Selected quad for the lemma: death_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
death_n	die_v	heaven_n	soul_n	4,956	5	4.7790	4	false

Text snippets containing the quad

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

afflictions crosses disasters calamities and all other miseries whatsoever II. The Thebeans made her in the shape of a woman in one of her hands a young child to wit Pluto or Riches So that in the hands of Fortune they put the disposing of Wealth Honour Glory and all Happinesses III. Martianus describes her a young woman always moving covered with a garment of the thinnest silk her steps uncertain never resting long in a place carrying in her spacious lap the universal fulness of the treasures riches honour and glory of this world which in hasty manner with her hand she offers which offer if not instantly received was utterly lost in her right hand a white wand with which she smites such as offend her slight her kindness or are not nimble enough to receive them Oh cruel Fortune stepdame to all joys That disinherits us from sweet content Plunging our hopes in troubled Sea's annoyes Depriving us of that which nature lent When will thy proudinsulting humour cease T' asswage the sorrows of an only one That free from cares its soul may live in peace And not be metamorphos'd into stone But why entreat I thy unstable bea rt Knowing thy greatest pleasure thy delight Consists in aggravating mortals smart Poyson'd with woes by venom of thy spight 'T is what thou wilt must stand the rest must fall All humane Kings pay tribute to thy might And this must rise when pleaseth thee to call The other perish in a woeful plight And this is it that chokes true vertues breath Making it dye though she immortal be Fruitless it makes it subject unto death To fatal darkness where no eye can see Oh come you wounded Souls conjoin with me In some adumbrate thicket let us dwell Some place which yet the Heavens ne'r did see There let us build some despicable Cell Strength Beauty perish Honours fly away And with Estates Friends vanish and decay IV. In a temple in Greece Fortune was made in the form of a grave Matron clothed in a garment agreeable to such years whose countenance seemed very sad before her was placed the Image of a young Virgin of a beauteous and pleasant aspect holding out her hand to another behind these the Image of a young child leaning with one of its arms upon the Matron The Matron is that Fortune which is already past the young Virgin that which now is and the young child beyond them both is that which is to come Quintus Curtius saith that among the people of Scythia Fortune was depicted in the form of a woman without feet having round about her at her right hand a number of little wings Being without feet shews that she never stands firm and the many wings shew that her gifts and favours are no sooner given but are presently lost and do as it were fly away again before they be fully possessed VI. Alexander Neapolitanus relateth that in Greece her Image was made wholly of Glass to shew that her favours are brittle and subject to sudden decays VII Cebes the Philosopher resembled Fortune unto a Comedy in which many Actors appear often as Kings and great Monarchs and presently after become poor fishermen slaves bond-men and the like VIII Socrates compared her to a Theatre or common meeting place where without all order or observance men take their places and seats without respect to the dignity of any Hereby is shewed that she without respect of birth worth merit or state blindly unadvisedly and without any order or reason bestows felicities riches and favours IX In Egira a City of Achaia Fortune was drawn in the shape of a beautiful woman who held in one of her hands a Cornucopia in the other the boy Cupid By which is signified as Pausanias saith that beauty without riches avails nothing and indeed I may say he is doubly fortunate who in his love enjoys the fruition of both beauty and riches but he is happy in the superlative degree who with the other two meets with vertue also X. Giraldus saith that Fortune was with some depicted riding on a horse galloping with which swiftness she seems to pass invisible after whom followeth Destiny with great wrath and fury holding in her hand an Iron bow and aiming to strike Fortune at the heart By her swift galloping is signified her mutability See the fourth Section of the eighteenth Chapter of the first Book CHAP. XXXII How Vertue Truth Peace Honour Fame and Opinion were depicted I. VErtue in Greece was made in the form of a Pilgrim like a grave and austere woman sitting alone upon a four squared stone melancholy and leaning her head upon her knees Being a Pilgrim shews she hath no resting place secure abode or certain habitation upon the earth the form of her sitting shews her life to be full of troubles dangers crosses and miseries See the first Section of the nineteenth Chapter of the first Book Haec angusta via horrendis scatet undique monstris Et vita innumeris est interclusa periclis Sed tamen incolumes hâc virtus ducit alumnos Extrema ut vitent ne pes hinc indè vacillet Proclamat longè spes hic sunt digna laboris Praemia et excipient mordaces gaudia curas Pax sincera quies nullo temerand a dolore Laetitia hîc habitant longum sine fine per aevum Fierce Monsters do this narrow passage bound And deadly dangers it encompass round Yet vertue doth her Followers safely guide Lest they should go astray on either side And Hope proclaims afar loe here you shall Have joy for Sorrow honey for your gall Here Peace and joyful rest for ever dwell Which neither cross nor time shall ever quell II. Truth saith Hippocrates was framed in the similitude and likeness of a beautiful woman attired with gravity and modesty Philostratus saith that she remaineth in the cave of Amphiarus cloathed all in white garments of a beautiful hue Lucianus saith that her statue was made in the form of a young woman habited in rags and base attire with a superscription over her head how she was wronged and abused by Fortune III. Peace saith Aristophanes was framed in the shape of a young woman holding between her arms the Infant Pluto the God of Riches and Ruler of the lower Regions She is also called Concordia and is a special friend to the Goddess Ceres from whom comes the encrease of Fruits Corn and other nutriments See the seventh Section of the eighteenth Chapter of the first Book IV. Honour is depicted with two wings on its shoulders which as Alciatus saith was made in the form of a little child cloathed in a purple garment having a Coronet or wreath of Laurel about his head holding hand in hand the God Cupid who leads the child to the Goddess Vertue which is depainted right over against it V. Fame is painted like a Lady with great wings and seeming to proffer a flight and to mount from the Earth and rove abroad having her face

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