Selected quad for the lemma: ground_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
ground_n	climate_n	temperate_a	zone_n	23	3	13.1009	5	false

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

Childhood the Lights begin to appear more sharp by reason of the contracting of the superficies but with a kinde of Variableness answerable to the Gestures which proceed from the Spirit beginning to distinguish between Good and Evill In Youth the Superficies being Protracted and Restrained makes the Body seemly yet soft and tender neither Fat nor Lean in this Age second Light breeds wonderfull sweetness Delightfull to the Eye being dipriv'd of spreading of the Lights and with great Decency gives sweet and Firm Shaddows In Manhood the Lights run with greater Force having the greatest Perfection as ever they will have not too unpleasant nor too Sweet but much Delightful accompanied with a firm Stoutness and in some Parts something more Feirce In Constant Age the Body is more compacted and settled the Lights more sharp and full of Force In Old Age the Lights appear Heavy and full of Majesty and Gravity and so contrary wise the Shaddows by reason the Superficies is depriv'd of that Quality of Increasing and Vigour yet not Crude and Hallow without Order but in a middle Temper In Dotage the Superficies is sharply Elevated and making Acute Angles and declining Lines cause the Lights running upon them to appear Sharp being Encountred with very deep Shaddows the Eyes wholly shaddowed with the Eye-brows the mouth with the Nose the Cheeks with their Balls the Forehead with Pulses and so through all other Parts as the Concavities of the Bones without Flesh by the most Apparent parts of the Bones In Infancy we must therefore express Simplicity in Childhood a sharp Simplicity in Youth Amiableness in Manhood a Graver Beauty in Constant Age Lustiness and Courage Gravity Majesty and Consideration in Old Age. We must likewise observe that in the Design there be one Principal Light which must sall most strongly on that part nearest to the Light and as the Superficies is shortned according to the Distance from the Light so the Body looseth as much of its Colour as it lacketh of the Light and so the Colour faileth by Degrees untill the superficies decay together with the Light CAP. XXII Farther Precepts about Light IT is a General Rule that the Lights must be given to Bodyes according to the place through which they pass and this must be order'd so that the Light do ever Touch more suddenly on the middle Line supposing that part of the Body which may be seen at one view to be devided by five Lines into four Spaces equall in Power The Painter must suppose one of these four spaces to be lost and the three other to appear imagining that these three Spaces which are seen be divided in four Lines equal in a perspective Semi-circle making the chief Light to strike more strongly on the second Line and in the second space Heightned which is consequently to be plac'd in the third Line he shall put as much shaddow as he seeth and by this means the Figure shall be wonderfully Rays'd and more then if the Ligbt were plac'd side-long in the first Line or in the middle on the space between the second and the third because that makes too much shaddow and this too much Light But in Ceilings the Light is taken from the Window so that it cannot be avoided but that the Light will sometimes be receiv'd in the first Line according to the aspect of Lively Bodys either side-long from above or from below as the Body is tutn'd to the Light In the plain Superficies this Rule must be always observ'd that the Light given to Bodys must never be Perpendicular over their Heads for it will breed this inconvenience that the upper parts will always shaddow the lower as the Eye-brows half the Cheek the Hair all the Face c. except where the Principal of the Picture is in a Scene of Glory above then the Figures on the Earth may have a Light Perpendicular from the Glory above as in a Picture of Rubens of St. Roche where the Sudplicants below receive such Light That part of the Body is counted next the Light which from the first Pointed extendeth it self farther out on that side then the rest especially if it be from on high therefore that Light being the Quicker causeth the Superficies to receive the Light more strongly viz. that Superficies which is next to us and that which looketh upwards both which receive it so much the more strongly by how much the higher they are because they are nearer the Apointed Light and this is the Original Ground of all other Lights which are orderly dispos'd through all Bodys giving them their Heightning aceordingly to the Direction of that only Light Situations and Climates must also be observ'd they who Inhabit the Temperate Zone the Light casteth their shaddows towards the North who Inhabit the Hot Zone having a right Spheare and the Aequinoctial for their Zenith their shaddows are under their Feet at noon because they have the Sun Perpendicular to their Body but they who dwell under the Poles have their shaddow carryed round about them like a Wheel Nevertheless we must generally consider the best Effects of Nature immitating them by proposing unto us their Examples And so must we doe on the Surfaces of High-wayes taking the Light from the East in imitation of the Sun which in that part where it beginneth to rise casteth the shaddows of Bodys towards the West and to other parts according to his Aspects We will now lay down a few Precepts necessary to be observ'd and so conclude this Discourse of Chiaro Scuro In Light we must consider the Sun in his Luster as Rising Meridionall Setting and according to the Vapours he meets in the Air. Clear Air likewise through which the Light is spread and is something blewish and Cloudy Air which is Darker but leaves more easiness for Objects to be discerned in their true Colours the Eye not being dazled with too great a Brightness We must Consider Lights as Principall falling Perpendicular without Interruption on any Surface or Extremity Glancing by sliding Diagonally on Elevated Bodys And Secondary for things at distance according to the Thickness of Vapours which Intervene and offer many incidental opportunitys for giving the more Beauty to the stronger Lights as likewise loosen the Lighted parts by the opposition of the deep Teints If the Design be in the open Air the Light is extended and diffus'd on the Objects with the greater Tenderness If in Inclosed Places it is more consin'd the Lightnings more strong and Quick The Chief Light must be on the Principall Figure of the Group and must be extended without the Interruption of little shaddows that the Relievo may stand more boldly out All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting Arteficial Lights if very bright give a quick Heightning and dark and deeply shortned Shaddows Lastly it must be carefully observ'd that betwixt all Lights and Shaddows there must be such