
the hand of the	9
you will admire the	9
in the other is	9
as if it were	9
another picture of the	9
you see a picture	9
in the chappel of	9
left hand as you	9
church at the great	9
for their own purposes	8
in oxford and michigan	8
in all likelihood such	8
corrected where possible up	8
and available in eebo	8
not meet qa standards	8
of time and funding	8
out by editorial teams	8
by editorial teams in	8
that can be made	8
qa standards were returned	8
included and sometimes a	8
the place of the	8
the text encoding initiative	8
domain as of january	8
simplify the filling in	8
mind that in all	8
the tei in libraries	8
publisher proquest to create	8
be made about the	8
whichever is the greater	8
sets published by proquest	8
files to tei p	8
given to their original	8
selection was based on	8
are available at the	8
is a kind of	8
text creation partnership web	8
and oxford and the	8
based on the new	8
the keyers to be	8
of creating the tcp	8
elements of known extent	8
remaining illegibles were encoded	8
been released into the	8
within the usual project	8
converting tcp files to	8
keying companies for transcription	8
were corrected where possible	8
corrected and characters marked	8
by a tcp editor	8
of the texts have	8
on the text encoding	8
and encoded texts based	8
a wide variety of	8
based on the image	8
and characters marked as	8
we respectfully request that	8
then their works are	8
guidelines are available at	8
have been released into	8
in mind that in	8
language title published between	8
at by a tcp	8
see a square with	8
and markup guidelines are	8
request that due credit	8
in the city of	8
while the overall quality	8
and in the same	8
produce large quantities of	8
it is to be	8
instances will never have	8
large quantities of textual	8
credit and attribution is	8
to reflect the true	8
anyone can now take	8
data is very good	8
mainly structural encoding based	8
a second or later	8
some readable characters will	8
take and use these	8
to make use of	8
chose to create diplomatic	8
any remaining illegibles were	8
to create accurately transcribed	8
to simplify the filling	8
to the knowledge of	8
on the new cambridge	8
of the print record	8
and use these texts	8
of the tei in	8
in accordance with level	8
figure of the subject	8
tcp data is very	8
and those which did	8
been transformed into placeholder	8
a work was chosen	8
structural encoding based on	8
illegible were corrected where	8
should make clear that	8
in the pallace of	8
create accurately transcribed and	8
been looked at by	8
proofread for accuracy and	8
work was chosen if	8
left hand of the	8
works in other languages	8
to create diplomatic transcriptions	8
between the universities of	8
textual data within the	8
the new cambridge bibliography	8
works in english were	8
level of the tei	8
sent to external keying	8
encoding based on the	8
compelling reason to do	8
then let it dry	8
and attribution is given	8
and sometimes a second	8
respectfully request that due	8
record of the period	8
copies of the texts	8
bibliography of english literature	8
now take and use	8
of one of the	8
can now take and	8
during phase of the	8
all likelihood such instances	8
into the public domain	8
via their early english	8
quality assurance was then	8
of michigan and oxford	8
the publisher proquest to	8
bear in mind that	8
overall quality of tcp	8
use these texts for	8
the filling in of	8
is to encode one	8
the public domain as	8
image sets published by	8
sometimes a second or	8
standards were returned to	8
text was proofread for	8
into placeholder characters or	8
in of gaps by	8
universities of michigan and	8
reason to do so	8
the place where he	8
and as it were	8
have been looked at	8
true nature of the	8
side of the face	8
proquest to create accurately	8
were sent to external	8
quantities of textual data	8
quarter of an ounce	8
will remain and some	8
by converting tcp files	8
opposed to critical editions	8
here you will admire	8
unicode or tei g	8
to the keyers to	8
image sets were sent	8
there was a compelling	8
a partnership between the	8
at the text creation	8
with mnemonic sdata character	8
the encoding was enhanced	8
a picture of s	8
is given to their	8
a few drops of	8
selection was intended to	8
accuracy and those which	8
texts for their own	8
each text was proofread	8
returned to the keyers	8
the left hand of	8
her son in her	8
characters or elements to	8
quality of tcp data	8
between and available in	8
of andrea del sarto	8
for an anonymous work	8
print record of the	8
creation partnership web site	8
should be aware of	8
general aim of eebo	8
errors will remain and	8
first editions of a	8
processes should make clear	8
encoded as gap s	8
was then carried out	8
when you have done	8
a number of works	8
and therefore chose to	8
number of works in	8
remain and some readable	8
by university of nebraska	8
assumptions that can be	8
in english were prioritized	8
a works in english	8
of known extent have	8
images in accordance with	8
tcp is a partnership	8
external keying companies for	8
creating the tcp texts	8
therefore of any assumptions	8
tei in libraries guidelines	8
characters marked as illegible	8
that in all likelihood	8
when it is dry	8
to tei p using	8
editorial teams in oxford	8
to their original source	8
although there are a	8
as opposed to critical	8
tcp files to tei	8
these processes should make	8
all painted by the	8
the image sets published	8
for transcription and basic	8
of the process of	8
limit of instances per	8
oxford and the publisher	8
editions of a works	8
was based on the	8
that part of the	8
their works are eligible	8
the texts were encoded	8
of pietro da cortona	8
published by proquest via	8
one and the other	8
accurately transcribed and encoded	8
with level of the	8
is a partnership between	8
texts have been issued	8
was proofread for accuracy	8
of a works in	8
intended to range over	8
a limit of instances	8
tcp is to encode	8
proquest via their early	8
later edition of a	8
of any assumptions that	8
are eligible for inclusion	8
based on the text	8
have been transformed into	8
range over a wide	8
was a compelling reason	8
keying and markup guidelines	8
encoding was enhanced and	8
tei p using tcp	8
tcp aimed to produce	8
was chosen if there	8
been issued variously as	8
a compelling reason to	8
had a mind to	8
keyers to be redone	8
but we respectfully request	8
of the life of	8
p using tcp tei	8
to encode one copy	8
changes to facilitate morpho	8
transformed into placeholder characters	8
made about the data	8
unicode or text strings	8
the universities of michigan	8
of textual data within	8
users should bear in	8
with changes to facilitate	8
project have been released	8
to range over a	8
encoded and linked to	8
the order of the	8
to external keying companies	8
released into the public	8
possible up to a	8
of every monographic english	8
aware of the process	8
then carried out by	8
transcribed and encoded texts	8
or elements to simplify	8
one of the greatest	8
known extent have been	8
a square with the	8
and the publisher proquest	8
filling in of gaps	8
be aware of the	8
any assumptions that can	8
assurance was then carried	8
will never have been	8
looked at by a	8
carried out by editorial	8
reflect the true nature	8
companies for transcription and	8
the process of creating	8
was intended to range	8
transcription and basic encoding	8
the texts have been	8
chosen if there was	8
or text strings within	8
in the house of	8
where he was born	8
of works in other	8
the general aim of	8
understanding these processes should	8
title published between and	8
issued variously as sgml	8
and linked to page	8
or for an anonymous	8
did not meet qa	8
encoded texts based on	8
will be marked as	8
enhanced and or corrected	8
the usual project restraints	8
side of the church	8
placeholder characters or elements	8
the hand of great	8
and put it into	8
texts created during phase	8
likelihood such instances will	8
illegibles were encoded as	8
elements to simplify the	8
mnemonic sdata character entities	8
second or later edition	8
where possible up to	8
or tei g elements	8
created by converting tcp	8
readable characters will be	8
which did not meet	8
be marked as illegible	8
can be made about	8
and or corrected and	8
or corrected and characters	8
aimed to produce large	8
to produce large quantities	8
phase of the project	8
public domain as of	8
available at the text	8
of tcp data is	8
as illegible were corrected	8
and most of the	8
linked to page images	8
edition of a work	8
the parts of painting	8
sets were sent to	8
divided into two phases	8
or later edition of	8
the overall quality of	8
of instances per text	8
were encoded as gap	8
in the school of	8
gap elements of known	8
texts based on the	8
new cambridge bibliography of	8
markup guidelines are available	8
such instances will never	8
cambridge bibliography of english	8
to the rules of	8
the hand of lanfranco	8
of a work was	8
page images in accordance	8
over a wide variety	8
michigan and oxford and	8
never have been looked	8
to page images in	8
restraints of time and	8
processed by university of	8
by proquest via their	8
ascii text with mnemonic	8
meet qa standards were	8
users should be aware	8
nature of the print	8
the print record of	8
with the child jesus	8
of each text was	8
text strings within braces	8
the text creation partnership	8
was enhanced and or	8
the true nature of	8
up to a limit	8
variety of subject areas	8
the project have been	8
attribution is given to	8
published between and available	8
project restraints of time	8
text with mnemonic sdata	8
accordance with level of	8
to a limit of	8
should bear in mind	8
these texts for their	8
usually the first edition	8
teams in oxford and	8
texts were encoded and	8
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those which did not	8
extent have been transformed	8
partnership between the universities	8
your left hand as	8
their early english books	8
and therefore of any	8
tcp project was divided	8
notably latin and welsh	8
on the image sets	8
and some readable characters	8
there are a number	8
created during phase of	8
are a number of	8
have been issued variously	8
if there was a	8
project was divided into	8
some errors will remain	8
therefore chose to create	8
marked as illegible were	8
text selection was based	8
were encoded and linked	8
were returned to the	8
gaps by user contributors	8
works are eligible for	8
aqua fortis from the	8
process of creating the	8
of the project have	8
the light of the	8
due credit and attribution	8
that due credit and	8
characters will be marked	8
of gaps by user	8
wide variety of subject	8
data within the usual	8
usual project restraints of	8
ocm this keyboarded and	7
the sacrifice of iphigenia	7
in a piece of	7
of the house of	7
the art of designing	7
if it be a	7
take a quantity of	7
the hand of parmeggianino	7
with his own hand	7
on each side of	7
the rest of his	7
account of the most	7
of the perfection of	7
part of his life	7
the work of a	7
the colour of the	7
by the help of	7
by the instructions of	7
is the hand of	7
the strength of the	7
the manner of working	7
the side of the	7
short account of the	7
here you see a	7
of the most excellent	7
with a few drops	7
is a madonna with	7
of the said altar	7
the center of your	7
by guercin da cento	7
a disciple of his	7
to the end that	7
r ocm this keyboarded	7
quality of the persons	7
if you would have	7
in the service of	7
of some of the	7
the perfection of painting	7
principal figure of the	7
perfection of the art	7
to be seen a	7
the most eminent masters	7
entring at the great	7
was born in the	7
you will admire a	7
but to return to	7
the king of france	7
and a half of	7
you must be very	7
he was sent for	7
on the other hand	7
estc r ocm this	7
raphael and michael angelo	7
the quality of the	7
must be done with	7
and an ounce of	7
with her son in	7
the coming of the	7
are not to be	7
as if he had	7
to be in the	7
the emperour charles v	7
of the old testament	7
the motions of the	7
altar there is a	7
which are in the	7
if it be too	7
the principal figure of	7
half a pint of	7
set off best with	7
as you shall see	7
to the art of	7
till the water be	7
a little piece of	7
which is in the	7
into the hands of	7
a picture with the	7
madonna with her son	7
quarter of a pint	7
in the hands of	7
the head to the	7
that it is not	7
in such a manner	7
painted by the hand	7
you will see a	7
there is a little	7
about the sides of	7
in a kind of	7
this church you see	7
is a square of	7
reproduction of original in	7
the nativity of our	7
there is also another	7
this church at the	7
the bigness of a	6
each side of the	6
in black and white	6
of the order of	6
of those things which	6
you may see the	6
with lake and white	6
was at first a	6
but if it be	6
rest of the figures	6
in the darkest places	6
nativity of our lord	6
in the compass of	6
in the chapell of	6
of saint john baptist	6
for his skill in	6
and on the left	6
are to be sold	6
the school of the	6
the breadth of the	6
to the time of	6
of the pen and	6
see a picture with	6
and let it dry	6
idea of the perfection	6
ground of the picture	6
of the painting of	6
most excellent hand of	6
the work of tintoret	6
as you enter on	6
and on the contrary	6
the most excellent hand	6
of so great a	6
the figures of the	6
to the quantity of	6
the figure of a	6
of the whole work	6
i know not what	6
you enter this church	6
be ground very fine	6
the manner of the	6
right hand as you	6
the family of the	6
the best and most	6
as much as you	6
work of andrea sacchi	6
being the church of	6
he was a person	6
which you intend to	6
doctors of the church	6
the passions of the	6
piece at the great	6
to the quality of	6
by leonardo da vinci	6
the length of the	6
it will be a	6
of men and women	6
three or four times	6
of all the rest	6
to be found in	6
the piece of the	6
and at the same	6
then pour the aqua	6
the fire till it	6
measures of the head	6
some of the most	6
the church of madonna	6
he returned to florence	6
work of hannibal carache	6
the manner of their	6
first altar on the	6
which he made of	6
the front of the	6
draw after the life	6
the manner of his	6
pound and a half	6
you will find the	6
the design of the	6
a great deal of	6
the chamber of the	6
the rules of art	6
church of the madonna	6
the outside of the	6
one part of the	6
the one and the	6
as it were the	6
of it self is	6
if he had not	6
a little quantity of	6
of white and black	6
the head of a	6
his art of poetry	6
the work of the	6
work of guido reno	6
an ounce of allom	6
of the head to	6
the first picture on	6
on the left side	6
works of the most	6
the left hand is	6
you are to paint	6
work of guercin da	6
from the place where	6
the great altar there	6
the hand of carache	6
a bunch of grapes	6
the left side of	6
chapell on your right	6
the second part of	6
a pair of compasses	6
most fair work of	6
in the beginning of	6
if you intend to	6
the lives of the	6
a short account of	6
and lay it on	6
was one of the	6
where there is a	6
a madonna with her	6
the sole of the	6
the most excellent of	6
of the duke of	6
the beauties of nature	6
there are the four	6
our saviour in the	6
altar on the right	6
see on your left	6
under the discipline of	6
and in a little	6
a piece of the	6
of the most famous	6
here is an admirable	6
the most excellent art	6
the edges of the	6
it will not be	6
a little of the	6
church of the nunns	6
in the palace of	6
in the temple of	6
the other parts of	6
the reason of this	6
which ought to be	6
the perfection of the	6
use of the pen	6
after the manner of	6
with the same colour	6
most excellent art of	6
and the art of	6
and by that means	6
the great altar is	6
of the same colour	6
the work of lanfranco	6
the martyrdom of s	6
and by this means	6
make use of the	6
masters in his time	6
and are to be	6
other parts of italy	6
the picture of s	6
the rules of perspective	6
any part of the	6
bigger than the life	6
the church of saint	6
his choice of postures	5
for a painter to	5
at the sight of	5
the midst of the	5
with his left hand	5
the aqua fortis hath	5
you see the picture	5
to be sold by	5
the school of s	5
a most singular work	5
which belongs to the	5
the house of the	5
church you see a	5
a side door of	5
the third is the	5
of a young man	5
same manner as the	5
altar on your right	5
pictures by the life	5
the strength of his	5
for a long time	5
and we shall see	5
it is in the	5
the pen and pensil	5
of the assumption of	5
and then you may	5
place where he was	5
altar on the left	5
that on the contrary	5
the work of paulo	5
how to draw the	5
and on the other	5
in a chapell on	5
the doors of the	5
you intend to bestow	5
is by the hand	5
on the top of	5
which are at the	5
of the said church	5
which is that of	5
in the distribution of	5
with many other figures	5
the hand of paulo	5
you enter on your	5
the art of drawing	5
there is nothing more	5
the best of all	5
two or three days	5
they ought to be	5
as you enter this	5
which are to be	5
in all his works	5
you must draw the	5
then let it stand	5
you must be sure	5
the histories of the	5
when you come to	5
all the rest of	5
here is seen a	5
and all the other	5
doors of the organ	5
of lights and shadows	5
left side of the	5
virgin in the sky	5
in a short time	5
of the beauty of	5
to make gold size	5
as it were a	5
of our lord with	5
such or such a	5
in the manner of	5
the order of their	5
of the family of	5
there is another picture	5
the hand of andrea	5
and half an ounce	5
descent from the cross	5
works of the author	5
make use of it	5
a glory of angels	5
the hand of camassei	5
to which is added	5
every one of them	5
are as it were	5
the figures in the	5
first a disciple of	5
and let it cool	5
the place of his	5
fire till it be	5
the right hand is	5
the art it self	5
the garden of the	5
the chapell of the	5
which he made in	5
and as much of	5
must be sure to	5
the life of saint	5
that so you may	5
here you will find	5
according to the quantity	5
for his performances in	5
upon a sheet of	5
in all the other	5
the art of colouring	5
at the high altar	5
sole of the foot	5
you see on your	5
he was the first	5
will see a picture	5
of spirit of wine	5
was sent for to	5
here is to be	5
the works of titian	5
there is nothing but	5
at first a disciple	5
how to make the	5
born in the city	5
take notice of the	5
the author of this	5
in their proper places	5
so as to make	5
at the age of	5
that it may not	5
our lord with the	5
the best way to	5
you come to the	5
the manner how to	5
which is all painted	5
excellent art of painting	5
fortis from the plate	5
the piece at the	5
two or three times	5
and be sure to	5
there is a large	5
on the outside of	5
it over the fire	5
the third part of	5
the aqua fortis upon	5
in the same church	5
by the most excellent	5
histories of the old	5
of our modern painters	5
in design and colouring	5
the usual manner of	5
are the four evangelists	5
the imitation of nature	5
according to the order	5
he had not been	5
is a piece of	5
to those who are	5
the truth of the	5
with the point of	5
the beauty of his	5
and after he had	5
the family of medicis	5
the city of florence	5
the masses of the	5
as well as in	5
the city of rome	5
madonna with the child	5
works of the same	5
the service of the	5
how to make it	5
you must make the	5
where you see a	5
in his art of	5
of the nunns of	5
side of the great	5
a rare work of	5
by reason of its	5
one of the fairest	5
is another picture of	5
quarter of an hour	5
with a little white	5
the disposition of the	5
the work of titian	5
the hand of correggio	5
as the light falls	5
all his life time	5
to the lower part	5
in the chapell on	5
lord with the apostles	5
entring this church at	5
of the fairest works	5
the eyes of the	5
that the art of	5
in which all the	5
to the manner of	5
and was the first	5
hand there is a	5
is by paulo veronese	5
is an admirable picture	5
and a little s	5
of raphael and michael	5
a pound of the	5
in the nature of	5
the work of hannibal	5
a picture of our	5
stories of the life	5
work of paris bordone	5
the work of guercin	5
the foundation of rome	5
of alexander the great	5
side door of the	5
as it were to	5
as you enter the	5
one of the first	5
is not so much	5
yet to be seen	5
a little square of	5
are the works of	5
and the rest of	5
second part of painting	5
the eye of the	5
to be of a	5
in his choice of	5
a square of the	4
an idea of the	4
he presented him with	4
four or five hours	4
the painter and the	4
the first part of	4
noble hand of paulo	4
that it would be	4
the pit betwixt the	4
as for the first	4
the length of one	4
in which he has	4
his chief works are	4
from thence to the	4
and entred according to	4
this colour is used	4
take a pound of	4
the supper of our	4
of maps and prints	4
in the next place	4
that are to be	4
of poetry and painting	4
of bodies which are	4
to find out the	4
a little fair water	4
any of his predecessors	4
take an ounce of	4
of the madonna del	4
it is not sufficient	4
of the fathers capuchines	4
the quantity of each	4
and the work of	4
on the same side	4
the quantity of a	4
the inside of the	4
laying on of oyl	4
after the death of	4
it all over with	4
a good quantity of	4
which pliny and quintilian	4
of his life in	4
the practice of painting	4
to the order of	4
italian and german authors	4
it was possible to	4
be of a curious	4
most beautiful work of	4
would have made him	4
other part of the	4
a great square of	4
noble art of painting	4
is also a square	4
left hand you see	4
of the fathers serviti	4
the principal figures of	4
with the names and	4
in the same place	4
to the present times	4
it with your pen	4
hand you see a	4
little church of s	4
according to the best	4
there are also divers	4
the aqua fortis will	4
the head of the	4
both ancient and modern	4
the advantage of our	4
a piece of painting	4
as i have already	4
it is impossible to	4
michael angelo da caravaggio	4
the life and spirit	4
to be observed in	4
with a little fair	4
his most celebrated piece	4
that those which are	4
his excellent talent in	4
in the works of	4
the choicest italian and	4
which he had made	4
as possibly you can	4
the masters of the	4
be one of the	4
when he was a	4
to those of the	4
took him into his	4
all those who have	4
part of the knee	4
the knowledge of the	4
a field of gold	4
sides of the room	4
died of the plague	4
so much diligence and	4
to the bottom of	4
the picture of pope	4
out beyond the other	4
globe in his hand	4
in a few months	4
you go into the	4
of the original in	4
chapell on your left	4
original text notes for	4
ground upon a black	4
done by the hand	4
came over into england	4
the name of the	4
at the second altar	4
and in the first	4
that it was possible	4
if there be any	4
sancta maria del fiore	4
those of the profession	4
your right hand you	4
to keep the aqua	4
the rule of beauty	4
the stories of the	4
to be able to	4
the water be all	4
it with your finger	4
so great was the	4
text notes for div	4
is nothing else but	4
all the works of	4
as it may be	4
at the bottom of	4
wall round about the	4
the original text notes	4
to the glory of	4
of the greatest masters	4
is yet to be	4
off from the fire	4
in its proper place	4
to one of the	4
the hands of the	4
then take it out	4
you will find your	4
and in the chapell	4
as may be seen	4
as if they had	4
singular good work of	4
the regularity of the	4
keep the aqua fortis	4
which is nearest to	4
not so much as	4
spent the greatest part	4
a most beautiful picture	4
coming of the magi	4
picture of the abovesaid	4
the work is done	4
but be sure you	4
as i may say	4
virgin with her son	4
the right hand as	4
if it be not	4
it off from the	4
had the honour of	4
in the dukedom of	4
to the study of	4
this is the only	4
enter on your left	4
painting of the top	4
church there is a	4
as well in the	4
of cana in galilee	4
and that of the	4
be conformable to the	4
about the edges of	4
the knowledge of them	4
is a square with	4
after the usual manner	4
the figures which are	4
of a good picture	4
description of the painting	4
an ounce of white	4
the hand of ludovico	4
the beginning of the	4
which will make it	4
at his return to	4
an infinite number of	4
rub it all over	4
of the whole together	4
bodies of the colours	4
work of hanniball carache	4
a singular good work	4
to make them the	4
set off well with	4
order of their succession	4
will be of a	4
painters voyage of italy	4
the adoration of the	4
that there is nothing	4
passions of the mind	4
nearer to the sight	4
door of the church	4
the manner of those	4
out of the choicest	4
the hand of augustine	4
are of the same	4
how to dispose of	4
the edge of your	4
here you may observe	4
the scene of the	4
nativity of our saviour	4
as much as they	4
the great altar represents	4
as we may say	4
a great part of	4
hand of great titian	4
of sancta maria novella	4
take the pains to	4
i may call it	4
is nothing but a	4
assumption of the blessed	4
you will find it	4
the corners of the	4
with the works of	4
a white ground upon	4
the force of his	4
shadowed with blew verditer	4
of proportion for drawing	4
it with fair water	4
the depth of the	4
lives of the most	4
to all sorts of	4
a painter ought to	4
son in her arms	4
the air of the	4
the work of andrea	4
or for want of	4
the hand of dominichino	4
r this keyboarded and	4
in the figure of	4
by the same hand	4
one against the other	4
the image of the	4
so that it may	4
or a description of	4
top of the theater	4
put to it a	4
sweetness of his temper	4
chief works are at	4
which is added exact	4
then take a piece	4
according to the manner	4
the sacrifice of abraham	4
both of the one	4
that they are not	4
is a most beautiful	4
but on the contrary	4
colouring of maps and	4
you are to work	4
the center of the	4
at the first sight	4
estc r this keyboarded	4
the greatness of his	4
follow the order of	4
at the second chapell	4
here you will see	4
and it may be	4
chapell on the left	4
a small quantity of	4
by the side of	4
as they appear in	4
became one of the	4
a little handful of	4
paintings of the most	4
the conception of the	4
the second altar on	4
upon the backside of	4
they set not off	4
the use of this	4
the original in the	4
ought not to be	4
and a glory of	4
of the first form	4
of a piece of	4
and mixtures of colours	4
upon a field of	4
the proportion of a	4
who found out the	4
be sure not to	4
enter the great door	4
choicest italian and german	4
if you are to	4
names and mixtures of	4
a madonna with the	4
the best pieces of	4
you begin to work	4
betwixt painting and poetry	4
which are of the	4
four or five times	4
but be sure to	4
picture on your left	4
lay a white ground	4
the hand of pordenone	4
and when they are	4
it in a spoon	4
your left hand you	4
you may draw all	4
a day or two	4
the signe of the	4
here is a picture	4
upper part of the	4
which of it self	4
as big as the	4
the hand of leonardo	4
either in colour or	4
of the city of	4
in colour or in	4
put it into the	4
according to the design	4
water be all coloured	4
all the painters of	4
and put a little	4
stories of the old	4
in my book of	4
and to that end	4
the tip of the	4
pit betwixt the collar	4
was famous also for	4
some part of the	4
for the church of	4
is a ritratto of	4
of the works of	4
collected out of the	4
apex covantage keyed and	4
draw it with your	4
in all which he	4
as for the third	4
a most beautiful work	4
necessary instruments for drawing	4
it seems to me	4
histories in chiaro scuro	4
the effect of the	4
and you shall see	4
the excellency of this	4
by the most noble	4
in the first chapter	4
from the original text	4
of the choicest italian	4
the corner of the	4
you may see a	4
of his best pieces	4
all the other parts	4
that would be a	4
the resurrection of christ	4
of the same hand	4
them over a gentle	4
the principles of art	4
the distribution of the	4
the works of this	4
the nunns of s	4
be sure to place	4
which they call the	4
to the sole of	4
to the duke of	4
of his own art	4
work of great titian	4
to a great perfection	4
to it a little	4
of a pint of	4
take a sheet of	4
part of the face	4
according to the rules	4
you will find a	4
entred according to order	4
the little church of	4
in the middle between	4
in the arms of	4
singular works of the	4
the most part in	4
mixtures of colours used	4
a pound and a	4
observations upon the art	4
there is a madonna	4
the hand of giorgone	4
the upper part of	4
on the side of	4
when they are dry	4
great altar there is	4
of most of the	4
the hand of albano	4
an ounce of cloves	4
which is a most	4
with oil and lamp	4
the right side of	4
of the best quality	4
with so much diligence	4
the theater at oxon	4
the sign of the	4
to speak of the	4
in the first chapell	4
and so let it	4
order of the parts	4
the company of the	4
of our saviour in	4
and so use it	4
as it is in	4
picture on the right	4
you may make a	4
it is not to	4
the story of saint	4
is a most singular	4
all sorts of animals	4
the convent of the	4
and go over it	4
rules of proportion for	4
a description of the	4
in respect of the	4
supper of our lord	4
the names and mixtures	4
whole art of drawing	4
beauty of his colouring	4
over a side door	4
you enter the great	4
in so much that	4
with so much art	4
when you have thus	4
in the person of	4
shall see in the	4
a book of dravving	4
here you see the	4
down to the present	4
the painters voyage of	4
to deceive the sight	4
to the eyes of	4
are to be seen	4
center of your draught	4
as i may call	4
in which there are	4
which is in truth	4
the muscles in naked	4
and after it is	4
side of the picture	4
of the most holy	4
those who have the	4
go over it with	4
is to be admired	4
colour of the cheeks	4
without so much as	4
then you must take	4
reproduction of the original	4
to carry on the	4
he was forced to	4
the bodies of colours	4
of those great men	4
a chapell on the	4
by the strength of	4
the heads of the	4
is the nativity of	4
in which you will	4
to be burnt in	4
of the emperour charles	4
secrets of the art	4
manner of working in	4
picture of the annunciation	4
right side of the	4
if he had been	4
to be the most	4
top of the head	4
several other parts of	4
the chief of which	4
the king of spain	4
in the opinion of	4
the bottome of the	4
he had a great	4
most singular work of	4
the master of the	4
covantage keyed and coded	4
the base of the	4
must be very carefull	4
upon the top of	4
of the wise men	4
bigger then the other	4
art of vulgar painting	4
of the theater at	4
before you begin to	4
the use of them	4
to draw after the	4
picture of our saviour	4
the duke of ferrara	4
pope leo the tenth	4
to make all the	4
is that of the	4
you must take a	4
in the study of	4
most excellent of all	4
how to make artificiall	4
there is nothing which	4
of the top of	4
we see in the	4
and force of the	4
the subject which it	4
it four or five	4
from the lower part	4
therefore you must be	4
and wash the plate	4
of the organ you	4
the nativity of christ	4
and on the right	4
of the modern painters	4
much in favour with	4
the greeks and romans	4
which is the best	4
and a little red	4
when you have ground	4
he was famous also	4
so as not to	4
that it was a	4
a little of it	4
make use of this	4
the parting of the	4
all manner of timber	4
aptara keyed and coded	4
or colouring of maps	4
at the signe of	4
scene of the picture	4
of the best and	4
is the figure of	4
in one of the	4
or ground of the	4
whole art of vulgar	4
reason of this is	4
for the drawing of	3
the house of medicis	3
must be made to	3
according to the distance	3
picture in the quire	3
every member be made	3
together with an original	3
in french by roland	3
made use of a	3
i have seen a	3
in his younger days	3
will make it a	3
you may make it	3
sticks out beyond the	3
work of pietro da	3
to that height of	3
in the practical part	3
the city of rhodes	3
the elegance of design	3
of this piece of	3
poet and the painter	3
when they come to	3
are as so many	3
till it be very	3
difficulties of the art	3
who have come nearest	3
is included the whole	3
truth of the history	3
textual changes aim at	3
at the third altar	3
as they ought to	3
most of the great	3
the first chapell on	3
that he was sent	3
work of old palma	3
for which he was	3
at making the text	3
most famous piece was	3
to make choice of	3
a piece of paper	3
let this be done	3
most eminent masters are	3
in imitation of the	3
the same time with	3
that it be not	3
the root of the	3
white ground upon a	3
third part of painting	3
and linguistically annotated with	3
excellent of all the	3
edges of the plate	3
all the artists of	3
of the roman empire	3
the organ you see	3
saint john the evangelist	3
how also to diaper	3
and other parts of	3
a work of great	3
together with the lives	3
by amateur and professional	3
greatest part of his	3
to dye or stain	3
the marriage of cana	3
what colours set off	3
the correctness of his	3
colours set off best	3
not to be used	3
i thought my self	3
it with oil and	3
aiding to your art	3
that it was not	3
into his own country	3
go over the skins	3
for the mouth and	3
would seem to be	3
the body must be	3
and for that reason	3
with christ upon the	3
tcp digital transcription a	3
the way and manner	3
printed for robert crofts	3
of the figures of	3
and professional end users	3
a picture which represents	3
in the posture of	3
have made use of	3
and if you perceive	3
one of his pieces	3
the hand of that	3
a nativity of our	3
never so much as	3
intention of the painter	3
madonna and her son	3
and how to make	3
collaborative curation by amateur	3
as when we say	3
difficult to be found	3
by the great door	3
restoring the text the	3
body sticks out beyond	3
text has not been	3
but also all manner	3
the chief architect of	3
the whole treatise being	3
this church you will	3
seems to be the	3
of the parts of	3
parallel betwixt painting and	3
directions contained therein be	3
the work of paris	3
the finishing of the	3
all the noble arts	3
the death of raphael	3
the judgment of the	3
and affections of the	3
of colours in the	3
and a little white	3
from the time of	3
through a linnen cloth	3
a way of painting	3
he had been his	3
for variety you may	3
to make gold and	3
that nothing might be	3
may be said of	3
an enriched version of	3
his great skill in	3
when you would use	3
the character of a	3
is nearest to the	3
a parallel betwixt painting	3
front of a house	3
it over with a	3
stationer meant to publish	3
the practice of the	3
when you would colour	3
to wash such colours	3
shadows in the face	3
you come to draw	3
and rub it all	3
two measures of the	3
de la perfection de	3
draw the outmost lines	3
to the care of	3
him in every thing	3
which he ought to	3
much applauded for his	3
up in a piece	3
the display of a	3
and we shall find	3
with the martyrdom of	3
it over again with	3
you must have a	3
he is able to	3
the state or territory	3
short introduction to the	3
that preserves archaic forms	3
with a soft brush	3
seen a square with	3
the benefit of all	3
you can never recover	3
had like to have	3
there is a difference	3
hand of great raphael	3
the directions contained therein	3
in which it was	3
lay it on the	3
and those which are	3
draw all parts of	3
that part that is	3
the necessary instruments for	3
which are true and	3
is the visitation of	3
the famous italian painter	3
the first who found	3
a companion for the	3
hand of augustine carache	3
all sorts of colours	3
then let it settle	3
from thence he went	3
a pint of spirits	3
in the picture of	3
distant from each other	3
make him fit for	3
art of painting in	3
who was afterwards pope	3
the statues of the	3
that at last he	3
masters of this art	3
most approved rules for	3
him as if he	3
the dark side of	3
the bodies of the	3
to make artificiall pastels	3
lay it on a	3
of the virgin mary	3
go over the face	3
let it dry a	3
when all is done	3
to the practice of	3
colours to be washt	3
face with lake and	3
with one and the	3
been tokenized and linguistically	3
painting illustrated in three	3
that it had been	3
of the leaves of	3
so much as to	3
which all the famous	3
use of his pencil	3
of it as much	3
in italian by giacomo	3
drawing of a face	3
many walks of life	3
is added exact rules	3
by the famous italian	3
which when it is	3
time of alexander the	3
and wash it with	3
picture with the history	3
as much as possibly	3
for the deeper shadows	3
our selves to be	3
or a whole one	3
as hereafter is taught	3
colour or in light	3
so proper for the	3
the influence of a	3
and rising of the	3
altar there are two	3
it dry a day	3
the powers of a	3
it will be very	3
as for michael angelo	3
if one side of	3
the liveliness of the	3
changes aim at restoring	3
of the seven sacraments	3
square with our saviour	3
in a standardized format	3
and below are the	3
a little of this	3
you will have the	3
the works of leonardo	3
in this book you	3
much one part of	3
in the third is	3
each of them in	3
there is a side	3
when you intend to	3
companion for the ingenious	3
the organ there is	3
there may be a	3
put in a pound	3
for the ingenious of	3
the parts which are	3
hand of leonardo da	3
the point of a	3
may observe a picture	3
and so exactly fitted	3
a great number of	3
but you may make	3
place of his birth	3
as it were in	3
at a time than	3
also a short account	3
became a disciple of	3
mary ascending into heaven	3
of our saviour carrying	3
contained therein be sufficiently	3
first picture on the	3
the door of the	3
as you would have	3
famous picture of the	3
to such a degree	3
members of the body	3
composed by john smith	3
a sort of painting	3
and it is a	3
in two spoonfuls of	3
the authour of this	3
the first who invented	3
is the business of	3
to any of the	3
time of raphael and	3
at the first glance	3
pleasant and most agreeable	3
this text has not	3
when you have finished	3
invented and written by	3
with a most beautiful	3
and of all other	3
nearer to the borders	3
the number of figures	3
there is a s	3
is so much the	3
italian by giacomo barri	3
to enter into the	3
grinde and lay them	3
it be neither too	3
curation by amateur and	3
as will make it	3
son in her armes	3
they set off best	3
by the emperour charles	3
of such books as	3
effect at a distance	3
is a large square	3
but one and the	3
had not been long	3
the instructions of his	3
the iudgement of paris	3
format that preserves archaic	3
best part of the	3
painters of his time	3
without the help of	3
sure not to make	3
have a piece of	3
to dye silk a	3
in process of time	3
all that he did	3
to the end they	3
off the aqua fortis	3
piece is a most	3
or what ever else	3
he was a disciple	3
the beauty of these	3
or pictures by the	3
it must be made	3
the rest to the	3
in sancta maria del	3
the most difficult to	3
of the crown in	3
made for its own	3
drawing the heads of	3
a woman to be	3
good part of the	3
and many other things	3
whole treatise being so	3
of the tcp digital	3
of the fathers teatini	3
parallel to the base	3
the study of the	3
and that i may	3
a very small quantity	3
the sense of seeing	3
and white for the	3
they remove from the	3
and out of the	3
consecrated in the temple	3
conformable to the text	3
it is deep enough	3
which are seen in	3
the emperour charles the	3
picture is to be	3
on of oyl colours	3
do it over again	3
would be a compleat	3
the dukedom of florence	3
church you see two	3
enrichments aim at making	3
famous paintings of the	3
nuns church of the	3
melt it in a	3
which you see a	3
the opinion of the	3
original preface containing a	3
users from many walks	3
of perino del vaga	3
in the front of	3
and so returned to	3
where in the church	3
than any of the	3
there is the figure	3
very usefull for all	3
most renowned of the	3
company of the scalzo	3
the greatest number of	3
so that you may	3
and among the rest	3
a of text r	3
things he ever did	3
first chapell on your	3
all arts doe stand	3
singular work of paulo	3
the feet of the	3
and if it be	3
had a great genius	3
painted by paulo veronese	3
have in my book	3
and with a fine	3
set not off with	3
may see a picture	3
and quintilian have made	3
pliny and quintilian have	3
is an history of	3
half a quarter of	3
catalogue of such books	3
and the use of	3
of the most noble	3
hand of guercin da	3
is a colour that	3
he spent most of	3
as the rest of	3
with all the other	3
and therefore you must	3
to shadow other greens	3
then put in the	3
must be in the	3
to the view of	3
be sufficiently able to	3
end users from many	3
when he is able	3
the annotation includes standard	3
the roman and lombard	3
the circumcision of our	3
the work of dominichino	3
the sweetness of his	3
the finishing of it	3
by an unknown hand	3
as we have said	3
upon a flat superficies	3
as near as you	3
painting after the life	3
well as he could	3
and lay it upon	3
to come up to	3
not to be ground	3
he made for the	3
as they are preserved	3
painted on the roof	3
to grinde and lay	3
there is a great	3
of the life and	3
your work with it	3
what is most beautifull	3
you are able to	3
top of the organ	3
it ought to be	3
but let this be	3
thing to be considered	3
with some works of	3
a famous painter of	3
was the picture of	3
who was a great	3
the time of alexander	3
to be done in	3
make colours out of	3
silver to write with	3
of the school of	3
when you can draw	3
to diaper and shadow	3
the borders of the	3
and to say truth	3
while he was at	3
every thing be set	3
the duke of vrbin	3
the passions which are	3
on the middle of	3
according to the true	3
as the beauty of	3
under the influence of	3
in like manner you	3
ingenuous gentlemen and youths	3
to be reckoned amongst	3
amateur and professional end	3
there are so many	3
is the great altar	3
look as if it	3
you ought to make	3
to the last degree	3
neither is there any	3
both in portraits and	3
idea of a painter	3
paint in oyl colours	3
that it was the	3
square of our saviour	3
added exact rules of	3
put in the silk	3
of such or such	3
exact rules of proportion	3
annotation includes standard spellings	3
him into his service	3
recover it to make	3
parts of the face	3
it hard upon a	3
andrew kuster sampled and	3
of the most illustrious	3
which he has made	3
with great variety of	3
approved rules for preparing	3
if the complexion be	3
ingenuous gentlemen and artists	3
in several of his	3
strain it through a	3
mans time well spent	3
original in the british	3
the honour of his	3
out of their hands	3
there is to be	3
a considerable number of	3
be set in its	3
the life of s	3
even in the most	3
nearest to the eye	3
we may call the	3
the excellency of his	3
and the child jesus	3
make all sorts of	3
the hand of barocci	3
with an explanation of	3
let it stand a	3
written originally in italian	3
to come short of	3
he fell to work	3
category of texts with	3
as also a short	3
of the one and	3
perfection de la peinture	3
of plaister of paris	3
and with a few	3
several cities of italy	3
the new church of	3
you will admire that	3
with an original preface	3
work of furious tintoret	3
take it off from	3
with a design to	3
take a clean linnen	3
great altar is the	3
painter of his age	3
i would draw a	3
text has been tokenized	3
in a pound of	3
la perfection de la	3
to be washt and	3
in one is s	3
manner of timber work	3
that nothing but the	3
and therefore i shall	3
and of those which	3
to draw the picture	3
same manner as we	3
the second chapell on	3
all the rules and	3
passions of the soul	3
support the display of	3
when you etch landskips	3
is aiding to your	3
the other hand he	3
artificiall pastels to draw	3
his lights and shadows	3
the transfiguration of our	3
r in the english	3
head to the sole	3
christ upon the cross	3
a little square with	3
to all the world	3
church of sancta maria	3
the idea of a	3
it in the fire	3
and rendred english by	3
to the advantage of	3
in his own country	3
which were the first	3
text in a standardized	3
shadow it with the	3
to make him fit	3
quintilian have made upon	3
side of the body	3
church of the capuchines	3
relation which they have	3
if i would draw	3
burnt in the fire	3
figures in chiaro scuro	3
the end of all	3
of painting and varnishing	3
be so much the	3
manner as the figures	3
of the churches and	3
is a most excellent	3
within the compass of	3
spi global keyed and	3
the parts of it	3
the life it self	3
rub them over with	3
and it is done	3
dark side of the	3
the picture at the	3
famous italian painter odoardo	3
the history of s	3
much about the same	3
bottom of the chin	3
if it had been	3
in the sacristie of	3
first altar on your	3
a little powder of	3
it would be a	3
the visitation of s	3
must be of the	3
tokenized and linguistically annotated	3
used in a face	3
an intimate friend of	3
more water to it	3
is a picture which	3
and preserve all manner	3
with which he was	3
preface containing a parallel	3
it is good to	3
his skill in architecture	3
and when it has	3
in his way of	3
with the poynt of	3
the church of sancta	3
author proposes to us	3
for want of it	3
in his life time	3
the invention of the	3
child in her arms	3
the tcp digital transcription	3
vvashing or colouring of	3
and such as are	3
celebrated piece of painting	3
a new earthen pot	3
of the antients in	3
the plate with a	3
the most renowned of	3
are in the middle	3
global keyed and coded	3
and written by the	3
of the hand of	3
you may use umber	3
then go over the	3
in the sacristie there	3
each a like quantity	3
will admire the marvellous	3
is the father eternal	3
second altar on the	3
without a sight of	3
distribution of the lights	3
in a quarter of	3
he died of the	3
as any of his	3
display of a text	3
to the judgment of	3
also to diaper and	3
the vault or ceiling	3
it will be necessary	3
benefit of all ingenuous	3
who are curious in	3
supper with the apostles	3
decorum in his compositions	3
when you are to	3
the most considerable part	3
aqua fortis upon it	3
colours out of colours	3
and being mixed with	3
spent most of his	3
the church of santa	3
an original preface containing	3
in the drawing of	3
you have done that	3
of a text in	3
is that of a	3
there was hardly a	3
and that with so	3
it is a most	3
painting is to please	3
for its own head	3
many of them as	3
as you have occasion	3
and painted in the	3
all the famous paintings	3
the highest pitch of	3
one of those famous	3
the text the author	3
of those who have	3
the church of san	3
and a little lake	3
and while it is	3
most celebrated pieces of	3
also those things which	3
with the picture of	3
we may the better	3
words puts this text	3
some of it in	3
the most holy trinity	3
the bending of the	3
you see a great	3
standard spellings that support	3
the picture in the	3
disciple of his father	3
state or territory of	3
of this church is	3
or so much as	3
set in its proper	3
textual changes and metadata	3
from place to place	3
learn by this tract	3
linguistically annotated with morphadorner	3
you intend to make	3
at the head of	3
conformable to the observations	3
at restoring the text	3
some of them have	3
is able to draw	3
are never so natural	3
the thing it self	3
oeconomy of the whole	3
ought to be the	3
the miracle of s	3
to make all sorts	3
and a quarter of	3
of the palace of	3
in the first part	3
with christ on the	3
a particular genius for	3
with the help of	3
the representation of a	3
the door where you	3
and the more directly	3
at a distance from	3
in their right and	3
the proportion of the	3
that he resolved to	3
if they had been	3
some works of the	3
may if you please	3
chief of which are	3
it is an excellent	3
he had the honour	3
one of the finest	3
upon the most celebrated	3
it to make it	3
see a square of	3
the position of the	3
to be sold at	3
and that on the	3
not been fully proofread	3
to nature or art	3
as appeareth in the	3
as in a picture	3
french by roland freart	3
a perfect idea of	3
consists not in the	3
the backside of the	3
and metadata enrichments aim	3
which there are too	3
includes standard spellings that	3
different from each other	3
the outmost lines of	3
for div a e	3
to his own country	3
made upon the most	3
your colours you must	3
the picture of our	3
slaughter of the innocents	3
exactly fitted to the	3
as not to be	3
colours used by the	3
the manners of the	3
able to paint in	3
by his own hand	3
works of leonardo da	3
see a great square	3
puts this text in	3
done by guercin da	3
the same manner that	3
regularity of the perspective	3
when the aqua fortis	3
let every member be	3
the time of raphael	3
middle of the piece	3
fellow of merton colledge	3
the crucifixion of our	3
first who found out	3
school of the carraches	3
it was in this	3
the body sticks out	3
had so great a	3
he applyed himself to	3
a text in a	3
of colours used by	3
of all ingenuous gentlemen	3
signe of the crown	3
a strong glass bottle	3
a standardized format that	3
of julius the second	3
in the reign of	3
madonna and the child	3
work of giacomo bassano	3
written by the famous	3
la sala del papa	3
greatest part of the	3
to the age of	3
the said altar there	3
thence to the bottom	3
in the correctness of	3
authour of this book	3
said in another place	3
altar is the work	3
the most noble hand	3
have the necessary instruments	3
an explanation of the	3
for his great skill	3
the mouth of the	3
of the cheeks and	3
there is no man	3
at rome in the	3
by the aforesaid paulo	3
marriage of cana in	3
in the several cities	3
fellow of the royal	3
an admirable work of	3
who was born in	3
to make colours out	3
of each of them	3
red in the cheeks	3
one you will admire	3
when you have worn	3
for the king of	3
you ought to have	3
the art of graving	3
this text in the	3
and finish as in	3
here they preserve a	3
enriched version of the	3
of the martyrdom of	3
picture of the nativity	3
a city in the	3
you may if you	3
that it may well	3
spellings that support the	3
in which he was	3
the death of the	3
tie our selves to	3
dry in the shell	3
the hand of raphael	3
which you must be	3
presented him with a	3
the state of venice	3
length of one eye	3
to him for his	3
began to understand the	3
of painting and poetry	3
crucifixion of our lord	3
the pallace of the	3
to draw the out	3
of sancta maria del	3
and a thousand other	3
in favour with the	3
with the blessed virgin	3
by examples conformable to	3
that he made him	3
of text r in	3
upon the back of	3
that which we call	3
on each side is	3
the great altar with	3
of the body sticks	3
the rate of defects	3
licensed and entred according	3
that it is the	3
of the most renowned	3
of what bigness soever	3
a short introduction to	3
use of this work	3
near as you can	3
circumcision of our lord	3
but if you would	3
one from the other	3