Selected quad for the lemma: grace_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
grace_n	glass_n	gold_n	soften_v	35	3	16.8561	5	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

Envy to express 23 49 142 Eternity 44 142 Equality 46 Euterpe one of the Muses 55 Erato one of the Muses 56 Eurus a wind 57 Engraving 76 Engraving wood 78 Etching 80 85 90 Etching Varnish 80 Etching needles 82 Emeralds to Limn 117 Easle 181 Eccho 193 Emperors 140 Elizabeth Regina Angliae 141 Empedocles 141 Erasmus 141 Experimental observations 160 Emerald artificial 192 Emerald colour 228 229 Epicurus 276 Euclid to depict 276 Essences perfumed 315 Essence of Musk 315 Essence of herbs salts 316 F. Feathers 2 Fourth praxis of Drawing 5 Fifth praxis of Drawing ib. Feet 25 Fear to express 28 275 Flowers to draw 36 Fate 45 Fortune 45 269 Fame 47 274 Felicity 49 142 Fruitfulness 49 February 57 Foundation of Chiromancy 68 Figures upon wood Frane for etching 83 Flame colour 100 Feathers 105 Fire colour 105 Fair complexion 126 Face to paint 134 Flora 133 Faith 142 Fustick berry 149 Flory blew 149 Flesh colour 151 Flask what 184 Furnace 184 Frescoe 239 Faunes and Fairies 263 Fucus to paint the Face 29● Freckle● 299 G. Ganges a river 51 Galatea a Nymph 54 Glass 63 Graving 72 Gravers 72 Gravers to make 74 Graver to hold 75 Gums 93 94 Green colours 96 129 131 Green bice 98 Glass grey 100 Grey 100 Green 102 103 104 124 133 149 150 Gold cloth 104 Gold liquid 105 147 Gold armoniack 107 Grinding stone 110 123 Gold armour 116 Gold colour 132 Graces 138 Gustavus rex Sueciae 140 Geometry 142 Government 142 Glass to paint 144 145 168 Gambogia 148 Glass of Antimony 166 Gold 168 169 Gold to soften 171 Golden tree 181 Glass to make 189 Gilding 195 Glass to gild 195 197 Green dye 206 207 Galleries 224 Glaucus to depict 260 Galatea to depict 260 God the Author of these Arts 277 Gloves to perfume 331 Green Ink 333 Gracefulness 351 H. Hair 13 Hands 15 Humane proportion 28 Hercules 48 Ho●e 48 Horizontal line 63 Holding the Graver 75 Hard etching varnish 80 Hair colour 104 128 129 131 Hymen 137 Hope 142 Honour 144 173 High wayes 153 Hills 153 Horns to dye 165 169 204 Horns to soften cast 203 204 Hall 223 Honour to depict 273 Harpocrates to depict 275 Hieraclitus to depict 276 Hands swoln 302 Hair to beautify 305 Hair to take away 306 Hair to curl 306 Hair powder 320 Harmoge 346 I. Instruments of Drawing 2 Insects to draw 36 Justice 49 143 Iniury 49 Indus a river 51 Iris a Nymph 54 January 57 June 58 July 58 Judgment whence 60 Ichnographia 61 Jupiters signification 69 Instruments of Graving 72 Imitation of prints 77 Instruments of Etching 80 Instruments of Limning 93 110 Indico 99 150 Iron colour 132 Jupiter 136 Juno 138 256 257 Innocency 143 Jollity 143 Impudence 144 Joy 143 Iron to tinge 175 177 Iron to whiten 176 Iron to keep from rust 176 Iron to soften 176 Iron to solder 177 Instruments of Casting 183 Jacynth artificial 191 Iron to gild 195 198 Ivory to soften 203 Ivory to whiten 204 Invention 219 Imitation 225 Ivory black 227 Indian lake 228 Infants to paint 237 Jupiter to depict 242 Janus to depict 254 Juice of Macaleb 326 Ink to make 331 K. Kali an herb 189 Knives to gild 196 King Amasis 283 King Perseus 283 King Attalus 284 L. Love to express 28 Leaves of trees to express 36 Landskip 37 66 223 225 Line what 59 Linea Jovialis 68 Linea Saturnalis 68 Linea Solaris 68 Linea Mercurialis 68 Linea Lunaris 68 Linea Stellata 68 Luna her signification 70 Letters 78 Limning 93 113 230 Liquid gold and silver 93 105 147 Lamp black 97 Litmoss blew 99 Light green 100 Lead colour 101 Lake to make 101 Light blew 104 Leaves of trees to colour 105 Limning instruments 110 Light to chose 113 Limning drapery 116 Limning Landskip 117 235 Leather colour 130 Landskip colours 135 153 Law 143 Love 143 Laughter 143 Liberty 144 Logwood 147 163 Litmoss 149 163 Lapis Lazuli 159 Lignum Nephriticum 161 163 Liquor to make colourless 164 167 Lapis Calaminaris 169 Lead to purge 178 Lead to tinge 178 179 Linnen to gild 107 Leather 199 Letters silver 199 Linnen to dye Brown Blew Red Russet Purple Yellow Green 205 Luna to depict 252 Lachesis 265 Liquor of Talk 293 Lac Virginis 296 Lamp perfumed 327 Life 347 M. Mouth 9 11 Mixed forms 35 Meray 49 Mountain Nymphs 53 Melpomene 55 Months 57 March 57 May 58 Magnitude what 59 Mensa 68 Mars's signification 69 Mercury's signification 70 Materials of Etching 80 Masticot 98 Mixt colours 100 Murry 100 102 Molstick 122 Metal colours 132 Mercury 136 Minos Momus 137 Moses 140 276 Mahomet 140 Modesty 143 Madder 148 Mixing of colours 151 Marble to imitate 158 Mineral experiments 165 Mercurius Vitae 165 Metals 170 Metals to colour 180 Metals to melt 183 Medals 184 Matter of Gems 189 Metals to gild 198 Maremaids 221 Murus colour 229 Mars to depict 244 Mars his court and house 245 Mercury to depict 250 Minerva to depict 265 Magistery of Pearl 291 Morphew to cleanse 294 Mercurial Cosmetick 295 Marks and Scars 301 Matter of Perfumes 308 Muscardines red 321 Musked Soap 326 Macaleb juice 326 Mineral perfume 329 Musk to adulterate 329 Magnificence 343 Motion 347 N. Nose 9 11 Naked body 21 238 Nilus a river 50 Niger a river 53 Nymphs 53 Napae 53 Naiades Nymphs 54 November 58 Needles to etch with 82 Needles to whet 82 Neptune 237 Night 138 274 Numa 140 Natural affection 243 Nereides 221 Nymphs of Diana 253 Neptune to depict 259 Nemesis to depict 261 O. Oval 4 Outstrokes 13 October 38 Optice 59 60 Orthographia 61 Object 64 Oil stone 73 Oil prepared 81 Orpiment 98 Oker de luce 99 2●7 Orchal 100 Orange colour 129 131 149 Old paints to cleanse 136 O●thion 143 274 O●● of flints 182 Original of Painting 211 Original colours 228 Old bodies to paint 238 Ops to depict 258 Occanus to depict 260 Oil of Camphire 291 Oleum Tartari 296 Ointment Cosmetick 296 297 Oil of Ben 309 Oleum Imperiale 313 Oil of Cinnamon 313 Oil of Roses 313 Oil of Calamus Aromaticus 314 Oil of Rhodium 314 Oil of Benjamin Storax 314 Ointments perfumed 317 Orrice powder 319 Odoriferous Balsam 321 P. Polygraphice what 1 Pictura 1 219 Pencils 3 110 122 147 Pens 3 Pastils to make 3 Precepts of Drawing 4 Polygon 5 Paps 25 Passions to express 28 347 Picture to extend or contract 43 Powers to express 44 Peace 47 273 Providence 47 Piety 48 Penitence 49 Poor Padus a river 52 Polyhymnia 56 Perspective 59 Practice thereof 64 Perspective figure 66 Plates to polish 74 80 Prepared oil 81 Pink yellow 98 227 Purple 100 102 103 128 129 131 169 Popinjay green 104 Peach colour 105 Preparation of colours 108 Preparations for Limning 111 Practice of Limning 113 Pearls to Limn 116 Pictures to Varnish 118 Painting in Oil 121 225 Pallet 122 Primed cloth 122 Pear colour 132 Painting the Face in oil 134

the shadows of the foot must take place according as reason and occasion requires for which as also in all the former precepts the having of good prints will be no small advantage unto you CHAP. IX The way and manner of Shadowing I. IF it be a surface only it is best shadowed by drawing lines either straight or oblique according as the superficies is through the better half thereof II. If it be in a body it is a double shadow and is used when a superficies begins to forsake your sight as in Columns and Pillars where it is double darkned and representeth to the eye as it were the backside leaving that unshadowed to the light III. The treble shadow is made by crossing over again the double shadow and is used for the inward parts of things as in clefts of the earth wells caves the insides of pots cups and dishes IV. In shadowing let the shadow always fall one way that is on the same side of the body leaving the other to the light So in drawing a man if I begin to shadow his right cheek I must shadow the right part of his neck arm side thigh leg c. V. But if the light side of the body be darkned by the opposition of some other body standing between the light and it it must receive a contrary shadow according as the light is obfuscated So if threepillars stand together that in the midst must receive a shadow on both sides VI. All circular bodies must have a circular shadow by the first Section of this Chapter according to their form or appearance and the orbicular shadow of the object which casteth it VII Let your shadow grow fainter and fainter according to the greatness of the distance from the opacous Body shadowing And the reason is because all shadows are pyramidal in which case space of place prevails with the light against the shadow VIII Where contrary shadows concurr let the meanest and most solid body be first served and in double and treble shadows let the first lines be very dry for fear of blotting before you cross them IX All perfect lights receive no shadow at all but being manifest are only to be made apparent by that body which receives them whose shadow must be according to the efflux of light but the colour of the light ought to agree with the medium which receives it whether it be Air Crystal Water Amber Glass Transparentwine or the like CHAP. X. Of Expressing Passions in the Countenance I. LOve is expressed by a clear fair and pleasant Countenance without clouds wrinkles or unpleasant bendings giving the forehead an ample height and breadth with majestick grace a full eye with a fine shadow at the bottom of the eye-lid and a little at the corner a proportionable nose nostrils not too wide a clear cheek made by shadowing of it on one side and a smiling mouth made by a thin upper lip and shadowing the mouth-line at the corners II. Fear is expressed by making the eyes look hollow heavie and downward thin faln cheeks close mouth and staring careless hair about the ears III. Envie is best decyphred by the only hanging of the cheeks and a pale countenance and sometimes by grinning of the teeth IV. Let every passion be represented according to the outward appearance thereof as it is in those persons in whom it reigns observing the rules at the sixth Section of the fourth Chapter CHAP. XI Of Humane proportion Guil Vaughan sculp II. Those parts of the body near to the Eye must be made greater and longer than those farther off because the eye judgeth so of them and according to the distance from the eye so must you vary from that which is otherwise the real true proportion of those parts III. In foreshortning you must take things as they appear to the eye and not to draw the full proportion of each part but to shorten all according to the rate or reason which is obfuscated So if you would draw a ship foreright there can appear but only her forepart for the rest being hid cannot be exprest the like of an horse looking full in my face or a man lying along I must here of necessity foreshorten to express the Visual property And in this case your eye and reason must be your chief guide to give the true reason and measure of these appearances whether in Drawing Limning or Painting IV. The use of this foreshortning is to express all manner of actions in man or beast to represent many things in a little room to shew at one view to the eye and mind the whole body of a temple with all its arches and pillars whether the inside or outside as also the sundry sides of Cities Castles and Forts and such like Lastly That in every case you make Nature the pattern of all draughts so that nothing be exprest but what doth agree and accord with nature and that nothing be either forced beyond nature nor yet any thing to come short of nature As if in drawing the picture of a man be sure you draw not such a posturt as is impossible for him to imitate with his natural body CHAP. XII Of Drapery I. DRaw the out-lines of the Garment lightly and herein be careful for the whole grace of the picture lies there then draw the greatest folds first and stroak those into lesser and be sure they cross one another II. Suite your garments to the body and make them bend with the body according as it stands in or out streight or crooked or turns one way or another the closer the garment sits to the body the narrower and smaller must the folds be III. All your folds must consist of two lines and no more which you may turn with the garment at pleasure shadowing the innermost deeper the outermost more light and if the folds be never so curiously contrived spare not to shadow them if they fall inward from the light with a double or treble shadow as the occasion requires W Sherwin sc W Sherwin sc IV. The greater folds must be continued through the whole garment the lesser you may break off and shorten as you please V. The shades of silk and fine linnen are very thick and small which require little folds and a light and rare shadow commonly but double at most and so also fine Drapery requires more and sharper folds than course VI. That part of a garment which sits close to the body must not be folded at all but only sweetly shaded to represent the part of the body which lies under it CAROLVS II DEI GRATIA ANGLIAE SCOTIAE FRANCIAE ET HIBERNIAE REX CATHARINA DEI GRATIA ANGLIAE SCOTIAE FRANCIAE ET HIBERNIAE REGINA etc VII Observe the motion of the wind and air for driving loose apparel all one way drawing that part of the garment first which lies highest and closest upon the body before you draw the looser part that flies off from the body lest by drawing the