Selected quad for the lemma: head_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
head_n	foot_n	knee_n	neck_n	3,602	5	11.9575	5	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A09192	The art of dravving vvith the pen, and limming in water colours more exactlie then heretofore taught and enlarged with the true manner of painting vpon glasse, the order of making your furnace, annealing, &c. Published, for the behoofe of all young gentlemen, or any els that are desirous for to become practicioners in this excellent, and most ingenious art, by H. Pecham., gent.	Peacham, Henry, 1576?-1643?	1606 (1606)	STC 19500; ESTC S106084	36,660	77

lay your glasse which you haue wrought and drawne before vpon the said bed of lime then sift vpon the said glasse another bed of lime vpon that bed lay other glas and so by beds you maie lay as much glas as the ouen wil containe prouiding alwaies that one glasse touch not another Then make a softe fire vnder your glasse and let it burn til it be sufficiently annealed it maie haue you must note too much or too little of the fire but to prouide that it shal be wel you shal doe as followeth To know when your glasse is well annealed Take so many peeces of glasse as you purpose to lay beds of glasse in your ouen or furnace and draw in colors what you will vpon the said peeces or if you wipe them ouer with some color with your finger onely it is enough lay with euery bed of your wrought and drawne glasse one of the said peeces of glasse which are called watches when you think that they are sufficiētly annealed with a pair of pliers or tongs take out the first watch which is the lowest next to the fire and laie it vpon a boord vntill it be cold then scrape it good and harde with a knife and if the color goeth off it hath not enough of the fire if it hold it is wel annealed When you woulde occupie any oiled color in glasse you shal once grind it with gumme water then temper it with spanish Turpentine and let it drie as neere the fire as may bee then is it perfect Other notes worthy of the practise and obseruation Colours for a table worke Take Indie blew and grind it vpon your stone or glasse and gumme it wel and laie it vpon your table worke as you thinke good striking your blew ouer with linseed oylvpon which after it hath dried a little lay on lesse gold or siluer and it will be faire For a faire Red. Take faire black adding thereto a small quantity of Sanguis Draconis and grind it vpon a stone with the fattest oyl you can get afterward grind it as drie as you can and put it into a shell after you haue laid it let your color dry and strike it ouer with linseed oyl after that laie on you siluer For greene Take spanish greene and grind it as you ground your black and laie it you may first shadow it with blew and so lay your greene vpon it and after letting it Drie in the sunne lay on the green or siluer as is beforementioned For a gold cloath Take your carnation and deep it is as you would deepe with black and strike it thin with oile and after lay your gold on and it will bee faire To write vpon iron Take vertgrease greene copperaes vinegar and roch Alome and temper them together and melte wax vpon your sword or knife vpon which draw or write what you will Hauing thus friendly reader for thy behoof plaid both the Painter and Glasier at once I craue pardon if in so deepe a skill I haue not satisfied thee in all things what I haue omitted it is not through Ignorance but because I would not trouble thee a learner as I imagine with ouer busie or tedious conclusions hauing long since lerned that lesson of Horace Quicquid praecipies breuis esto c. And thus not doubting of thy good will for my paines such as they are I throw away my Apron and bid thee heartily adew FINIS Fidibus praeclare cecinisse dicitur Tuse Q. li. 1 Xenoph. lib. vlt. Rer. graec Politic. 8. Plin. lib. 36. cap. 5. Exod. 31. Iob 39 16 Polit. 8. 1 Sem Exam de ingenios Rutilius in vita Q. Fabii pictoris Iuriscon In vita Pom Sigebert in Chron. de Oratore Aelian de varia H●st lib. 10 Apollodorus Euphranor Parrhasias Pyreicus Aristides Nicophanes Protogenes in Demetr Apelles Galaton C. Pulcher. de quo Cicero I de Oratore Herocle di Ferrara Bellino Vnicio Pisanello Petro de Burgo Zoto Mi. Angelo Alberdure Stradane M. Hilliard M. Isaac The excee ding value of pictures de quibus Cic. Act. 6. in Verrem B. in Asse Ezech. eh 1 verse 27. Catholic Institut in praecept 1. Black lead in quils Sallow coal es Rule and compasse Manchet or fine white bread Broome pencils How to helpe you in your Idea The space of an other eie to be left betweene the eies great difficulty in the eie Nicephor lib 10 cap. 3 7. Nazianz. in 2. inuect contra Iulianum Brusonius lib 7. cap. 20 The mouth Making the head too big a common fault The neck The sholder The arme The wrist The knuckles The paps The Ribs Thebelly The thigh The knee The legge The foote The double shadow 5. Poster 1. Metam 3. A lantskip must be giuē to euery beast according to his Country 1 Of lamenes 2 Of locall distance 3 Accident of Time Iud. 7. 4 In expressing the passion or disposition of the mind Qualisequos Threissa fatigat Harpalice Aeneid 1. 5 Of drapery 6 Of shadowing The choyse of your grinding stone mullar Lib. 33. cap 7. A bright Crimson Marigold colour A purple A faire violet Horseflesh colour Epigram lib. 2. A fair Carnation

or in making a womans ruffe that you skore it out first narrow in the neck then wider from the cheekes and narrow againe vnder the chin very truly ere you add the lace or seting al which is don with I line which I cal the general or extream For those sorms that are mixed vncertain where your circle and square cā do you no good being left only to your Idea as in a Lion a Horse or such like you must work altogither by your own iudgement win the proportion by dailie practise which wil seem very harsh strange vnto you at the first but to help your self herein you shall do thus hauing the generall notion or shape of the thing in your mind you mean to draw which I doubt not but you may conceiue and remember as wel as the best painter in the world though not expresse according to the rules of art draw it with your lead or coale after your own fashiō though neuer so badly laie it from you for a day the next daie peruse it well bethinke your selfe where you haue erred and mend it according to that Idea you carrie in your mind in the generall proportion when you haue thus done laie it by again til the next daie so cōtinue for 5 or 6 daies together correcting by degrees the other parts euen to smal vains as your discretiō wil serue you this may you do with 40 papers at once of seuerall things hauing done what you can though not to your liking confer it by the like some excellent print or patterne of the same vsing no rule or compasse at all but your own iudgement in mending euery fault lightly and with a quick hand giuing euery place his due whereby you shall of all sides meet with your errors and find an incredible furtherance to your practise though hereunto is required I must confesse a strong imagination and a good memory which are the midwiues to this arte and practise as in all things els the nurse that bringes it to the ful growth and perfection Of drawing the face or countenaunce of a man CHAP. 7. SInce man is the worthiest of al creatures and such pleasing variety in countenances so disposed of by the diuine prouidence that among ten thousand you shall not see one like another as well for breeding delight as for obseruing a methode after you haue practised according to your former directions in other things you shall begin to draw a mans face in which as in al other creatures you must take your beginning at the forehead and so draw downward till you haue finished The end of the nose in ordinary proportion must be brought no lower then the middle of the cheek from whence to the chin is for the most part as far as from thence vpward to the eie browes The nose of a ful face must not be expressed with apparant lines but with a very fine shadow on each side as you see To make an angry or sterne countenance let your brow bend so that it may almost seeme to touch the ball of the eie at what time you must also giue the forehead a fine wrincle or two and withall the vpper part of the nose betweene the eies A great conceipt is required in making the eie which either by the dulnes or liuely quicknes thereof giueth a great taste of the spirit disposition of the mind which manie times I will not denie may be aswell perceiued by the mouth motion of the body as in drawing a foole or ideot by making his eies narrow and his tēples wrinkled with laughter wide mouthd or shewing his teeth c. A graue or reuerend father by giuing him a demisse and lowly countenauce his eie beholding you with a sober cast which is caused by the vpper eielid couering a great part of the ball and is an especial marke of a sober staied braine within Nazianzen when hee beheld Iulian long time before hee was Emperour of Athens at the verie first sight of his countenance Praesaging his future disposition burst forth into these words Deus bone quantum malum fouet romanum imperium for as he witnesseth himselfe there was not any signe of goodnes or towardnesse in him his eies rowled in his head wandring and turning fearefully now this now that waie sparkling with furie anger his nose was grown wrinckled with scoffing and deriding the rest of his countenance tending to mockery his laughter so immoderate that his whole body would shake therwith his shoulders shrinking to and fro to his neck his legges and feete seldome standing stil his questions and answeares suspitious rash and often interrupted by short fetching his breath by which signes the good man foresawe his inbred tyranny and vile disposition which after burst forth into an horrible persecution and open rebellion against God and his church A Graecian Captaine in like manner noting very often the cast of the eie countenance of Scylla together with his gesture and motion of bodie vsed these words it is impossible but this gentleman one day shoulde prooue a great commaunder and I meruaile that he is not aduanced all this while by which examples and the like I prooue that there is a certaine iudicium or notice of the mindes disposition inly imprinted by nature euen in the countenaunce and many times in the the eie or mouth which as I haue said you must be carefull as you shall haue occasion warily to obserue Now for the mouth though least of all other any generall rule may bee giuen for it it consisteth principally of two lines whereof one expresseth the mouth it selfe the other the neather lippe the ouerlipp is best showen by a shadow cast ouer the crosse line as you see which shadowe and crosse line if you drawe by the life muste bee hit at an heyres breadth and if your picture bee little you cannot thinke so small a thing as giueth or quite taketh awaie the tutch and resemblance of the mouth and to saie truly it will bee the hardest peece of cunning that euer you shall meet withall therefore you had need cause the party whome you will drawe to sit as we saie Vultu composito without stirring or altering the mouth were it neuer so little wherefore you shall I beleeue find a mās face aboue all other creaturs the most troublesōe vnto you for either they will smile be ouerlooking your hand or setting their countenances to seeme gratious and comely giue you choyse of twentie seuerall faces The proper and ordinary shadowes of the full face IT is true that some do affirme there can be no generall rule giuen for shadowing the face the reason is euery seuerall countenance hath his proper shadowe as it falleth fat lean swoln wrinckled with age or deformed by some other accident but their argument is much at one with that I remember a Welshman vrged in good sadnes in the schooles when

I was Sophister in Cambridge Wales was ful of hills dales Ergo the world was not roūd but to our purpose The shadowes that fall naturally in this face are these first a single shadowe in the temples then a double shadow in the corner of the eies a circular shadow down the cheek vnder the neather lip a little vnder the nosethril frō the side of the nose to the corner of the mouth what these seueral shadows and there vses are you shall know anon Of the three quarter face The three quarter face as I haue said is diminished by a fourth part where some part of the eie cheek are taken away by the nose and made lesse so that the cheek in full sight must not onely haue his due proportion allowed him but as much of the head neck as was taken away from the other side In this face both the eies ought not to be made of equall bignes because the eie is lessened with the cheek as likwise a corner of the mouth the shadows in a manner are all one with the full face saue in this the neck cheek are commonly deeply shadowed Of the halfe face The halfe face of all other is most easie insomuch that if you will you may draw it onely with one line neuer remoouing your hand in this you are to shew but half an eie and the eare at full as you see In making a true eare there is some difficulty wherefore I haue giuen an example by it selfe Of the whole bodie CHAP. 8. WHen you are grown something perfect in the face and can draw the head indifferent well you must be carefull to proportion the body thereafter then the error of which no one falt is more common with most painters for you shall scarce see one among twenty but will draw the head too big which if you obserue you shall find in most pictures help your selfe herein by setting a boie before you causing him to stand which waie you list and so to wont your iudgment to the proportion by little and little hauing finished the head draw the neck beginning it with one line from about the tip of the eare then draw the other downe from the ball of the cheeke which is lessened on the other side as far as you think good to the shoulder where staie till you haue shadowed it the shadowes of the neck in a child or yong woman are verie fine rare and scarcelie seen but in a man the sinews must be expressed with the vaines by shadowing the rest of the neck leauing them white For the proportion of the other parts because Master Haddocke hath preuented mee whose booke in anie case I would haue you to buie after you are well entred I will omit and shew you onlie such eminences which by shadow must be necessarilie expressed after you haue don the neck you are to expres the wing or vpper part of the shoulder by shadowing it vnderneath the brawne of the arme must appeare full shadowed on one side then show the wrist bone thereof and the meeting of the vaines in that place the vaines of the back of the hand and the knuckles are made with 2 or 3 heare stroaks with a fine touch of your pen the paps of a mā are shown by two or three fine stroakes giuen vnderneath in a woman with a circular shadowe well deepened the ribs are so to be shadowd as you doubt whether they appeare or no except your man were starued or you should draw death himself the bellie shall be eminēt by shadowing the flanke and vnder the breast bone the brawn of the thigh shall appear by drawing smal heare strokes from the hip to the knee shadowed again ouerthwartlie the knee pan must be shown with the knitting thereof by a fine shadow vnderneath the ioynt the sh nbone from the knee to the insteppe is made by shadowing one halfe of the leg with a single shadow the ankle bone will shew it selfe by a shadow giuen vnderneath as the knee the sinews must seem to take their beginning from the midst of the foot to grow bigger the neerer they are to the toes There is a great art in making the foote wherein your shadowes must take place as occasion serueth and to saie the trueth so they must in the other parts but naturallie they fall as I haue saide for teaching you the true shadowing of a naked bodie Goltzius is one of the best whom aboue any other I wish you to ●mitate Of Shadowing That you might better vnderstand what I meane in this last chapter by so manie kinds of shadowes I will ere I go farther shew you what they be with their seuerall vses The first is a single shadow and the least of all other and is proper to the plaine Superficies where it is not wholelie possessed of the light as for example I draw a fowr square plate thus that shaddowe because there is no hol low but all plain as neerest participatinge with the light is most naturall and agreeable to that bodie The second is the double shadow and it is vsed when the Superficies begins once to forsake your eies as you may perceiue best in a column as thus where it beeing darkned double it presenteth to your eie as it were the backside leauing that vnshaddowed to the light Your treble shaddowe is made by crossing ouer your double shadowe againe which darkeneth by a third part in this manner as followeth It is vsed for the inmoste shadow and farthest from the light as in gulffes chinks of the earth wells caues within houses as whē you imagine to look in at a doore or window vnder the bellies flanks of beastes to shew the thik nesor darknes of a myghty wood that it may seem nulli penetrabilis astro consequently in al places where the light is beaten foorth as your reason will teache you Generall rules for shadowing You must alwaies cast you shadow one way that is on which side of the body you begin your shadow you must continue it till your worke be done as if I would draw a man I begin to shadow his left cheeke the left part of his neck the left side of the left arme the left side of the left thigh c leauing the other to the light except the light side be darkned by the opposition of an other body as if three bowles should stand togither that in the midst must receiue a shadow on both sides It will seeme a hard matter to shadowe a gemm or well pointed Diamond that hath many side● and squares and to giue the lustre where it ought but if you remember and obserue the right vse o● your shadowes giuing the light to the lightwarde which I haue taught you you shall easily do it of you● selfe A merry iest of two Painters VVHilest I lay in Huntingdon there grew a qua●rel between two painters the one a

Dukes Earles and in a manner all the Gentlemen doe beare an inbred loue to drawing and of themselues by they re owne practise growe manie times wonderfull expert heerein yet none at this daie who fauoureth a good picture or any excellency in that kind more then Rodulph the Emperour now liuing Of Drawing beasts birds flowers c CHAP. 14. YOV shall finde amonge beastes some more harder to bee drawne then others for two respectes one is for a clean making and shape together with a finenes of the cote or skin the other for theyr nimblenes and much action both which you may for exāple see to fal out in a horse whose lineamentes are both passing curious and coate so fine that many sinews yea and the smallest vaines muste be showen in him besides whose action is so diuers that for hardnesse of draughte I know not anie one beast maye bee compared to the horse for sometime you muste drawe him in his carreer with his manage turne doing the Coruetto leaping c. which you shall not find in the Elephant Cowe Beare or hogg as beeing beasts heauy and sloathfull by nature moreouer wanting that finenes of coat or hide so that you shall escape a greate trouble in shewing vains knitting of Ioints with the eminency almost of euery bone in them which you haue in a horse and greyhound Now for the manner of drawing these or any other beast whatsoeuer begin with your lead or coale as before I told you and gaue you a generall rule at the forehead drawing downward the nose mouth vpper and nether chap ending your line at the throat then learching it again where you began from the forehead ouer the head eares and neck continuing it till you haue giuen the full compasse of the buttock but I will giue you an example I Begin in this Lion my firste stroke at A bringing it down to B making the nose mouth and nether chap with one line as you se there I rest then fetch I that line forward behind by S making the compas ofhis mane by pricks with my penne because if I shoulde make a line I could not make it iagged then bring I the back down to the taile or D leauing a little space for it I continue my line from thence to E or the heele where I rest then begin I again at B and making the breast with the eminency thereof I stay at F bringing out his neere fore foote which I finish then begin I at G not stirring my hand till I come to the foot or paw at H wher I finish it quite at E or the heele I next draw from his bellie two strokes at I and K I make the other legge behind thē the right fore foot issuing from the brest thē I finish the tail clawes toung teeth beard and last of al the shadowing which method you shall obserue in all beasts howsoeuer they stand Obseruations of the shadowing YOV see him shadowed on the back side from CD vnto E the reason is the light beateth on his fore parte wherefore os necessity the shadowe must be in euery parte behinde eare mane back hinder legge c. But you maie say how happeneth it then that his nether chap and some part of his throat belly are shadowed being both with the light I answeare the light of it own nature cā neuer fall vnder but take the place aboue or in the vpper part which place is heer praepossessed by the vpper nether chap which as you see fall in between as likewise the forfoot to the belly which cause a shadow in either of those places The treble shadow as it ought is giuen to the most in ward places It your beast bee not in charge that is not in armes and you are to shew the ground vnder his feete you must make his farther feet on the other side somwhat shorter then those next you the reason is that distance of earth betweene them deceiueth the sight causing the neerer to seem longest as you may see by opening or stretching your fore and middle finger like a paire of compasses long waies from you vpon a boord or table drawing them with your pen as they stand and obseruing the space betweene Beasts more hard to be drawn for their shape and action The Lion The Horse The Rhinoceros The Vnicorne The Stagge The Lucerne The Grey-hound The Hiena The Leopard The Ownce The Tiger The Panther The Ape c. Others more easie The Elephant The Dromedary The Camel The Beare The Asse The Hogge The Sheepe The Badger The Porc-espine The Wolfe The Foxe The Cow The Otter The Hare The Coney The All maner rough The shag hair dogs In drawing these and all other beasts the better you obserue their shape and action the better shall you please and your iudgement be commended wherefore a painter had need to be well seene in Naturall Philosophie The meanest workeman can drawe the ordinary shape of a Lion when scarce the best of them all know that his hinder partes are so smal that there is in a manner a disproportion betweene his forepart and them so that if I should drawe him in this manner among our ordinarie painters my work would be condemned as lame when I deserued most commendation Moreouer if you aske a Country painter whether he could draw a Crocodile or no hee will make noe question of it when as except he trauailed through Aegypt or met with Aristotle in English all the wit he had could not so much as set the chaps right or giue the future truely in the head to shew the motion of his vpper-chap which no creature in the world mooueth saue onely he If you draw your beast in an Embleme or such like you shall sometime shew a lant-skip as it is ordinarily obserued by Iudicious workemen of the country natural to that beast as to the Rhinoceros an East-indian Lantskip the Crocodile an Aegyptian by laying the ground low without hills many woods of palme-tres heere and there the ruine of a Pyramis and so forth of the rest Of birds There is les difficulty in drawing birds thē beasts least of all in flowers yet art and needful directions to be obserued in all of them begin your draught in a bird as I said at the head and beware of making it too big Van Londerseel's peeces are much to blame for this fault for in most of them the heads of all his birds are to great by a third part neither is that fault proper to him alone but to many good workemen els You shall best remedy that by causing a bird to be held or tied in a clouen stick before you where you shall take with your compasses a true proportion which afterwards you may conclude into as small a forme as you list there is not the same reason of proportion it is true in the heads and bodies of all birds alike but hereby you shall euer after bee acquainted with