Selected quad for the lemma: cause_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
cause_n	body_n	head_n	part_n	1,461	5	4.4830	4	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A29815	Ars pictoria, or, An academy treating of drawing, painting, limning, and etching to which are added thirty copper plates expressing the choicest, nearest and most exact grounds and rules of symetry / collected out of the most eminent Italian, German, and Netherland authors by Alexander Browne ...	Browne, Alexander, fl. 1660-1677.	1669 (1669)	Wing B5097; ESTC R19752	72,506	182

a Young Man of nine Heads I Am of opinion that Francis Mazzalinus would have proved the only rare Man of the World if he had never Painted any other kind of Pictures as rude gross and melancholly then these slender ones which he represented with an admirable dexterity as being naturally inclined thereunto so that if he had only represented Apollo Bacchus the Nimphes c. he had sufficiently warranted this his most acceptable proportion which was ever slender and oftentimes to sleight but when he took upon him to express the Prophets our Lady and the like in the same as appeareth by his Moses at Parma our Lady at Ancona and certain Angells not farr from thence and divers other things quite contrary to the Symetry they ought to have he gave a president to all other Painters to shunne the like error which himself might also have easily avoided being reputed little inferiour to Raphael Vrbine whom he might have proposed to himself as a patterne for Raphael ever suited his personages answerable to the variety of the Natures and Dispositions of the Parties he imitated so that his Old Folks seem stiff and crooked his Young Men agile and slender and so forth in the rest which example admonisheth us that a Painter ought not to tye himself to any one kind of proportion in all his Figures for besides that he shall lose the true Decorum of the History He shall commit a great absurdity in the Art by making all his Pictures like Twinns Into which error notwithstanding divers otherwise worthy Painters have runn whose names I suppress and especially one of those two great ones which over-sight all good practitioners will easily discern because all their Figures are of an Uniforme proportion though wonderfully expressing variety of actions And for our better understanding in this kind of proportion as best fitting Young Men who are somewhat Beautifull by means of their slenderness agility and gentle Disposition mixed with a kind of boldness Raph Vrbine hath very well expressed it in St. George fighting with the Dragon now to be seen in the Churches of St. Victore de Fratri in Milane in St. Michaell at Fontainblew in France and in that George which he made for the Duke of Vrbine on a Peice richly guilt according to which Observation of his every Man may dispose of this proportion in the like young Bodies now for our more exact insight hereinto by way of precept we must first note that a slender young Body of Nine Heads is from the top of the Head to the end of the Chinn a Nineth Part of the whole length And thence back again to the root of the Hair a Tenth or Eleventh Part as I have observed in Raphaels St. Michael and in an old Apollo but which way soever you make it this space is divided into Three equal Parts whereof the First makes the forehead the Second the Nose the Third the Chinn howbeit I grant that in a face which is the Eleventh Part by reason of a certain Tuff of Hair which is usually expressed the fore-head becometh lower by a Third Part which Rule the antient Graecians kept as their Statutes do evidently witness The Proportion of a Man of Eight heads WHereas in every Work there is some one entire Figure whereunto all the particulars of the whole History ought to be principally referred the Painter ought not to imagine because he is more skilfull in representing some other thing in the work then that which beareth the reference of the whole that therefore he shall deserve commendation but rather discredit for it is most certain that Work will prove offensive where some inferiour and by matter is more curiously handled then the principal and the rather because the other Parts cannot chuse but loose their Grace A thing which hath caused divers excellent Painters as well new as antient being purposely carried away with too great a desire of doing well to leave their Works imperfect which they could not remedy any other way then by utterly defacing that which they had done were it never so excellent A most pregnant example whereof we have in that antient Painter Euphzanor who being to draw the Twelve gods in Athens he began with the Picture of Neptune which he wrought so exquisitely both for proportion colour and all other points that purposing afterwards to make Jupiter with far greater perfection he had so spent his conceit in the First Figure that he was not able afterwards to express any of the other gods much less Jupiter the like Disgrace happened to Zeuxes by the Naturaleness of his Grapes and the Imperfection of the Boy not unlike unto which was that of Leon Vincent of late Dayes who being to Paint Christ at his last Supper in the middst of his Disciples in the Refectory of St. Maria de Gratia in Milane and having finished all the other Apostles he represented the two James's with such perfection of Grace and Majesty that endeavouring afterwards to express Christ he was not able to perfect and accomplish that sacred Countenance notwithstanding his incomparable skill in the Art whence being in a desperate Case he was enforced to advise with Bernard Zenale concerning his Fault who used these Words to comfort him O Leonard this thine Error is of that quality that none but God can correct it for neither thou nor any Man living is able to bestow more Divine Beauty upon any Figure then thou hast upon these James's wherefore content thy self and leave Christ unperfect for thou mayest not set Christ near those Apostles which advise Leonard observed as may appear by the Picture at this day though it be much defaced Whence my Council is that for the avoiding of the like Errors we examine the original thereof having an especial regard to our proportions as the cheif Cause of the grossness slenderness clownishness and daintyness of Bodies whence all the Beauty and Ill-favourdness of Pictures proceedeth wherefore let each Body have his true and particular proportion which is to divide the Body into Eight equal Parts whereof the head is one which may serve for all Men in general who agree with this most absolute form whose proportion followeth Of the Proportion of a Mans Body of Seven Heads THe grand Philosopher Pythagoras giveth sufficient Testimony of the Truth of these Rules concerning the proportion of Mans Body insomuch as by their help he distinguished the proportion of Hercules his Body from the other gods by finding out the true Stature thereof and consequently how much he exceeded the Stature of ordinary Men of whom An Gellius writeth that he observed the Quantity of Hercules Foot wherewith the race in Acaia before Jupiter Olmypius his Temple where the Olympian Games were celebrated every Fift Year was measured and found it to agree in the Number of Feet with the other Races which were six hundred Twenty Five Foot and yet to be much longer then any of the rest By which Example we

Grand destroyers last and fatal page Is all decipher'd He a column stands Coaeval to his heirs and all his lands And when his body to the grave is sent He serves for furniture and monument Nature is troublesom in its decayes No Poet cares to wear the wither'd bayes 'T is kindness and 't is manners to remove VVhen we can neither be belov'd nor love Must then all die no that the painters skill Forbid's assisted vvith the Writers quil This immortality dear Friend you cause VVithout ordaining or repealing Laws Your Book advances further and displayes What Plutarqu's Morals or his lives have said Weary Philosophy expires in strife Whil'st you expose plain truth unto the Life Natures excess or narrowness by you Is civily reprov'd and all that 's due Of beautious art and Symetry to man Must own its payment to your mind and hand VVe know no form of Angels but from paint Nor difference make of devil or of Saint The famous Michael Angelo so drew Hell and the damned and in such a hue 'T was thought th' Archangel some old grudge might bear And bid his name-sake to renew the war 'T is then hop'd by the painter at the least He may assistant be unto the Priest Since Virtu's lovely drawn and vice soe ill Sinners by him converted are ' gainst will Emblems of honour piety and love Arts greatest teachers by him only move J. H. ERRATA In Pag the 4 Line 25. for it Read us for whosoevever Read vvhatsoever In Pag 17. line 15. for in read and. In pag 73. line 24. for Sonne read sum In pag 74. line 4. for near read were In pag 87. line 10. for keeping colour read keeping the colour In pag 88. line 21. for silvea read silver In pag 90. line 3. for use with read use it vvith In pag 92. line 7. for vvhite Serus read vvhite or Serus OF THE Vertue and Praise OF PROPORTION or SYMETRY SUCH is the Importance and Vertue of Proportion that nothing can any way satisfie the Eye without the help thereof So that whatsoever worketh any Pleasure or Delight in us doth therefore content us because the Grace of Proportion consisting in the measure of the Parts appeareth therein Wherefore all the Inventions of Men carry with them so much the more Grace and Beautie by how much the more Ingeniously they are proportioned whence Vitruvius saith That whosoever will proceed in his Works with Judgment must needs be acquainted with the Nature and Force of Proportion which being well and kindly understood will make him not only an excellent Judge of ancient and late Workmen but also an Inventor and Performer of Rare and Excellent Matters himself Now the Effects proceeding from Proportion are unspeakable the Principal whereof is that Majestie and Beautie which is found in Bodies called by Vitruvius EURITHMIA And hence it is that when we behold a well-proportioned thing we call it Beautiful as if we should say Indued with that exact and comely Grace whereby all the Perfection of sweet Delights belonging to the Sight are communicated to the Eye and so conveyed to the Understanding But if we shall enter into a farther Consideration of this Beauty it will appear most evidently in things appertaining to Civil Discipline for it is strange to consider what effects of Piety Reverence and Religion are stirred up in mens Minds by means of this suitable comeliness of apt proportion A pregnant example whereof we have in the Iupiter carved by Phidias at Elis which wrought an extraordinary sense of Religion in the People whereupon the antient and renowned Zeuxis well knowing the excellency and dignity thereof perswaded Greece in her most flourishing Estate that the Pictures wherein this Majesty appeared were dedicated to great Princes and consecrated to the Temples of the Immortal gods so that they held them in exceeding great estimation partly because they were the Works of those famous Masters who were reputed as gods amongst men and partly because they not only represented the Works of God but also supplyed the defects of Nature ever making choice of the Flower and Quintessence of Eye-pleasing delights Neither yet is this Proportion proper unto painting alone but extendeth itself even unto all other Arts insomuch as is drawn from mans Body which as the Painter chiefly proposeth to himself as Vitruvius noteth so doth the Architect much imitate it in the convenience of his buildings and without which neither the Carver nor any Handicrafts man can performe any laudable Work because it was the first pattern of all Artificial things So that there is no Art but is someway beholding to Proportion yet notwithstanding the Painter as Loo Baptista Albertus affirmeth insomuch as he considereth mans Body more especially is justly preferred before all other Artizans which imitate the same because antiquity meaning to grace Painting above all the rest Handicrafts men exempting onely Painters out of that number Of the Necessity and Definition of Proportion IT was not without just Cause that the antient Graecians at which time the Art of Painting had fully attained to his Perfection by the Industry of Timantes Eusenidas Aristides Eupompus Sicyonias and Pamphilus the Famous Macedonian Painter and Master of Apelles who also was the first learned Painter directing his Workes by the Rules of Art above any of his Predecessors and well considering that whatsoever was made without measure and proportion could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder were wont to say that it was impossible to make any tolerable much less any Commendable Picture without the help of Geometry and Arithmetick wherefore they required the Knowledge thereof as a thing most necessary which saying was also approved by Philip Macedo And surely it is impossible to omitt the meere Artizans that he who is ignorant of these two Sciences should understand the exact measure and proprotion of any probable or true Body the necessity of which proportions shall be shewed hereafter It is apparent then that a Picture lacking this is like a piece of Marble grosly wrought without Rule or Measure or two Columns which although they be to slender or to grosse to short or to long yet are called Columns as Dwarfes and deformed Creatures are named Men. Now this Book shall contain the general proportions of the principal things alone from whence the rest are derived of which before I begin to speak I hold it convenient to consider the definition of proportion and the parts thereof Proportion is a correspondency and agreement of the Measure of the parts between themselves and with the whole in every Work this correspondency is by Vitruvius called Commodulation because a Modell is a Measure which being taken at the first measureth both the parts and the whole And this is that to omitt the several kindes thereof which shall be distinguished in their due place which for so long space having been lost was the cause why the

singularity of substances so if the Painter should only Pourtrait out a Man in just Symetry agreeable to Nature certainly this Man would never be sufficiently distinguished by his mere Quantity But when unto this proportioned Quantity he shall farther add Colour then he giveth the last forme and perfection to the Figure Insomuch that whosoever beholdeth it may be able to say this is the Picture of the Emperour Charles the Fift or of Philip his Sonne it is the picture of a Melancholick Flegmatick Sanguine or Cholerick Fellow of one in love or in fear of a bashfull young Man c. and to conclude the picture will attain to such perfection that the party counterfeited may easily be known thereby VVherefore I advise the Painter to be very skilfull in the use of Colours as in that wherein consisteth the whole perfection of his Art And in this point alone is painting distinguished Painting and Carving differ from all other Arts and chiefly from Carving because in precise imitation of the life the painter performeth much more then the Carver is able for the Carvers intent is only to give the self same quantity to his Figure which his Natural pattern hath so that his special purpose is to make the Figure equal to the life which cannot therefore be said to be perfectly like thereunto because Phylosophy teacheth us that Similitude is not properly found in Quantity but in Quality only now the Colour which the Painter useth giving thereby the Similitude and proper Resemblance to his counterfeits is most truly and properly Quality and although we usually call one thing like to another when it hath the same Quantity yet this is an improper speech for if we should speak properly we should call it Equal and not Like wherefore Similitude is found only in Quality and Equality which the Carver considereth only in Quantity but the Painter doth not only endeavour to give the true and just quantity to his figure by making it equal to the life as the carver doth but moreover addeth quality with his colours giving thereby both quantity and similitude which as hath been proved the carver cannot do Now the Painter expresseth two things with his colour First the colour of the thing whether it be artitificial or natural which he doth with the like colour as the colour of a blew garment with artificial blew or the green colour of a Tree with a like green Secondly he expresseth the light of the Sun or any other bright Body apt to lighten or manifest the colours and because colour cannot be seen without light being nothing else as the Philosophers teach but the extream Superficies of a dark untransparent Body lightned I hold it expedient for him that will prove exquisite in the use thereof to be most diligent in searching out the effects of light when it enlightneth colour which who so doth seriously consider shall express all those effects with an admirable Grace and although the blew be equally dispersed through all the Parts of a garment so that there is no more in one part then in another Yet notwithstanding when it is illustrated by any light it causeth one kind of brightness in that part where it striketh more vehemently then another in that part where it shineth less Now when the Painter would imitate this blew thus lightned he shall take his artificial blew colour counterfeiting therewith the blew of the garment but when he would express the light wherewith the blew seems clearer he must mix so much white with his blew as he findeth light in that part of the garment where the light striketh with greater force considering afterwards the other part of the garment where there is not so much light and shall mingle less white with his blew proportionably and so shall he proceed with the like discretion in all the other parts and where the light falleth not so vehemently but only by reflexion there he shall mix so much shadow with his blew as shall seem sufficient to represent that light loosing it self as it were by degrees provided alwayes that where the light is less darkned there he place his shadow In which judicious expressing of the effects of light together with the colours Raphael Vrbine Leonard Vincent Antonius de Coreggio and Titian were most admirable handling them with so great discretion and judgement that their Pictures seemed rather natural then artificial the reason whereof the vulgar Eye cannot conceive notwithstanding these excellent Masters expressed their chiefest art therein considering with themselves that the light falling upon the flesh caused these and such like effects in which kind Titian excelled the rest who as well to shew his great Skill therein as to merit commendation used to cozen and deceive Mens Eyes the like did Michael Angelo who to make proof of his singular insight in the Anatomy inclined somewhat toward the Extream by raising up his Muscles a little too hard and by this means shewed the eminencies and risings in which naturally they were small as in the Body of Christ c. Again Titian to make known his art in lights and shadows when he would express the lightest part of the Body used to add a little too much white making it much lighter then his pattern and in the obscure parts where the light fell by reflexion a little too much shadow in resemblance of the decay of the light in that part of the Body and so his work seemeth to be much raised and deceive the sight for the light which cometh to the Eye in a Pyramidal forme as shall be shewed in the ensuing discourse cometh with a blunter and bigger Angle and so is seen more evidently whence ariseth a wonderfull eminency the especial cause whereof is because there is much more shadow then needeth in that part where the light decayeth most so that the vusual lines failing that part cometh to the Eye in an accuter and sharper angle and therefore cannot be seen so perfectly insomuch that that part seemeth to fly inwards and stand farther off Thus when the Four parts of a Body are much raised and the hinder fly sufficiently inwards there appeareth a very great heightning which giveth a wonderfrll Spirit and after this sort Titian beguiled the Eyes of such as beheld his most admirable works Of the Vertue of Light LIght hath so great force in Pictures that in my judgement therein consisteth the whole grace thereof if it be well understood an contrarywise the disgrace if it be not perceived and evident example whereof we may see in a Body proportionably drawn which being yet without his lights sheweth very beautifull so far forth as it is wrought but if afterwards it shall be shadowed without judgement and art so that the shadowes be confusedly placed where the lights ought to be and contrarywise the lights where the Middle of the shadows should be and the concavities and convexities disorderly suited without any Imitation of Nature it were better it

these are called natural affections sometimes we pursue rational apprehensions considering good and evil in manner of virtue or vice praise or dispraise honesty or dishonesty and these are reasonable affections sometimes we imbrace apprehensions intellectual regarding good and evil as true and false and these are intellectual apprehensions Now the inferiour powers of the mind are of two sorts either desire or anger and both of these respect that which seemeth good or bad diversly for the desiring part either considereth good and bad absolutely and so it causeth love and liking and contrarywise hatred or else it respects good as absent whence ariseth desire or longing or else evil as absent but at hand and so it breedeth fear dread c. or both of them as present and so from the First cometh joy and delight from the latter heaviness and grief the angry faculty considereth good and evil as it is easy or hard to be attained unto or avoided whence springeth sometimes confidence and hope sometimes audacity sometimes distrust and so desperation c. sometimes it is moved to revenge and that is in regard of evil past as injury or offence received and so it breedeth anger by that which hath hitherto been spoken it is evident that there are Eleven passions or affections in the mind which are these love hatred desire fear joy sorrow hope dispair audacity timerousness and anger from which there do consequently arise so many sorts of actions in the art as there may be affections expressed in Mens Bodies wherefore we ought carefully to observe the motions which are outwardly expressed in such sort as they do manifestly point to the roots whence they spring and discover the causes from which they proceed distributing them and disposing them accordingly in the Bodies or Physiognomies which whosoever shall fail in shall questionless wholly pervert the Order of things confounding the Beauty of Histories whether they be Fables or other Inventions which are to be painted How the Body or Physiognomy is altered by the Passions of the mind IT is a clear case that the mind according to the divers affections whereof I spake before by reason of the apprehensions both sensible and imaginative doth diversly change and alter the Body with sensible alterations by varying the accidents thereof and producing sundry qualities in the members so that in mirth the spirits are enlarged in fear they are contracted in bashfulness they fly up to the Brain again in joy the heart is extended by degrees in displeasure it is drawn in by little and little as likewise in anger and fear but sudden anger and desire of revenge procureth heat blushing bitter tast and the flux of the Belly fear brings coldness the panting of the heart the failing of the voice and paleness heaviness causeth sweating and a blewish paleness mercifulness breeds a certain heaviness which oftentimes hurteth him that is moved to mercy which appeares ordinarily in lovers in whom there is such a Sympathy that whatsoever one indureth the other likewise suffereth the same Anxiety causeth dryness and blackness desire and love breeds sundry colours sometimes red sometimes pale as we daily see in lovers especially in their meetings Now all these passions when they be exceeding vehement do sometimes bring Death which happened to Sophocles and Dionysius the Sicilian Tyrant when he received the News of a desperate victory the like hath befallen drivers others through heaviness and sundry other mishaps have proceeded from the like passions when they assaulted Mens minds whereof we have divers examples in stories which I mean not to stand upon as being a thing more curious then necessary to our purpose only I will shew of what power and efficacy fierce wrath joyned with a magnanimous audacity can do by the example of Alexander the Great who being overmatched by his Enemies in India was seen to reak forth from his Body fire and light the like whereof we read of the Father of Theodoricus who by the like vehement effect breathed out of his heart as from a burning furnace fiery sparkles which flying forth shon and made a sound in the Air. Thus therefore we represent all these passions in a story together with their convenient and proper Motions we set forth that great variety which worketh such delight and pleasure that it allureth our Minds unto it with a sweet kind of compulsion no otherwise then most delectable Musick enchaunteth the Eares of the Hearers which as they write is so forcible that way that a certain Musitian boasted that by the power of his notes he caused Men to grow furious and afterwards come to themselves again Of the Motions procured by the Seven planets AMongst the Seven Governours of the World which Merc Trismegistus calleth Planets as Saturn Jupiter Mars Sol Venus Mercury and Luna the chief and principal is Saturn which hath also received divers names of antiquity as Heaven Sith-bearer the father of the gods Patrone of time and from his effects here below wise intelligent ingenious the seed of great profundity the Auctor of secret contemplation the imprinter of weighty thoughts in Men a destroyer and preserver the Subjector of power and might the keeper of hidden things and the Auctor of finding and loosing His influences are partly good and partly bad according to the disposition of him that receiveth them as weeping melancholly c. he causeth religious actions as to bow the knee look down upon the earth pray and such like motions of the Breast and Face common to those which pray or other austere and satyrical Fellows with Head declining Eyes fixed on the earth wasting himself with a furious silence and examining his own speech with hanging lips Moreover he causeth a complexion of colour between black and yellow meager distorted of an hard skin eminent veyns an hairy Body small Eyes Eye-brows joyned together a thin beard thick lips with looks cast down an heavy gate enterfairing as he goeth besides he makes a Man subtil witty a way-layer and murtherer Now according to this forme of Body and these motions you may frame any Body subject unto Saturn that is of the temper and complexion answerable to the nature of Saturn so that by that which hath been said concerning this Planet in particular as also by that which shall be spoken severally of the rest we may gather one general Rule as touching the Art of motions in our Pictures as well in respect of the quality of the humour as of the motions themselves c. Jupiter The Second Planet is Jupiter so named of the Latines as you would say Juvans Pater the Father of beneficence and liberality he is otherwise called of the Poets magnanimous the thunderer and lightner invincible altipotent magnipotent good natur'd fortunate sweet pleasant the best well-willer honest neat of a good gate honourable the author of mirth and judgement wise true the revealer of truth the chief judge exceeding all the Planets in goodness the bestower