Selected quad for the lemma: end_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
end_n	finger_n	hand_n	left_a	1,482	5	10.3903	5	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A36766	De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.; De arte graphica. English	Dufresnoy, Charles-Alphonse, 1611-1668.; Dryden, John, 1631-1700.; Graham, Richard, fl. 1680-1720. Short account of the most eminent painters.	1695 (1695)	Wing D2458; ESTC R18532	173,861	426

contains half a Face From the lower part of the Knee to the Anckle two Faces From the Anckle to the Sole of the Foot half a Face A Man when his Arms are stretch'd out is from the longest Finger of his Right hand to the longest of his left as broad as he is long From one side of the Breasts to the other two Faces The bone of the Arm call'd Humerus is the length of two Faces from the Shoulder to the Elbow From the end of the Elbow to the root of the little Finger the bone call'd Cubitus with part of the Hand contains two Faces From the box of the Shoulder-blade to the pit betwixt the Collar-bones one Face If you would be satisfy'd in the Measures of breadth from the extremity of one Finger to the other so that this breadth shou'd be equal to the length of the Body you must observe that the boxes of the Elbows with the Humerus and of the Humerus with the Shoulder-blade bear the proportion of half a Face when the Arms are Stretch'd out The Sole of the Foot is the sixth part of the Figure The Hand is the length of a Face The Thumb contains a Nose The inside of the Arm from the place where the Muscle disappears which makes the Breast call'd the Pectoral Muscle to the middle of the Arm four Noses From the middle of the Arm to the begining of the Hand five Noses The longest Toe is a Nose long The two utmost parts of the Teats and the pit betwixt the Collar-bones of a Woman make an equailateral triangle For the breadth of the Limbs no precise measures can be given because the measures themselves are changeable according to the quality of the persons and according to the movement of the Muscles If you wou'd know the Proportions more particularly you may see them in Paulo Lomazzo 't is good to read them once at least and to make Remarks on them every man according to his own judgment and according to the occasion which he has for them Though Perspective cannot be call'd a certain Rule c. That is to say purely of it self without prudence and discretion The greatest part of those who understand it desiring to practise it too regularly often make such things as shock the sight though they are within the Rules If all those great Painters who have left us such fair Platforms had rigorously observ'd it in their Figures they had not wholly found their account in it They had indeed made things more regularly true but withall very unpleasing There is great appearance that the Architects and Statuaries of former times have not found it to their purpose always nor have follow'd the Geometrical Part so exactly as Perspective ordains For He who wou'd imitate the Frontispiece of the Rotunda according to Perspective wou'd be grosly deceiv'd since the Columns which are at the extremities have more diameter than those which are in the middle The Cornish of the Palazzo Farnese which makes so beautifull an effect below when view'd more nearly will be found not to have its just measures In the Pillar of Trajan we see that the highest Figures are greater than those below and make an effect quite contrary to Perspective increasing according to the measure of their distance I know there is a Rule which teaches a way of making them in that manner and which though 't is to be found in some Books of Perspective yet notwithstanding is no rule of Perspective Because 't is never made use of but onely when we find it for our purpose for if for example the Figures which are at the top of Trajan's Pillar were but as great as those which are at the bottom they wou'd not be for all that against Perspective and thus we may say with more reason that it is a rule of Decorum in Perspective to ease the sight and to render objects more agreeable 'T is on this general observation that we may establish in Perspective the rules of Decorum or convenience whensoever occasion shall offer We may also see another Example in the base of the Farnesian Hercules which is not upon the level but on an easie declivity on the advanc'd part that the feet of the Figure may not be hidden from the sight to the end that it may appear more pleasing which the noble Authors of these things have done not in contempt of Geometry and Perspective but for the satisfaction of the Eyes which was the end they propos'd to themselves in all their works We must therefore understand Perspective as a Science which is absolutely necessary and which a Painter must not want Yet without Subjecting our selves so wholly to it as to become slaves of it We are to follow it when it leads us in a pleasing way and that it shows us pleasing things but for some time to forsake it if it lead us through mire or to a precipice Endeavour after that which is aiding to your Art and convenient but avoid whatsoever is repugnant to it as the 59th rule teaches Let every Member be made for its own Head c. That is to say you ought not to set the Head of a Young man on the Body of an Old one nor make a white Hand for a wither'd Body Not to habit a Hercules in Taffeta nor an Apollo in course stuff Queens and persons of the first quality whom you wou'd make appear Majestical are not to be too negligently dress'd or indishabile no more than Old men The Nymphs are not to be overcharg'd with drapery in fine let all that which accompanies your Figures make them Known for what effectively they are Let the Figures to which Art cannot give a Voice imitate the Mutes in their Actions c. Mutes having no other way of speaking or expressing their thoughts but onely by their gestures and their actions 't is certain that they do it in a manner more expressive than those who have the use of Speech for which reason the Picture which is mute ought to imitate them so as to make it self understood Let the principal Figure of the Subject c. 'T is one of the greatest blemishes of a Picture not to give knowledge at the first Sight of the Subject which it represents And truly nothing is more perplexing than to extinguish as it were the principal Figure by the opposition of some others which present themselves to us at the first view and which carry a greater lustre An Orator who had undertaken to make a Panegyrick on Alexander the Great and who had emply'd the strongest Figures of his Rhetorique in the praise of Bucephalus would do quite the contrary to that which was expected from him Because it would be believ'd that he rather took the Horse for his Subject than the Master A Painter is like an Orator in this He must dispose his matter in such sort that all things may give place to his principal Subject And if the other Figures