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	natural_a	soul_n	2,290	5	5.4218	4	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A60499	The art of painting according to the theory and practise of the best Italian, French, and Germane masters Treating of the antiquity of painting. The reputation it always had. The characters of several masters. Proportion. Action and passion. The effects of light. Perspective. Draught. Colouring. Ordonnance. Far more compleat and compendious then hath yet been publisht by any, antient or modern. The second edition. By M.S. gent.	[Smith, Marshall, fl. 1693].	1693 (1693)	Wing S4129A; ESTC R219107	65,543	104

Breaks and Distances conformable to their Perspective after a just and exact Scituation according to the diminution of Distance whither plac'd high or low In all Histores we must have regard to the Climate and the time in their Habits taking care we Dress not Antique Figures in Modern Habits nor one Country in the Dress of another We must adjust the Drapery so on Figures that they may appear real Vestments and therefore we must cloath the Lay-man before we put it in the Action we design The Folds must be dispos'd in such manner that they may make the great parts in which the Nudity may appear Free the little Folds being plac'd about the Joynts and taking great care that upon the Relief and Surface of Members we do not strain or hurt them but that the motions may seem disingag'd We must also raise up the stuff letting it fall lightly that the Air sustaining the Folds may make them fall more neat and soft We must take care to distinguish Draperys Taffatys and thin Silks must be full of Breaks and Flickerings Sattens more Quick Lights the Folds lying more soft and round but Velvet the quickest the deeps very dark with Reflections on the outward parts of the Folds Large Figures must be dress'd with Folds large and free more to be regarded for their Grace and Facility then for their affected Pains and Industry Hair must be touch'd in large Historys with a full and free Pencel not nicely workt up to follow the Nature for that will be all lost by the distance and appear Flat We may neglect the Nicity of the story for the Advantage of the Picture as putting any former Hero in better Grace and Posture if in a great Action then perhaps History hath transmitted to us In Dead Bodys we must avoid all that appears Noysome and Unpleasant to the Eyes ever observing to take the best of Nature so in the miracles of Curing Diseases we may take the what is Acute in pain omitting what is Loathsome to the Eye We must shun all Sharpness in the Contorsions as likewise all Flatness in the Body of the Piece In Lights by Night the Artificiall must govern the Naturall but by Day the Naturall govern the Artificiall If the Action be in Uninhabited places you have liberty to represent the Extravagant Effects of Nature but in a well dispos'd Irregularity if in Inhabited places you have Liberty for Ruins c. at a distance but not near Hand If the Buildings be Rustick you may dispose them to the best advantage of the Figures and according to the Idea of the Subject if Regular we must have respect to the several Orders of Architecture But Regular or Irregular we must observe their Geometricall and Perpendicular according to the Rules of Geometry and Perspective In all Mountains Rocks Buildings Trees c. we must Proportion their bigness to the Plane where they are plac'd and hold it for a Maxim to make the Ground-plot great enough for the freedom of the Figures and the meeting of all the fine Effects We must take care to adjust the Land skip to the Figures not only to its Manner but also to the Colouring part that it may ly quiet and put the Figures forwards Finally we must observe that the whole work be of one Peice all Free and nothing Forc'd or Restrain'd a judicious observation in the Perspective Actions suiting the Character whither Noble or Rustick the Sex whither Masculine and Strong or Tender soft and Easy the Age whither Grave Vigorous or Childish that there be a Principall Eye in the Picture to which all the rest have reference That there be a Harmony of Colouring throughout the work that in the Drapery the Lesser folds descend naturally without Crossings and Confusion from the greater that the Figures bare exact Proportion and the Fore shortnings be brought to the severest Test of the Judgment But wheras in History the Figures have dependency on each other a Figure by the Life one Figure usually making the Picture be only agreeable to it self We must Consider by divers Tryals what Position of Body Action and Light best becoms the Person and when any thing seems forc'd or affected we must Endeavour to divert them by Discours c. For a Round and full Uisage take a three Quarter-Face for a Thin and Long more Foreright For a soft Languishing Look the Face something Inclining For a Sprightly more upright looking over the Shoulders c. Let Children be playing with Lambs Birds little Dogs Catching water from Fountaines and with the like Childish Actions Lads and Young Uirgins Shooting Hunting in Sheepherds and Sheepherdesses Dresses c. and so suitable in all Ages and Drest to their Quility but for all Habits dress up a Lay-man and Paint from the Nature Nor must you only suit the Age and Quality but also the Complexion a brisk Sanguine beares the Strongest a Sallow weaker colour'd Drapery And where you Paint much Drapery carry backward and in the Shaddow what you can that you may not hurt the Eye of the Picture Put Scars and Defects as much as may be in the Shaddow not only taking the best but Helping Nature where it may be done without Hurting the Intent of the Picture If you have several Figures put them in manner of a Group with Half three quarter and Foreright Faces not all looking on you as if they were suppris'd Landskip must bare a Harmony in Colouring with the Figures putting them forward Shunning the affected Finishing of Trees Flowers c. which shew more of Labour then Art Be as quick as may be without Injury to the work in a Face Catching the briskest Air before it sinks by the Persons growing Uneasy and lastly give all that are by Liberty of their Opinions in the Likeness for thence sometimes you may Correct your work Thus have I giving the most Necessary Directions and Instructions throughout the whole Mistery of Painting These with a diligent Study in the Theory and a Carefull management in the Practise will Effect an Entertainment Suitable to the most Noble Genius FINIS By Reason some through the prejudice of Education and yet of good Ingenious Parts may find some difficulty in Terms of Art and other Words in this Book I thought fit for their Benefit to subjoyn the Explanation of them ATtitudes Actions or Postures Aenigmatical full of Riddles Accumulate to heap up Allective Alluring Altercation Wrangling Amfractuous Broken Anatomatize to cut up Analogical Proportionable Anoptica Looking up Apex the Top of any thing Bacchanalization the Drunken Feasts of Bacchus Beatitudes Blessings Catoptica Looking downwards Chiaro Scuro Placing of Lights Concretion Joyning togather Convex Round Cosmographicall writing of the world Contours Out-Lines Contrast strengthening togather Dulcisonant Sweet sounding Diaphanous Transparent Diaphonus Jarring Dilatory Tedious Diapente a Fifth in Musick Diapason an Eight in Musick Diatesseron a Fourth Dilation an Enlarging Diagonally From Corner to Corner Expansion a laying open Exornation an Adorning Exitial Distructive Entity Being Eleimosinary Charitable Efflux a Flowing out Ebullition a Boyling up Epileptici given to the Falling Sicknes Empaste to lay well in Elevation a Lifting up Group a Knot of Figures togather Homiomaere a Likeness in Parts Hydrographical writing of the Ocean c. Hypothesis the Argument of a discourse Hatching striking strokes as in Graving Idea the Form of any thing Ineffable Unspeakable Intersection cutting off Ichnography ground Plot. Monopolist one that Ingrosseth all of a sort or Kind Monochroma one Colour Matempsychosis passing of soules from one body to another Occult Hidden Oeconomists Governours Osteology Discoursing of the Bones Optica Sight foreright Proditorious betraying Prototypon the first Pattern Paripateticks Followers of Aristotle Physiological discoursing of Natural Causes Protracted Prolonged Protuberant Swelling up Physical Natural Profile Represeutation of Heights Depths c. Ratiocination Reasoning Relievo An Emboss'd Figure Refracted broken open Speculative Contemplative Superficies the Surface of any thing Symmetrical Proportionable Sesquialter so much and half as much more Suprabipartient more then divided in two Sesquioctava an eighth part above the whole Sciographica Plat-Form or Draught Scheme a Form Tone a Tune or Harmony Teints Tincktures touches of Colours Vertigious Giddy Zenith the point directly over our heads

Actions Subject to sweating and Redness Autumn Doubtfull and something Inclining to Melancholly Winter Restrain'd drawn in and Trembling Yet notwithstanding the Season a Labouring Man must be exprest with rays'd Limbs Swelling and standing forth sweating c. especially in those who carry Burthens or use vehement Leaping Fencing or other violent Exercises Farther observe that in Sleep the Body must be without any Motions of Vigour and in such a Posture as we may not suppose the uneasiness of it may prevent their Rest We must take Notice too of Motions proceeding from Tasts and Smels Sowerness and Bitterness cause the bending of the Eye-lids wrincling the Forehead drawing down the corners of the Mouth c. Sweet ann Savoury Things cause a Pleasing and Chearfull Countenance as likewise Oderiferous Smells Bad Smells make us draw in the Nostrels look aside turn the Back with wrincled Eye-lids Eyes almost closed and Muoth drawn in And Lastly by Hearing and Touching there are divers Motions caus'd in our Bodys Sharp Shrill Sounds raise sudden Fear and Affright Grating Sounds cause Jarring of the Teeth and Shivering Touching hot Things Speedy and Quick Motions from Touching Cold as Ice and Snow Restrained and Fearefull Motions CAP. XIX The Natural Reasons of the Divers Impressions made on the Body Ocasion'd by the Passions of the Minde JOY causeth a Cheerfullness and Vigour of the Eyes Singing and Dancing c. sometimes Tears all these are the Effects of Dilation and coming forth of the Spirits into the outward Parts As for Tears they are the Effects of Compression of the Moisture of the Brain upon Dilation of the Spirits Joy hath sometimes caused sudden Death by the spreading of the Spirits so much that they could not Retire again Shame causeth Blushing which is the Resort of the Blood to the Face which in the Passion of Shame is the Part that Laboureth most Grief and Pain cause divers Impressions viz. Distorting of the Face which is caus'd by a Contention first to Bear and Resist and then to Expell which maketh the Parts first to knit and afterwards to open Grinding of the Teeth is likewise caus'd by gathering of the Spirits together to Resist which makes the Teeth set hard one against the other Sighing is caus'd by drawing in a greater quantity of Breath to Refresh the heart that Laboureth Screaming and Roaring out are caus'd by an Appetite of Expulsion for when the Spirits cannot expel the Thing that hurteth in their Strife to do by motion of Consent they expel the Voice Anger Causeth Trembling Sweating Foaming at the Mouth Stamping bending the Fist Paleness and going and coming of the Colour which last is caus'd by the Burning of the Spirits about the Heart calling in more Spirits from the outward Parts to refresh them But in some there is no Paleness but Redness which is by sending forth of the Spirits in an Appetite of Revenge Trembling in Anger is when it is Joyn'd with Fear caus'd by a calling in of the Spirits Swelling is caus'd both by a Dilation of the Spirits by over-heating and by a Liquefaction or Boiling of the Humours thereon Stamping and Bending of the Fist by an Imagination of the Act of Revenge Foaming at the Mouth is from the same Cause with Swelling and is an Ebullition Wonder causeth an Immoveable Posture of the Body by fixing the Minde upon one Object of Cogitation whereby it doth not Transcur and Spatiate as usuall for the Spirits fly not as in Fear but only settle less apt to move Lifting up the Eyes and Hands is a kinde of Appeal to the Deity the Author of strange Wonders Lust causeth a Priapism and Flagrancy in the Eyes the Reason is because the sight and the Touch are the onely Things desir'd in Lust therefore the Spirits fly to those Parts which are most Affected Fear causeth Paleness Trembling standing up of the Hair starting stretching c. The Blood running inward to succour the Heart as before causeth Paleness Trembling from the Flight of the Spirits inwards leaves the outward parts destitute of sufficient to sustain them The shutting of the Pores of the skin causeth the Erection of the Hair Starting an Apprehension of a thing feard in that kind a Motion of shrinking likewise an Inquisition in the beginning what the Matter should be and in that kind it is a Motion of Erection for starting is an Erection of the Spirits to attend Stretching is an Appetite of Expelling what suddenly striketh the Spirits Laughing causeth a Dilatation of the Mouth and Lips a continuall Expulsion of Breath with a loud Noise which makes the Interjection of Laughing sometimes the Eyes running with water shaking of the sides The causes of these impressions are from the Dilatation of the Spirits And the more the more sudden the Object of Laughter is Yet this can scarcely be term'd a Passion but hath his source from the Intellect for there ever precedeth a Conceit of something Ridiculous and is only proper to Man Finally the Spirits in all Passions resort most to the Parts which Labour most or are most Affected in Fear and Anger to the Heart in shame to the Face in Lust to the Venerious Parts c. CAP. XX. Of Light LIght hath so great Force in Painting that the Gracefull Part consists much therein for if the Lights are well dispos'd there will be a Beauty in the Picture although not a Perfection notwithstanding the Draught be not Extraordinary for it is through the Vertue of that that the Figures are brought off from the Flat The Force hereof may be seen in the Resurection of our Saviour as hath been observ'd in the Covent of the Church of Grace in Millain by Bernard Zenale Triviliano where though the Muscles and other Necessary Complements for a perfect piece of Work are not seen yet it gives a great satisfaction by the strength and orderly Disposal of the Lights The Power of it is likewise such that it gives admirable Foreshortnings and Perspectives neither can Form Motion Proportion Composition Order or Figure have Perfection without it like a Body without Situation or Spirit The Paripateticks say this is the Cause or Formal Reason whereby colour'd Things are seen whose Images pass to the Fancy especially inlightning the Eyes in which the Image is Formed passing first to the Common Sence then to the Fancy and Lastly to the Understanding We are to observe three Things concur to our Slight the Visual Lines the Colour'd Body and the Faculty of Seeing which is in our Eye The Visual Lines Lightned which are the proper matter and subject of the Perspectives come to our Eye in a Pyramidal Form the Basis of which Pyramis resteth in the Object and the Conus or Angle thereof cometh to the Eye more Blunt and Obtuse and hereby we see the Object more plainly and distinctly but if the Object be far of the Angle of the Pyramis comes to the Eye more Sharp which renders the Object the less Discernable It is likewise