Selected quad for the lemma: death_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
death_n	age_n	life_n	old_a	5,148	5	5.6715	4	false

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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A60739	Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, washing, varnishing, gilding, colouring, dying, beautifying, and perfuming in four books : exemplifyed in the drawing of men, women, landskips, countries and figures of various forms, the way of engraving, etching, and limning, with all their requisites and ornaments, the depicting of the most eminent pieces of antiquities, the paintings of the antients, washing of maps, globes or pictures, the dying of cloth, silk, horns, bones, wood, glass, stones and metals, the varnishing, colouring and gilding thereof according to any purpose or intent, the painting, colouring and beautifying of the face, skin and hair, the whole doctrine of perfumes, never published till now, together with the original, advancement and perfection of the art of painting / by William Salmon ...	Salmon, William, 1644-1713.	1673 (1673)	Wing S445; ESTC R16620	189,914	371

the same flat XIX When these faces on a Crystal are turned towards a plain placed directly before it they separate themselves at a good distance on the plain because they are all directed to various far distant places of the same XX. But for the assigning to each of them a place on the same plain no Geometrick rule is yet invented CHAP. XXIX A Rational Demonstration of Chiromantical Signatures Added by way of Appendix to Chap. V. of this Book I. THe soundation of Chiromancie depends upon the true appropriation of the several mounts fingers or places in the hand to their proper stars or Planets II. The Ancients have assigned the root of the middle finger to Saturn of the forefinger to Jupiter the hollow of the hand to Mars the root of the ring-finger to Sol of the thumb to Venus of the little finger to Mercury and lastly the brawn of the hand near the wrist to Luna III. That line which comes round the ball of the thumb towards the root or mount of Jupiter is called Linea Jovialis or the life-line that from the wrist to the root or mount of Saturn Linea Saturnialis but if it points to the root or mount of Sol Linea Solaris if to Mercury Linea Mercurealis that which goes from Linea Jovialis to the mount of Luna Linea Lunaris or the natural line the other great line above it is called Linea Stellata or the line of fortune because it limits the mounts of the planets and is impressed with various vertues in those places according to the nature of the planet whose mount it runs under or sets a boundary unto Lastly the space between the natural line and the line of fortune is called mensa the Table IV. All other lines shall either proceed out of the sides of the former or else from some proper mount V. Every line great or small long or short hath a certain beginning or root from which it rises and a certain end or point to which it tends VI. The distance between both ends is the way of its passage in which way it either crosses some other line or else is crossed if it do neither its signification is continual and ought so much the more to be taken notice of VII Every mount hath a proper signification which it receives from the significations of its proper planet being abstractly considered the same understand of all the principal lines aforesaid VIII Saturn is the Author of Age Inheritances Melancholly Malice Sorrow Misery Calamities Enemies Imprisonment Sickness Diseases Perplexities Cares Poverty Crosses Death and whatsoever evil can befall humane life he signifies Fathers Old Men Labourers Dyers Smiths and Jesuits IX Jupiter is the Author of Health Strength Moderation Sobriety Mercy Riches Substance Goodness Liberty Religion Honesty Justice Modesty and all other things which may make a man happy he signifies Churches Church-men Lawyers Scholars Cloathiers and the like X. Mars is the Author of Strife Contention Pride Presumption Tyranny Thefts Murders Victory Conquest Infortunacy Boldness and Dangers he signifies Physicians Chirurgians Apothecaries the Camp all Military men and Preferments Edge-tools Butchers Carpenters Gunners Bailiffs and the like XI Sol is the Author of Honour Glory Renown Preferment Life Generosity Magnanimity Soveraignty Dominion Power Treasures Gold Silver and whatsoever may make the life of man splendid he signifies Kings Princes Rulers and all men in power Minters Goldsmiths long Life and Wisdom XII Venus is the Author of Joy Pleasure Mirth Solace Lust Uncleanness and Idleness she signifies Women-kind Sisters Ladies Whores Curiosities Lapidaries Silkmen Taylors Mercers Upholsters Pictures Picture-drawers the Pox and diseases proceeding from uncleanness XIII Mercury is the Author of Craft Subtilty Policy Deceit Perjury Study Hearing and Merchandizing he signifies Merchants Clerks Scholars Secretaries Ambassadors Pages Messengers Poets Orators Stationers Cheaters Thieves Petty-lawers Philosophers Mathematicians Astrologers XIV Luna is the Author of popular Fame both Good and Evil Joy and Sorrow Mutability and Inconstancy Affection and Disaffection Moisture and every affect which may be said to be common she signifies Waters Ships Seamen of all sorts Queens Ladies a Governess the Common people in general Neighbours Mothers Kindred Fishmongers Vintners Tapsters Midwives Nurses and Travellers This being known understand XV. First That the lines take their signification from the mount of that planet from whence they rise XVI Secondly That the place from whence any line rises shews the ground cause or original of the things fignified by that line the line or mount to which it points shews the issue to what the thing tends and what may be the end of the matter signified XVII Thirdly That whether the line signifies good or evil if it be cut or crossed by any other line that line so cutting it will at a certain time not only abate the good but also take away the evil if it so signified XVIII Fourthly That the nature and quality of that line thus destroying the signification of the former is known by considering from what place it rises and to what place it tends XIX Fifthly That a double judgment arises from every line by accounting its rise first from the one end secondly from the other XX. Sixthly That little lines rising out of the sides of any other line both augment the things signified by that line and also signifie new matter arising by things signified by the line from whence they rise and the place to which they point shew to what they tend XXI Seventhly That the mounts or lines adorned with stars or small lines not crossed or pointing to evil places shew great good and happiness to the person by things signified by the same mount or line and on the contrary vitiated with crosses spots or knots shew much evil and perplexity XXII Lastly the beginning of the lines shews in the beginning or fore part of Life the middle in the middle part of Life and the ends of them the latter-part or end of Life so that if any evil or good be signified by any line you must hint the time according to the aforesaid reason 'T is true here we ought to enquire into the denominated times when the things signified should come to pass but because that matter is something long and abstruse being more fit to be handled in a particular tract wherein all its curiosities may be examined this our present work being a a subject of another nature and these things not essential to our purpose but only added by way of appendix we shall at this time forbear Notwithstanding although we have not here delineated every thing in particular yet we have laid as it were the ground and foundation of the Art out of which as out of a fountain the industrious student may at his own leisure and pleasure rear a stately fabrick POLYGRAPHICES LIBER SECUNDUS Of ENGRAVING ETCHING and LIMNING Shewing the Instruments belonging to the Work the Matter of the Work the way and manner of performing

full of eyes and all over her garments an infinite number of ears and tongues See the tenth Section of the eighteenth Chapter of the first Book VI. Opinion saith Hippocrates resembles a young woman not altogether so fair and lovely as Truth yet not deformed or ill proportioned being rather impudent than modestly bold in her demeanure with her hand stretched forth to take whatsoever is offered and presented to her CHAP. XXXIII How Night Sleep Silence Pleasure and Fear were depicted I. NIght the mother of Sleep and Death was depicted by the Antients in form of an old woman having two great wings growing on her shoulders all cole black and spread abroad as if she seemed to offer a flight and that she is drawn in a Chariot whose wheels are made of Ebony having a sad countenance and an upper garment of a deep black spotted all over with silver spots like stars as Boccace saith See the thirteenth Section of the thirteenth Chapter of the third Book II. Sleep the brother of Death saith Hesiod was painted of a most sour lowring and sad aspect aged and holding in her left hand a young child very beautiful and in her right another child of a most swarthy black and dull complexion with legs and arms very crooked Philostratus in a Tablet which he made for Amphiarus makes her like an aged woman slothful and sluggish cloathed with several garments the under black the upper white holding in one of her hands a horn pouring forth seed By the garments is signified night and day by the seed rest ease and quiet III. Harpoerates the God of Silence called in Greek Sigaleon was made as Martianus and Apuleius say in likeness of a young child who close to his lips held one of his fingers as a sign of secrecy Some portraict him without any face at all all covered with the skin of a wolf painted full of eyes and ears Shewing it to be good to see and hear much but to speak little IV. Voluptia or pleasure was depainted a Lady having a pale and lean countenance sitting in a pontifical and majestick chair embroidred and embossed with stars of gold treading and trampling upon Vertue V. Fear saith Pausanias was shaped in several forms by the Antents sometimes with the head of a Lion among the Grecians as on the shield of Agamemnon and sometimes with the deformed face and body of a woman The Corinthians dedicated this Picture so made unto the sons of Medea which were slain for bringing such fatal gifts to the daughter of old Creon whereby she and all that regal family perished and were for ever extinct CHAP. XXXIV How the Antients depicted several wise men and Philosophers I. SIdonius Apollinarius in the ninth Epistle of his ninth Book saith that the Philosopher Zeusippus was painted with a crooked neck Aratus with a neck bowed downwards Zeno with a wrinkled forehead II. Epicurns was painted with a smooth skin Diogenes with a hairy rough beard Socrates with whitish bright hair III. Aristotle was painted with a stretched out arm Xenocrates with a leg somewhat gathered up Hieraclitus with his eyes shut for crying IV. Democritus with his lips open as laughing Chrysippus with his fingers close pressed together for numbering Euclid with his fingers put asunder for the space of measures V. In some antient Bibles and many Pictures Moses is described with horns The ground of this absurdity was a mistake of the Hebrew Text in that of Moses descending from the Mount upon the nearness of the words 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Keren Cornu an horn and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Karan Luceo to shine The vulgar translation of Exodus 34.29.35 agrees with the former to wit Ignorabat quòd cornuta esset facies ejus Qui videbant faciem Mosis esse cornutam The translation of Paulus Fagius is otherwise viz. Moses nesciebat quòd multus esset splendor gloriae vuliûs ejus Et viderunt filii Israel quòd multa esset claritas gloriae faciei Mosis Tremelius and Junius have it thus ut ignoraret Mosche splendidam esse factam cutem faciei suae Quòd splendida facta esset c●tis faciei Moschis Agreeing with the Septuagint 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 glorificatus est aspecius cutis seu coloris faciei V. Alexander the great is described by some riding upon an Elephant The reason thereof is hard to be discerned for as much as I find not in history that ever he used that beast in his Armies much less in his own person except it were for that remarkable battel which he fought with Porus King of India wherein were many Elephants In which himself as Curtius Arianus and Plutarch relate was on horse-back the name of which beast yet lives and is famous in history to this day CHAP. XXXV Of the farther Progress of these Arts. I. AS God Almighty who is the Author of all wisdom was the first institutor hereof so also was he the promulgator by whom these Arts have made progression in the world Certainly saith Philostratus Picture is an invention of the Gods as well for the painted faces of the meadows adorned with flowers according to the several seasons of the year as for those things which appear in the sky What wonderful eloquence is this that in so few words this Philosopher should clear so great a point But what saith Gregorius Nyssenus Man saith he is an earthen statue and Suidas in Oratione primâ de Beatitudinibus speaking of Adam saith This was the first statue the Image named by God after which all the art of Carving used by men receiveth directions Lot's wife was another turned into a durable pillar of Salt of whom Prudentius in Harmartigenia saith she waxed stiff being changed into a more brittle substance she standeth metamorphosed into stone apt to be melted keeping her old posture in that Salt-stone Image her comliness her ornaments her forehead her eyes her hair her face also looking backward with her chin gently turned do retain the unchangeable monuments of her antient offence and though she melteth away continually in salt sweat yet doth the compleatness of her shape suffer no loss by that fluidity whole droves of beasts cannot impare that savoury stone so much but still there is liquor enough to lick by which perpetual loss the wasted skin is ever renewed To these let us add the pattern of the Tabernacle shewed unto Moses upon mount Sinai The Brazen Serpent made by the express command of God the Pattern of the Temple which David gave unto Solomon after the form which God made with his own hand Ezekiel's portraict of Jerusalem with its formal Siege upon a tile by express command from God also the brazen statue of our Lord Jesus Christ erected by the woman healed of the bloody Issue as is mentioned by Photius and Asterius Bishop of Amasa and other Ecclesiastick writers the Picture also of our Lord made without hands as it is related by Damascenus Cedrenus and others the

which from the middle downwards have the proportion and shape of fishes as Statius saith That variety of Aspect according to Virgil and Homer is given him from the Sea in that it at sundry times sheweth it self so and the trident the three Gulfs of the Mediterranean Sea II. Sometimes he is depainted with a thin veil hanging over one of his shoulders of a Cerulean or blewish colour III. Lucianus setteth him down with marrvellous long hair hanging down over his shoulders of a very sad and darkish colour Yet Servius and others affirm that all the Gods of the Sea were for the most part in the shape of old men with white and hoary hairs proceeding from the froth or spume of the Sea IV. Plato describes him in a sumptuous Chariot holding in one hand the reins of a bridle in the other a whip drawn by Sea-horses galloping V. Martianus describes him of a greenish complexion wearing a white Crown signifying thereby the spume and froth of the Sea VI. Glaucus another Sea God saith Philostratus hath a long white beard and hair soft and dropping about his shoulders his eyes green and glistering his brows full of wrinkles and green spots his breast all over-grown with greenish Sea weed or moss his belly and from thence downwards fish like full of fins and scales VII Galatea a Sea Goddess is described by the said Philostratus to be drawn in a strange framed Chariot by two mighty Dolphins which were guided by two silver reins held in the hands of old Triton's daughters over her head a Canopy made of Purple silk and silver with her hair hanging carelesly over her shoulders See another description of her at the seventh Section of the one and twentieth Chapter of the first Book VIII Oceanus the father of all the Sea Gods saith Thales Milesius is depainted drawn on a glorious Chariot accompanied and attended with a mighty company of N●mphs with the face of an old man and a long white beard IX Aeolus is depainted with swoln blub cheeks like one that with mainforce strives to blow a blast two small wings upon his shoulders and a fiery high countenance He is called the God and Ruler of the winds whose descriptions are in the three and twentieth Chapter of the first Book X. Thetis another Sea Goddess is depicted by the sixth Section of the one and twentieth Chapter of the first Book CHAP. XXIV How the Antients depicted Nemesis I. SHe was by Macrobius described with wings on her shoulders hard by her side the rudder of a ship she her self standing upright upon a round wheel holding in her right hand a golden ball in the other a a whip II. She is often depicted holding the bridle of an horse in one hand and in the other a staff III. Chrysippus as Aulus Gellius saith described her like a young Virgin beautiful and modest with an eye prying round about her for which cause the ancients called her the all-discerning Lady This Nemesis as Pausanias and Amianus Marcellinus say was held to be the Goddess of Punishments who castigates the offences of Malefactors with pains and torments according to their sins and demerits and rewarding the vertuous with honour and dignities she was the daughter of Justitia who dwells and inhabits very secretly within the house of Eternity recording the offences of the wicked and a most severe and cruel punisher of arrogancy and vain glory Macrobius saith that this Nemesis was adored among the Egyptians by them called also Rhammusia as the revenger and chief enemy of Pride Insolency and Haughtiness and that she had erect and dedicated unto her a most stately and magnifique statue of Marble CHAP. XXV How the Antients depicted Pan. I. PAn the God of Flocks and Sheep is from the middle upwards in proportion like a man with his face ruddy and sanguine being very hairy his skin and breast covered with the skin of a spotted Doe or Leopard in the one hand a shepherds hook in the other a whistle from the middle downwards the perfect shape of a goat in thighs legs and feet II. Justine saith that Pan's Statue was made in a temple in Rome near the hill Palatine appearing to the view all naked saving that it was slightly enshadowed and covered with a Goats skin Thereby is signified that as it was reputed in those days Pan kept his habitation among Hills Woods and Groves who was indeed most of any adored and worshiped by Shepherds as he that had the peculiar care and Government of their flocks Goat-eared Pan his small tipt new grown horns Advance themselves about whose either side A flowry Garland twines and there adorns His curled Temples with a wondrous Pride His face is of a high and reddish blush From which hangs down a stiff rough beard or bush And for his bodies vesture he doth wear The finest skin of the most spotted Doe That ever any in those woods did bear Which from his shoulder loose hangs to his toe And when he walks he carries in his hand A Shepherds book made of a knotless wand Servius saith by the horns is signified either the Beams of the Sun or New of the Moon at what time she is horned his red face signifies the element of fire his long beard the Air his spotted garment the starry firmament his Shepherds hook the rule and Government of nature IV. After the form of Pan were the Fauns Sylvans Satyres and Fairies set forth having little short horns growing on their heads with small ears and short tails These are held among some people in very great regard and observance being of a wonderful speed in running Plutarch writeth that there was one of these brought and presented for a rare gift unto Sylla as he returned from the wars against Mithridates V. Plato understandeth by Pan Reason and Knowledge which is twofold the one of a man the other of a beast by the upper part of Pan he signifies truth accompanied with Reason which being Divine lifteth man up towards Heaven by the lower parts of him is signified the falseness beastliness and rudeness of those which living here in the World are only delighted with the pleasures and foolish vanities thereof CHAP. XXVI How the Antients depicted Pluto I. MArtianus saith that Pluto sitteth in the lower region majestically in a chair holding in one of his hands a black imperial Scepter and on his head a stately Crown at whose left hand sitteth his wife Proserpina attended with many Furies and evil Spirits and at whose feet lyeth chained the Dog Cerberus II. The ancients also have painted him drawn in a Chariot drawn with four furious black horses from out whose fiery nostrils proceedeth thick and ill-savoured smoak as Claudianus saith III. Some say that his head is encircled with a garland of Cypress leaves others with Narcissus leaves The first shew sadness and horror used in burials and about the dead the other are more grateful and are used in memory of the untimely death of

that youth IV. Charon Pluto's Ferriman which carries souls over the three rivers of Hell Acheron Cocytus and Styx is described old yet exceeding strong with a black mantle hanging loosely over his shoulders as Boccace and Servius say By Charon is understood time and whereas he is supposed to have the transportation of souls from the one side of those rivers to the other thereby is signified that time so soon as we are born and brought forth into the world doth carry us along by little and little unto our deaths and so setteth us over those rivers whose names by interpretation signifie sorrowfulness for that we pass this life with misery and adversity CHAP. XXVII How the Antients depicted the Parcae or Sisters I. THe Sisters which are called Parcae are said to attend upon Pluto which are three and are called Clotho Lachesis and Atropos II. Clotho takes the charge of the Births and nativities of mortals Lachesis of all the rest of their life and Atropos of their death or departure out of this world III. They are all three depicted sitting on a row very busily employed in their several offices the youngest Sister drawing out of a Distaff a reasonable big thread the second winding it about a wheel and turning the same till it becomes little and slender the eldest which is aged and decrepit stood ready with her knife when it should be spun to cut it off IV. And they are described to be invested with white veils and little Coronets on their heads wreathed about with garlands made of the flowers of Narcissus CHAP. XXVIII How the Antients depicted Minerva or Pallas I. MInerva as taken for Bellona Licophrones saith was depicted with a flaming fire-brand in her hand by the Antients II. Most writers have described Minerva in the shape of a young woman of a lively and fresh countenance yet of an angry look fix'd stedfast eye of a blewish green colour compleatly armed at all weapons with a long Spear in the one hand and in the other a Crystal shield or target upon her helmet a garland of Olive branches and two children Fear and Horror by her side with naked knives in their hands seeming to threaten one another III. Pausanias saith that in Greece the statue of Minerva was made with an helmet on the top of which was the shape of a Sphynx and on the sides thereof two carved Griffins IV. Phidias making her statue in Greece placed on the top of her Helmet the form of a Cock. V. She was also painted in Greece sitting on a stool and drawing forth little small threads from a distaff for that the Ancients supposed her to be the inventress of spinning and the like CHAP. XXIX How the Antients depicted Vulcan I. VVlcan is depicted standing working and hammering in a Smiths forge on the hill Aetna framing Thunderbolts for Jupiter and fashioning Arrows for the God of love The opinions which the Ancients had of Vulcan were various in which respect he is shaped sometimes in one form sometimes in another II. Some make him lame of one leg of a very black and swarthy complexion as it were all smoaky of a general ill shaped proportion in all his Lineaments and because that he is the husband of Venus often depicture her with him III. Alexander Neapolitanus relateth that in one place of Egypt was erected the statue of Vulcan which held in one of its hands the true and lively proportion of a mole and in his other hand a Thunderbolt The mole was so placed because they thought he sent unspeakable numbers of moles among them as a plague to them which did eat gnaw and destroy every thing which was good CHAP. XXX How the Antients depicted Bacchus I. PHilostratus saith that his statue was framed in the likeness of a young man without a beard of a corpulent and gross body his face of an high colour and big about his head a garland of Ivy leaves upon his temples two small horns and close by his side a certain beast called a Leopard or Pauther This description is drawn from the nature of wine of which as the Poets feign Bacchus is the God whose inventer and finder out was certainly Noah which not only Moses but also Josephus and Lactautius specially affirm wherefore some suppose him to be this God Bacchus II. Claudianus saith that his Image or Statue is made all naked thereby shewing the nakedness of those which abuse themselves with wine by which they reveal and open those things which ought to be concealed and kept hid III. Diodorus Siculus saith that Bacchus among the Grecians was depicted in two several forms the one of a very aged man with a long beard stiff and thick the other of youthful years of a pleasant and amorous aspect By the first is shewed the effects of the intemperate use of wine which overcomes nature and brings with it old age by the other how it cherishes and revives the heart used moderately IV. Mocrobius saith that Bacchus was framed sometimes in the likeness of a young child sometimes of a youth sometimes of a man and sometimes in the likeness of decrepit old age By these was signified the four seasons of the year the vine being dedicated to Sol in whom they all exist V. This Picture was made in the likeness of a Bull among the Cirenians a people inhabiting the farther part of Persia The reason hereof was because Proserpina the daughter of Jove brought him forth in that form VI. Philostratus saith that Bacchus was oftentimes drawn clothed in womens garments and in a long purple robe wearing upon his head a Coronet of Roses with companions and followers all in like loose and wanton garments fashioning themselves some like rural Nymphs as the Dryades Oreades c. some like Sea Nymphs as Nereides Syrens c. some like Satyres Fauns and Sylvans c. The womens garments shew that wine makes a man faint feeble and unconstant like to a woman VI. Pousanias saith that among the Eleans the picture of Bacchus was made with a long beard and clothed with a long gown hanging to the feet in one hand a sharp hook and in the other a boul of wine and round about him many Vine-trees and other fruitful plants VII The Statue of Bacchus also was sometimes set forth and adorned with Coronets made of fig-tree leaves in memory of a Nymph as some say called Syca which was by the Gods metamorphosed into that plant In like manner the Nymph Staphilis on whom Bacehus was in like manner enamoured was transformed into the Vine from whence it is that those plants are so exceeding grateful and pleasant unto this God CHAP. XXXI How the Antients depicted Fortune I. FOrtune was depicted by some with two faces the one white and well-favoured the other black and ugly And this was because it was held that there were two Fortunes the one good from whom came riches happiness quiet content and pleasure the other bad from whom came wars