Selected quad for the lemma: earth_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
earth_n	dry_a	hot_a	moist_a	3,301	5	10.4672	5	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A09198	The gentlemans exercise Or an exquisite practise, as well for drawing all manner of beasts in their true portraitures: as also the making of all kinds of colours, to be vsed in lymming, painting, tricking, and blason of coates, and armes, with diuers others most delightfull and pleasurable obseruations, for all yong gentlemen and others. As also seruing for the necessarie vse and generall benefite of diuers trades-men and artificers, as namly painters, ioyners, free-masons, cutters and caruers, &c. for the farther gracing, beautifying, and garnishing of all their absolute and worthie peeces, either for borders, architecks, or columnes, &c. By Henrie Peacham Master of Artes.; Graphice	Peacham, Henry, 1576?-1643?	1612 (1612)	STC 19508; ESTC S114350	87,106	179

giue consent who sets downe foure primarie or first colours viz. White in the drie bodie as the earth Greene in thicke and moist as the water Blew in the thin and moyst as the ayre Yealow in the hot as the fire Yet not without reason for Aristotle affirmed that black was the priuation of white as darknesse of light to whom Scaliger replies that nothing can be made of priuation and habit but we will leaue their arguments and proceede to the species and seuerall kindes of colours shewing by their Etymologies their seuerall nature and af●er declare the manner of their mixture and composition CHAP. XX. Of the choyce of your grinding stone Mullar Penc●ls making your gummes gylding c. HAuing hitherto as plainely as I could giuen you those directions I haue thought most necessarie for drawing with the pen I will shew you next the right mingling and ordering of your colours that after you can draw indifferent well for before I would not haue you know what colours meaneth you may with more delight apparrell your wo●k with the liuely and naturall beautie and first of the choice of your grinding stone and pencils I like best the porphytie white or greene Marble with a muller or vpper stone of the same cut verie euen without flawes or holes you may buy them in London of those that make toombes they will last you your life time wearing very little or nothing some vse glasse but many times they gather vp their colours on the ground others slates but they with wearing though neuer so hard at the first will kill all colours you may also make you a mullar of a flat pibble by grinding it smooth at a grindstone if you doe it handsomely it is as good as the best● your great muscle shelles commonly called horse muscles are the best for keeping colours you may gather them in Iuly about riuers sides the next to ●hese are the small muscle shelles washt and kept very cleane Chuse your pencels by their fastnesse in the quils and their sharpe points after you haue drawne and whetted them in your mouth you shal buy them one after another for eight or tenne pence a dozen at the Apothecaries CHAP. XXI Of the seuerall Gummes that are vsed in grinding of water colours Gumme Arabicke THE first and principall is Gumme Arabicke choose it by the whitenesse cleerenesse the brittlenesse of it being broken betweene your teeth for then it is good take it and lay it in very faire water vntill it be quite resolued and with it grinde your colours you may make it thinne or thicke as all other Gummes at your pleasure by adding and taking away the water you put to it 2. Gumme Hederae or of the Iuie There is another very excellent gumme that proceedeth from the Iuie which you shall get in this manner finde out first an Oke or house that hath a great branch of Iuie climing vp by it and with an axe cut it a sunder in the midst and then with your axe he●d bruise both ends and let it sta●d a moneth or thereabouts at what time you shal●●●ke from it a pure and fine gumme like an oyle w●●ch issueth out of the ends take it off handsomely with a knife or spoone and keepe it in a viall it is good to put into your gold size and other colours for three respectes first it allaies the smell of the size secondly it taketh away the bubbles that arise vpon your gold size other colours lastly it taketh away the clamminesse and fatnesse from your other colours there is moreouer great vse of it in the confection of pomander 3 Gumme lake Gumme lake is made with the glaire of egs strained often and very short about March or Aprill to which about the qua●tity of a pinte you must put two spoonfull of honey and as much of Gumma Hederae as a hasell nut and foure good spoonefuls of the strongest woort you can come by then straine them againe with a sponge or peece of wooll so fine as you can and so long till that you see them runne like a fine and cleare oyle keepe it then in a cleane glasse it will grow hard but you may resolue it againe with a little cleare water as you doe gumme Arabicke it is moreouer an excellent vernish for any picture 4 Gumme Armoniacke Take Gumme Armoniacke and grinde it with the iuyce of Garlicke so fine as may be to which put two or three drops of weake Gumme Arabicke water and temper it so that it be not too thicke but that it may runne well out of your penne and write therewith what you will and let it drie and when you mean to gyld vpon it cut your gold or siluer according to the bignesse of the size you haue laid and then se● it with a peece of wooll in this manner first breath vpon the size and then lay on your gold vpon it gently taken vp which presse downe hard with your peece of wooll and then let it well drie being dried with a fine linnen cloath strike off finely the loose gold then shall you finde all that you drew very faire gold and cleane as you haue drawne it though i● were as small as any heire it is called gold Armoniack is taken many times for liquid gold CHAP. XXII Of gylding or the ordering of gold and siluer in water colours YOV may gyld onely with gumme water as I will shew you make your water good and stiffe and lay it on with your pencel where you would gyld then take a cushion that hath smooth leather and turne the bottome vpward vpon th●t cut your gold with a sharpe knife in what quantitie you will and to take it vp draw the edge of your knife finely vpon your tongue that it may be onely wet with which doe but touch the very edge of your gold it will come vp and you may lay it as you list but before you lay it on let your gumme be almost drie otherwise it wil drowne your gold and being laid presse it downe hard with the skut of an haire afterward burnish it with a dogs tooth I call burnisht gold that manner of gylding which we ordinarily see in old parchment Masse bookes done by Monkes and Priests who were very expert herein as also in laying of colours that in bookes of an hundred or two hundred yeares old you may see the colours as beautiful and as fresh as if they were done but yesterday A very faire manuscript of this kind Sir Robert Cotton my worshipfull friend had of me which was King Edward the fourthes compiled by Anthony Earle Riuers and as Master Cambden told me it was the first booke that euer was printed in England it lieth commonly embos●ed that you may feele it by reason of the thicknesse of the ground or size which size is made in this manner Take three parts of Bole Armoniacke and foure of fine chalke grinde them together as small as you

dressing of Pearle D●amonds● Rubies holding in her le●t hand scepte●s with crowne● vpon them other crowns scepters lying at her feete in her right hand a naked poniard in a pall or mantle of changeable Crimson black bu●kins of siluer with Carnation blac●e and white Ribands o● her feete her high Cothurn or Tragicke pantofles of redde Veluet and gold beset with pearles and sparkes of Rubies her grauity be●itteth Tragike Poesie her pall and pantofles were inuented for the stage by the Greeke Poet● AEschilus as Horace t●stifyeth Polymnia Polymnia shall bee drawne as it were acting her speech with her forefinger all in white her hair hanging loose about her shoulders resembling wie●y gold vpon her he●d a Coronet of the richest and rarest iewels en●ermixt with sweet flowers in her le●t hand a booke vpon whose outside shall bee written Suad●r● To this Muse al Rhetorician● are beholden whose patron is the Coronet of pretiou stones signif●ing those rare gifts which ought to bee i● a Rhetorici●n viz Inuention Disp●sition M●mory and Pronuntiation her white habite declares the sinceri●y which ought to be in Orators her name imports much Memory Erato Erato hath her name of Eros which is Loue draw her with a sweete and louely counten●nce h●r temples gy●● with Mirtle and roses both of aunci●nt time Dedicated to Venus bearing a heart with an Iuory key by her side a prety Cupid or Amorino winged with a Torch lighted in her hand at his backe his bow and qui●er Terpsichore Terpsichore would bee expressed with a merry countenance playing vpon some instrument vppon her head a coronet of feathers of sundry colours but especially those greene feathers of the Poppiniaie in token of that victory which the Muses got of the Syrenes and the daughters of Pieri●s and Euripus by singing as P●usanias reports who after were turned into poppini●es or wood peckers as Ouid writes Vrania Let Vrania bee showne in a robe of Azure imitating t●e Heauen vpon her head a Coronet of bright starres in her hand a Globe rep●esenting the c●l●stiall spheres Her name imports as much as heauenly for it is her office to describe heuen and the spheres vrania ●oeli motus scrutatur et Astra Calliope Calliope would bee painted richest of all the rest vpon her head a Coronet of gold as queene of her fellowes howsoeuer we heere giue her the last place vpon her left arme many garlands of bay in store for the reward of Poets in her right hand three bookes whose titles may be Illiadoes Odysseos and AEneidos as the worthiest of Poetry I haue thus briefly giuen you the draught of this faire company as Fulu●us Vrsinus reports they are described in the Middals of the auncient family of Pomponia the rather because their description agreeth with the inuention of Virgil and the rest of the auncient Poets CHAP. VI. Pan and the Satires THis word Pan in Greeke signifieth All or the V●iuersall and indeede he is nothing else but an Allegoricall fiction of the World hee is painted with a Goates face red blowen cheekes vpon his head two hornes standing vpright about his shoulders a panthers skinne in one hand a crooked sheepehooke in the other a pipe of seauen reedes compact with waxe together from the middle downewards hee beareth the shape of a Goate in this manner hee is expressed by Boccace and Silius Italicus His hornes signifie the sunne and Moone His redde and fiery face the Element of burning fire His long bearde noteth the aire and fire the two Masculine Elements exercising their operation vpon Nature being the Feminine His Panthers skinne represents the eight sphere or starry firmament being the highest sensible Orbe couering the earth The rodde shewes the soueraignty of Nature guiding and destining each creature to his proper office and end his pipe how that hee was the first i●uentor of Country Musicke according to Virgill P●n primu● calamos c. His nether parts of a Goate declare the inequality of the earth beeing rough and ●hagged as it were with trees plant● hills c. The Satyres haue their names from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and as Pliny testifieth were found in times past in the Easterne mountaines of India Lib. 7. cap. 2. S. Hierom in the life of S. Anthony reporteth ●hat he saw one of these in his time vid● homunculum inquit aduncis ●aribus et fronte cornibus aspera cui extrem● corporis in caprarum pelles desinebant c. but the truth hereof I will not rashly impugne or ouerboldly affirme The 4 Winds Eurus or the E●st wind Eurus as all the other Winds must be drawn with puffed and blowne cheekes wings vppon his shoulders his body the colour of the tawny Moore vpon his head a red sunne The Moorish colour shewes his habitation to be in the East the redde sunne an effect of his blowing Zephyrus or the West wind Zephorus you shall shew a youth with a merry cou●tenance holding in his hand a swan with wings displaied as about to sing because when this wind bloweth the swan singeth sweetliest vpon his head a Garland of all manner of sweete flowers of the spring thus he is described by Philostratu● for with his gentle and warme breath hee bringeth them forth which Petrarch as liuely depain●eth in that sonnet of his which with Gironimo Conuersi and many mo excellent Musitians I haue lastly chosen f●r a ditty in my songs of 4. and 5. parts being a subiect farre fitter then foolish and vaine loue to which our excellent Musitians are ouermuch addicted Zephiro torna e'l bel temporimena Ei fi●ri e'l he● be sua dolce famiglia E●g●oir pr●gne ●pianger Filomena E●primauera cand●d● è vermiglia c. Zephyrus is so called of the Grecians qu●si 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 bringing life because as I said it cherisheth and quickneth all things Boreas or the North winde Boreas is drawne like an old man with a horrid and terrible countenance his heire and beard quite couered with snow or frozen with Iseickles with the feete and taile of a Serpent as hee is described by Ouid in his Metamorphosis Auster or the South wind Auster is drawne with head and winges wet a pot or vrne powring forth water with the which shall discend ●rogs grashoppers caterpillers and the like creatures as are bred by much moisture The South wind of his owne nature is cold and drie and passing through the burning Zone ere it commeth to vs it receiueth heate and moisture from the abundance of raine thus the nature of it being changed it commeth vnto vs hot and moist and with heate it openeth the earth whereby the moisture multiplied causeth clouds and raine CHAP. VII The tw●lue moneths of the ●eare March MArch is drawne in tawny with a ●ierce aspect a helmet vpon his head to shew this moneth was dedicated to Mars his father the signe Aries in his right hand leaning vpon a spade in his left hand Almond blossomes and scients vpon his arme and

the second I answere that species or formes be not contrarie for were that granted the medium should haue in it infinite contrarieties from euerie part of the ayre compassing it about and continually multiplying the formes of things To the third the sence of seeing is so farre forth weakened and made faint● as the eye the Organe or Instrument therof becommeth vnable to endure beholding for the power of the sight suffereth not nor groweth old as were an old mans eyes young his sight would not faile him To the fourth argument I answere that distance being not perceiued by the eye but by the common sence the point of the Pyramis is not lesser to mine eye by remouing or going backe but alwaies one and the selfe same To the fift it is not the sight of the woman that infecteth the glasse but certaine grosse and putrefacted vapors that issue from the eies as we see in those that doe laborare opthalmia To the sixt of the Basiliske I answere the most haue held it fabulous yet suppose it to be true the best authors haue written that infection proceedeth from his breath not his eyes To the seuenth and last it is replied that cats and wolues retaine a certaine naturall light in N●ruo optico which serueth them as a Medium to ●iscerne plainly any thing by night To conclude to these and all other obiections for emission of the sight in briefe I answere with this dilemma vnanswerable If any thing be sent out from the eye it is either corporeal or incorporeal if corporeal it hath motū localē or mouing in place and time which motion seemeth to be swifter then the motiō of the heauen for the eye in a minute can discerne from one part of the heauen to the other which were repugnant to truth and all Philosophie Say it were light and no corporall substance it followed though that a sensitiue part of the soule went forth with the same and that an accident should become the subiect of the soule nothing can be granted more absurd If incorporeall as Metaphysicall it cannot mooue the sence Now it remaineth that according to Aristotle and the truth wee decide this controuersie concerning the sight wherein so many famous Philosophe●s haue beene blind How sight is caused according to Aristotle Aristotle saith that the motion which passeth or commeth betweene the eye and the obiect whether it be the light or ayre is the efficient cause of sight his words bee 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 To explaine his meaning better there concurreth to sight a double motion one from the obiect into the medium the other from the medium ayre or ●ight to the eye so that I may say the eye receiues the forme of the obiect at a second hand as it were from the medium being conueyed as it were halfe the way by a former motion For Aristotle in his second de anima strongly proueth against Democritus 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 non pati ab obiecto sed à medio So that sight is caused by receiuing the colour or obiect into the eye by a second motion against Plato Empedocles the Stoicks and all other that haue held the contrary Of the eye the Organ or Instrument of sight Some and amongest those before named Empedocles haue supposed the eye to haue beene fierie Aristotle as I remember alledgeth one of his arguments which was this the eye being ruled or hauing receiued a blow seemeth as it were to sparkle with fire the ●est are of like force whom after hee hath confuted with two good reasons the one is that if the eye were fierie it should see it selfe the second it should see clearly in the darke as a candle in a lanthorne he determines the question and affirmes it to be of a watery substance The Phisitions also cold and of the nature of the braine The parts and wonder●ull composition of the eye The eye being the most excellent Organ of the noblest sence the tend●est part of the body is by nature as it were a pearle shut vp within a four fold casket that it might the better be preserued from iniury as the most precious Iewell and sole treasure of the bodie for it is defended with foure coates or skinnes the fir●t whereof is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which is adnata or close-bred by this the eye is fastened and ioyned the second is ca●led 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 or cornea as it were of horne compassing the eye round it is transparen● this de●endeth the humour and water of the eye and is placed about the ball least the outward light meeti●g with the Cristaline humour should dazell and o●fend the sight to keepe this humour from drying Tunica v●●e or 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 compasseth it about this againe doth compasse another coate like a cob-web of bl●cke colour called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 of Arachne vnder which lies a moisture like molten glasse which they call 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and it is thicke within this remaineth a little pearle as in the center vnmoued most hard rese●bling yce or Cristall whereon it is called 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 it is round but more flat towards the ball of the eye that it might giue the watrie humour a better lustre and defend it from iniurie The ball of the eye is fat and thicke neither hath that fat of it selfe any heate in it but warmeth by the force of heate it receiueth from the muscles that serue the eye who also are couered with fatnesse hence the eie neuer freezeth Thus much of the sence of seeing and of the eye CHAP. XIX Co●our what it is of the obiect of the sight and the diuision thereof COlour according to Scaliger is a qualitie compounded of the element● and the light so farre forth as it is the light Auerrois Auenpa●e said it was actus corporis terminati others a bare superficies Aristotle called it corp●ris extremitatem the extremitie or ou●most of a bodie The obiect of the sight is any thing whatsoeuer may be visible Plato deuideth visible thinges into three heades which are Equall are Greater are Lesse Equall are all transparent things which let the sight through and are not properly said to be seene as the ayre water yce cristall and the like Greater which he calleth 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which spread or scatter the sight by that meanes hurting the same as all white things The lesse 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 which gather the sight together and which are improper or rather no obiectes at all as all blacknesse Whether all colours be compou●ded of white and blacke or no. Theophrastus hath long since laboured to prooue blacke to be no colour at all his reason is because that colour is proper to none of the elements for saith he water ayre and earth are white and the fire is yellow but rather would fetch it from white and yealow whereto Scaliger leauing Aristotle perhaps for singularitie sake seemeth to