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
victoria and albert museum	20
on the other hand	8
pulpits of san lorenzo	8
and the sense of	7
the pulpits of san	7
of light and shade	7
at the same time	7
the madonna and child	6
the courtyard of the	6
symbols of the evangelists	6
in the church of	6
on either side of	6
a good deal of	6
christ on the cross	6
it is difficult to	6
of or san michele	6
in spite of the	6
it is impossible to	6
of the fifteenth century	5
it is probable that	5
seems to have been	5
from the fact that	5
been ascribed to donatello	5
is one of the	5
niche of or san	5
from the time of	5
the symbols of the	5
been attributed to donatello	4
does not seem to	4
in the sixteenth century	4
is now in the	4
in the case of	4
seem to have been	4
the centre of the	4
feet from the ground	4
it has been suggested	4
the history of art	4
in the sacristy of	4
have been attributed to	4
the portrait of a	4
sense of light and	4
of the same subject	4
and the marble david	4
in the british museum	4
it used to be	4
the head of st	4
is a work of	4
the base of the	4
or san michele niche	4
but there is no	4
in the fifteenth century	4
came to be regarded	4
were it not for	4
of san lorenzo is	4
in the history of	4
the tomb of giovanni	4
as well as the	4
it is clear that	4
has been suggested that	4
the charge to peter	4
the fact that the	4
there can be no	4
but it is a	4
one of the most	4
of the madonna and	4
has been ascribed to	4
the treatment of the	4
in the courtyard of	4
to be regarded as	4
the head of the	4
alinari miracle of the	3
that some of the	3
there is no reason	3
the evangelist and the	3
to be placed in	3
what one would expect	3
the effigy of the	3
the head of goliath	3
the or san michele	3
is made of terra	3
scenes from the life	3
by luca della robbia	3
miracle of the speaking	3
over one of the	3
belonging to signor bardini	3
that is to say	3
the earl of wemyss	3
plate of bishop pecci	3
the rest of the	3
in the absence of	3
line of demarcation between	3
the church of san	3
has been attributed to	3
the sacristy of the	3
the predecessors of donatello	3
we have a series	3
the work of donatello	3
john the evangelist and	3
have a series of	3
the length of the	3
either side of the	3
at either end of	3
on the base of	3
placed in a niche	3
now in the bargello	3
be no doubt that	3
in the martelli palace	3
by giovanni da pisa	3
to be seen from	3
been the subject of	3
it would have been	3
the miracle of the	3
can be no doubt	3
is none the less	3
on the ground that	3
a few years ago	3
for the baptistery gates	3
striking contrast to the	3
of luca della robbia	3
the bronze doors of	3
the face of the	3
like those on the	3
minor works for the	3
of pope john xxiii	3
from the life of	3
the sense of distance	3
first visit to rome	3
the art of the	3
it must be remembered	3
either end of the	3
have been ascribed to	3
in this case the	3
the zuccone and the	3
is in itself a	3
in the same collection	3
he seems to have	3
no reason to suppose	3
door of the cathedral	3
the whole thing is	3
and at the same	3
in the berlin gallery	3
of the speaking babe	3
it not for the	3
is treated in a	3
the case in the	3
intended to be placed	3
the opera del duomo	3
intended to be seen	3
the statue does not	3
reason to suppose that	3
be the work of	3
a figure on the	3
sacristy of san lorenzo	3
at or san michele	3
the sacristy of san	3
not seem to have	3
depth to the scene	3
the same subject in	3
works for the cathedral	3
was handed over to	3
made for the cathedral	3
it is made of	3
christ mourned by angels	3
it is possible that	3
at a later date	3
which is decorated with	2
donatello had to make	2
courtyard of the palace	2
get a better view	2
treatment of the subject	2
the most successful of	2
or san michele sidenote	2
the angel of st	2
some of his work	2
the sculptors of the	2
in any sense a	2
where donatello has carved	2
donatello would not allow	2
so far as we	2
upper part of the	2
opponent of the medici	2
must be remarked that	2
the subject of the	2
the door of the	2
and were it not	2
with the exception of	2
among the earliest of	2
as we see the	2
to the effect that	2
one notices in the	2
the conditions under which	2
cases could be quoted	2
and it has been	2
but donatello would not	2
on the san lorenzo	2
been suggested that this	2
tomb of bishop pecci	2
and there is no	2
or san michele is	2
is probably the work	2
largely responsible for the	2
the thick curly hair	2
in the midst of	2
in the background of	2
in sculpture and painting	2
the ringhiera of the	2
it is not necessary	2
reymond has pointed out	2
made about this time	2
with donatello all is	2
to be placed on	2
we find the same	2
to believe that donatello	2
after a certain point	2
for the paduan altar	2
care with which the	2
but there is a	2
would have made a	2
the argument of utility	2
in front of him	2
the statue of st	2
in the statue of	2
which has already been	2
by the same hand	2
know that donatello was	2
da uzzano and polychromacy	2
we know that donatello	2
the fleur de lys	2
miracle of the mule	2
his sense of proportion	2
as architect and painter	2
base of the judith	2
it is a death	2
a large number of	2
all that it might	2
work of pagno di	2
the boy playing the	2
is all the more	2
herr richard von kaufmann	2
must be referred to	2
the modelling of the	2
works of art in	2
donatello was influenced by	2
on or san michele	2
the background of the	2
but he is not	2
it is usual to	2
to have been a	2
works of this period	2
ringhiera of the palazzo	2
it is not the	2
competition for the baptistery	2
canon morosini in santa	2
found in most of	2
early criticism of donatello	2
of pulpit san lorenzo	2
that it is almost	2
the crucifix and annunciation	2
to the history of	2
are among the most	2
morosini in santa maria	2
leave no doubt as	2
second journey to rome	2
from which they were	2
donatello fiorentino e le	2
and two or three	2
to see the carving	2
man about whom we	2
owing to the difficulty	2
character and personality of	2
place in their art	2
quite out of the	2
it must not be	2
of pagno di lapo	2
the lettering on the	2
suggest the hand of	2
before or after the	2
second visit to rome	2
the figures of the	2
the angles of the	2
to which reference will	2
it is a work	2
sculptors of the fifteenth	2
and one of the	2
and personality of donatello	2
was far from simple	2
of the body is	2
been ascribed to him	2
realised the unity of	2
and had to be	2
put his figures in	2
relief in the louvre	2
of the statue is	2
is all that is	2
and it is now	2
was one of those	2
there is nothing to	2
the equestrian statue of	2
on the east side	2
of the pulpits of	2
was removed from the	2
than that of the	2
the hand of a	2
a cast from the	2
the problem has been	2
was opposed to the	2
first work for the	2
appreciation of his work	2
is the case in	2
shield in front of	2
the quality of the	2
the extremities of the	2
conveyed to the spectator	2
what they could from	2
which was to be	2
the size of the	2
the statue itself is	2
fiorentino e le sue	2
but the head of	2
and the canon of	2
light and shade to	2
where there was most	2
one point of view	2
nothing of the kind	2
there are contradictions in	2
in the centre of	2
to get a better	2
on the roman tabernacle	2
we find in the	2
was influenced by donatello	2
was plundered by her	2
of canon morosini in	2
the bulk of the	2
one feels that the	2
the great door of	2
the colossal statue of	2
magdalen and similar statues	2
impossible to say that	2
and we have a	2
that donatello was the	2
reference will be made	2
the pose of the	2
sculptors of his day	2
donatello was fond of	2
it is a triumph	2
be inferred that the	2
in the first place	2
is of great importance	2
either side of which	2
the subject in hand	2
tomb of general gattamelata	2
the crucifix and the	2
a group of statues	2
is clear that donatello	2
it must be remarked	2
the magdalen and similar	2
everything is subordinated to	2
to make his figures	2
is impossible to say	2
donatello by lord balcarres	2
of the virgin and	2
opposite side of the	2
on the tomb of	2
in the opera del	2
would have been less	2
it is a most	2
by the sculptor to	2
curly hair and the	2
portrait of canon morosini	2
both in sculpture and	2
not be inferred that	2
michelozzo and the coscia	2
the second visit to	2
for which donatello was	2
made of pietra serena	2
which donatello has signed	2
be seen later on	2
two or three of	2
is not necessary to	2
buonarroti by charles holroyd	2
david and the st	2
was to be seen	2
it is the portrait	2
the works of art	2
we do not know	2
in profile to the	2
of the flagellation in	2
in a lesser degree	2
of santa giustina in	2
the ease with which	2
in one respect only	2
will be made later	2
of classical art was	2
is enhanced by the	2
be seen a few	2
there was most nude	2
will be seen later	2
of michelozzo in the	2
one would think that	2
to which reference is	2
the david and the	2
sacristy of the duomo	2
now preserved in the	2
and breast are bare	2
probably the work of	2
and the statue was	2
there used to be	2
we have all the	2
angelo buonarroti by charles	2
the statue was placed	2
the nave of the	2
it only serves to	2
to be seen a	2
study from the nude	2
generally known as the	2
but there is nothing	2
the saint on the	2
the cartel on which	2
the eremitani at padua	2
which has been ascribed	2
his first visit to	2
nel quartiere di sco	2
the range of vision	2
is improbable that donatello	2
it is improbable that	2
in the evolution of	2
he was the first	2
of michael angelo were	2
the composition of the	2
it is a bronze	2
of all the features	2
relief of the assumption	2
various parts of italy	2
close to the great	2
to connect it with	2
made by luca della	2
show more of the	2
the bronze statue of	2
and the gattamelata tombs	2
has signed his name	2
the descent into limbo	2
in italian plastic art	2
the east side of	2
the commission was given	2
john in the louvre	2
to the extent of	2
of the palazzo pubblico	2
clay sketch of crucifixion	2
one would expect from	2
that of cardinal brancacci	2
the influence of donatello	2
in spite of this	2
each side of the	2
be regarded as the	2
and analogous in some	2
it will be seen	2
the sense of proportion	2
must be remembered that	2
one of the numerous	2
the last of the	2
to the work of	2
which reference is made	2
and the coscia tomb	2
would not have been	2
in most of the	2
the frequency with which	2
seen a few feet	2
north of the apennines	2
altar by giovanni da	2
an epoch in the	2
the top of the	2
as on the coscia	2
donatello would not have	2
for him at padua	2
the tomb was made	2
not forget that the	2
the work of a	2
four or five feet	2
the relief of the	2
prophets for the mandorla	2
same subject in london	2
made a number of	2
immediately before or after	2
the canon of art	2
that of the madonna	2
treated in a less	2
tombs of pope john	2
ut in ecclesiis nihil	2
in the seventeenth century	2
has been the subject	2
so far as the	2
in niches at the	2
statues of the campanile	2
unity of the arts	2
remains to be noticed	2
the back of the	2
by the help of	2
it is a relief	2
to a different category	2
with the assistance of	2
used to be a	2
but he was a	2
a bronze relief of	2
madonna of the rose	2
alinari madonna and child	2
is quite sufficient to	2
but we have a	2
within the range of	2
could be quoted from	2
this came from the	2
scope to the sculptor	2
first journey to rome	2
the choir of angels	2
a host of sculptors	2
the lower part of	2
been attributed to him	2
did not forget that	2
to decorate the chapel	2
cannot be identified with	2
the david is a	2
the life of st	2
in which the figures	2
to belong to the	2
lower part of the	2
but which are here	2
tomb of cardinal brancacci	2
niches at the base	2
there are signs of	2
statue of the pope	2
would never have been	2
end panel of pulpit	2
to the earl of	2
like that of the	2
the tombs of pope	2
such as we find	2
the shield in front	2
ecclesiis nihil indecens relinquatur	2
e le sue opere	2
on the coscia tomb	2
no doubt that donatello	2
during the fifteenth century	2
the drapery of the	2
doubt as to the	2
one of the rare	2
which reference will be	2
to make our inductions	2
made a series of	2
to our own day	2
work for the cathedral	2
the centre is the	2
say that donatello was	2
but it is probable	2
but they do not	2
the whole composition being	2
been assumed that he	2
is shown in the	2
to say that donatello	2
smaller reliefs and plaquettes	2
until many years later	2
of bishop pecci at	2
does not owe its	2
but the relief is	2
the sense of light	2
side of the relief	2
the broad expanse of	2
the column of trajan	2
maries at the tomb	2
super altar by giovanni	2
the man who was	2
bronze doors of the	2
that donatello would have	2
donatello does not seem	2
placed high above the	2
work was entrusted to	2
and in a less	2
east side of the	2
son of general gattamelata	2
and there is a	2
one sees that the	2
bishop pecci at siena	2
zuccone and the sense	2
was occupied on a	2
the entombment at padua	2
donatello all is different	2
must not be inferred	2
and may have been	2
the opposite side of	2
to the conditions under	2
to ascribe to donatello	2
the salome relief at	2
during a moment of	2
luca della robbia was	2
on a large scale	2
donatello and gothic art	2
is no reason to	2
in ecclesiis nihil indecens	2
jeremiah and the canon	2
early figures of st	2
looks as if it	2
one feels instinctively that	2
for the purposes of	2
genuine sketch by donatello	2
a large class of	2
a work of art	2
the relation of the	2
tomb plate of bishop	2
come down to us	2
commission was given to	2
used to be considered	2
effigy of pope john	2
be the home of	2
statue made for the	2
in the palazzo pubblico	2
are among the earliest	2
the whole question of	2
of the florentine cathedral	2
in the same city	2
donatello as architect and	2
the chiselling of the	2
the case of the	2
donatello has signed his	2
which one notices in	2
the fact that he	2
his de la salle	2
on the ground in	2
was treated as an	2
statue was to be	2
examples could be quoted	2
san giovanni e paolo	2
on the or san	2
the time of the	2
marks an epoch in	2
colossal statue of the	2
of the cathedral at	2
high up on the	2
occupies the central position	2
except so far as	2
is derived from the	2
made late in life	2
no doubt as to	2
to nanni di banco	2
successful of the three	2
abraham and the sense	2
he says in his	2
saints on either side	2
the background is a	2
of crucifixion and flagellation	2
a man about whom	2
santa giustina in london	2
but we have no	2
the task of making	2
is the portrait of	2
in some respects to	2
is afforded by the	2
courtyard of the palazzo	2
a medallion portrait of	2
in santa maria maggiore	2
as we find in	2
in the treatment of	2
is once misspelled as	2
it is said that	2
michael angelo buonarroti by	2
for the mandorla door	2
john in the bargello	2
the daniel and poggio	2
by the side of	2
a list of the	2
sketch of crucifixion and	2
for the prato pulpit	2
during his later years	2
and the ease with	2
was converted into a	2
object was to show	2
of one of the	2
on a par with	2
side panel of pulpit	2
the virgin and child	2
it is certain that	2
and their position is	2
the madonna in the	2
which to make our	2
in various parts of	2
altar consists of a	2
appears to have been	2
having been made from	2
belonging to the earl	2
shrine of santa giustina	2
the altar at padua	2
ease with which he	2
work of the sculptor	2
as in the other	2
the air of a	2
recorded payment to donatello	2
egg and dart moulding	2
the house of lords	2
closely analogous to the	2
all that is required	2
in the national gallery	2
bellano and the gattamelata	2
drew their inspiration from	2
was able to give	2
was too wise to	2
of god the father	2
that he should have	2
or san michele the	2
to the opposite extreme	2
to have been made	2
man with a long	2
the portrayal of tragedy	2
there would have been	2
treatment of the same	2
panel of pulpit san	2
about whom we have	2
the assistance of a	2
evangelist and the marble	2
other children by donatello	2
it at or san	2
it is now established	2
do not compare in	2
in spite of its	2
in the centre is	2
and nanni di banco	2
great variety in the	2
there was never any	2
the year in which	2
back the curtain which	2
madonna beneath a baldachino	2
their size is considerable	2
five feet from the	2
a par with the	2
the frieze of the	2
he was a man	2
influenced by classical motives	2
the unity of the	2
is the work of	2
the work was entrusted	2
it is true there	2
of the surviving figures	2
says in his commentary	2
the relation between the	2
analogous in some respects	2
was a man of	2
as one sees in	2
the marble version of	2
is covered by a	2
and it was also	2
is made of bronze	2
niche on or san	2
than is the case	2
which is the chief	2
shown in the background	2