Selected quad for the lemma: sense_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
sense_n	begin_v	endeavour_n	great_a	13	3	2.0729	3	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A94194	Graphice. The use of the pen and pensil. Or, the most excellent art of painting : in two parts. / By William Sanderson, Esq;	Sanderson, William, Sir, 1586?-1676.	1658 (1658)	Wing S648; Thomason E1077_2; ESTC R208648	74,435	105

Senses in this Microcosm or little world of Man do correspond to the first Bodies in the great World as Sight to the Heavens Smelling to the Fire Hearing to the Ayre Tasting to the VVater Touching to the Earth I have lamented the defect that most Men mis-understand the true use and perfections of the senses when the advantage of our Reason prefers us before ordinary Creatures that enjoy them in common How many men that have Organs and de hear yet cannot distinguish the Excellency of Musicall sounds and find not the defect As many who have the sense of Touching that labour not their hands to the things that are good Those that can smell yet professe their ignorance in the delicacy of sweet Odours and conceive no more benefit thereby than others who are satisfied with a stinck To cram the Belly fill the gutt diseaseth Nature without apprehension of health in a choyce diet or in difference of Tasts And there are severall notorious degrees of sin depending on the extream fruition of those Fower which taints both body and mind with impurity But in my Opinion the whole World and all the formes of Nature may be safely comprehended by the royalty of externall sight There being a Lordship of the Eye which as it is a rangeing impetuous and usurping Sense can indure no narrow circumscription but must be fed with extent and variety to the glory of the Creatour and yet without prejudice to the reasonable Creature except in the mis-use of looking with Lust after that wch is none of his Lasci●iously Covetuously Superstitiously To which possibilitie of Mis-application not onely those Semiliberall Arts but the highest perfections and endowments of Nature are subject Nay Religion it selfe Therefore Ab Abuti ad non-Uti negatur consequentia Of the Excellency of Sight BUt Sight deserves a higher and a more mysterious consideration and therefore let us compare the difference with other Senses The State of sense may be devided into two parts Inward and outward commodity and necessity Soul and Body but as the soul is more excellent then the body so the sense that profits the soul is to be more esteemed then those that are needfull for the body because it is better to be well then simply to be The Soul of man that most perfect forme of the Creator not consisting of matter or subject to division and so by consequence whole in all the body and wholly in every part Yet in every respect the noblest powers thereof are more eminent in distinct places some have lodg'd and bounded the limits within the compasse of One Member of the Brain the magnificent stately Turret of the soul wherein is placed Reason the Soveraign power of the Soul as the Messengers of understanding The Eyes Ears Nose Tongue Guards and Servants to Reason placed in the head as ne●r att●ndants The externall Senses are but five because of the five sorts of Objects either unto Colour Sound Smell Taste or to those Qualities whereabout Touching is conversant Seeing and Hearing are the most pleasurable Sensus Jucunditatis The other more Practicall these more contemplative Those Sensus Disciplinae these are Mentis Noeticall The excellency of Sight is especially in four things 1. Variety of objects which it presents to the Soul 2. It's meanes of Operation altogether Spirituall 3. In respect of its particular object Light the most Noble Quality that God hath created 4. In respect of the certainty of his Action In a word all things under the first Moveable Orbe are subject to the power of sight For the first all Naturall Bodies are Visible but all are not effectuall to other Senses Heaven the World's Ornament is not to be touched Harmony of the Spheres not to be Heard No taste in the Earth or Fire All these may be Seen Sight besides his own proper Object Colour hath infinite others as Magnitude Number Proportion Motion Rest Scituation Distance And therefore called the sense of Invention of all Arts and Sciences And all the skill in deep Astronomie Is to the Soul derived by the eye Philosophie was begot by admiring of Things Admiration from Sight of excellent things the Mind raised up and ravished with the consideration thereof desirous to know the cause began to play the Philosopher Secondly Sight is the Sense of our Blessednesse as it brings us to the knowledge of God The Invisible things of God are manifested to us by the visible Infinity cannot be known but by his effects Set on work this Noble Sense to view and consider the Excellencie of the Workmanship of the Great Creatour the Heavens and the glory thereof in Proportion and Colour the Beauty of the Surface of the Earth and the Creatures thereon Consider Man the Wonder and utmost indevour of Nature so that the Prophet-Singer cryed out How secret and wonderfull am I made Thirdly it is endowed with the goodliest qualitie in the World Light The Heavens off-spring the eldect daughter of God Fiat Lux the first dayes creation Common as indifferent to all best known of us for other Naturall Bodies consist of mixt Colours It discovers it selfe in the modesty of a morning Blush and opens it's fair and virgin eye-lids in the dawning of the day shine out in its Noon-daye's glory It twinckles in a Star Blazes and glares out in a Comet frisks and dances in a Jewell dissembles in a Glow-worm Epitomises and abbreviates its self in a spark Ruddy in the yolke of the Fire pale and consuming in a Candle Thus described in old Rime Light the Grand-child to the Glorious Sun Opens the Casement of the Rosie Morn Makes the abashed Heavens soon to shun The ugly darknesse it imbrace'd beforn This a true Looking-glass impartiall Where Beauties-self her self doth beautifie With Native hue not Artificiall Discovering falsehood opens verity The day's bright-eye Colour 's distinction Best judge of measure and proportion The only means by which each mortall eye Sends Messengers to the wide firmament That to the longing Soul brings presently High contemplation and deep wonderment By which aspiring she her wings displayes And her-self thither whence she came Up-rayes It performeth his Office at an instant though far distant without moving it self And as the understanding part of the mind receiveth from the Imagination the forms of Things naked and void of substance So the sight is the subject of Forms without a Body which are called Intentionalls It comprehends Universality without pestering any room or place contained the largest Mountains enter at once undiminished through the Apple of the Eye without straitness of entrance It judgeth at one instant of two Contraries White and Black and distinguisheth them the knowledge of the one No impeachment to the knowledge of the other being that of what the other Senses are not capable It receives at One instant the circumference of the World But the other Senses move by entercourse of Time the reason why we see Lightning

Pictures are dumb Poems they that write Best Poems do but paint in Black and White The Pensill's Amulets forbid to die And vest us with a fair Eternity What think ye of the gods to whose huge name The Pagans bow'd their humble knees Whence came Their immortalities but from a Shade But from those Pourtraictures the Painter made They saddled Jove's fierce Eagle like a Colt And made him grasp in 's fist a Thunderbolt Painters did all Jove had at their command Spur'd a Jackdaw and held a Switch in 's hand The demi-gods and all their glories be Apelles debtours for their deity O how the Catholicks crosse themselves and throng Around a Crucifix when all along That 's but a Picture How the spruce trim Lasse Dotes on a Picture in the Looking-glasse And how ineffable 's the Peasant's joy When he has drawn his Picture in his Boy Bright Angels condescend to share a part And borrow glorious Plumes from our rare Art Kings triumph in our sackcloth Monarchs bear Reverence t' our Canvase 'bove the Robes they wear Great Fortunes large Estates for all their noise Are nothing in the world but painted toies Th' Aegyptian Hieroglyphicks Pictures be And Painting taught them all their A. B. C. The Presbyterian th' Independent too All would a colour have for what they do And who so just that does not sometimes try To turn pure Painter and deceive the eye Our honest sleight of hand prevailes with all Hence springs an emulation generall Mark how the pretty female-artists try To shame poor Nature with an Indian die Mark how the Snail with 's grave majestick pace Paints earth's green Wastcoat with a silver lace But since all Rhymthes are dark and seldom go Without the Sun the Sun 's a Painter too Heavn's fam'd Vandyke the Sun he paints 't is clear Twelve signes throughout the Zodiack every year 'T is He that at the spicy Spring 's gay birth Makes Pensils of his Beames and paints the Earth He Limn's the Rainbow when it strutt's so proud Upon the Dusky surface of a Cloud He daubes the Moors and when they sweat with toil 'T is the● He paints them All at length in oile The blushing fruits the glosse of flowr's so pure Owe their varieties to his Miniature Yet what 's the Sun each thing where e're we go Would be a Rubens or an Angelo Gaze up some winter-night and you 'l confesse Heaven 's a large Gallery of Images Then stoop down to the Earth wonder and scan The Master-piece of th' whole Creation Man Man that exact Originall in each limb And Woman that fair Copy drawn from him What e're we see's one Bracelet whose each Bead Is cemented and hangs by Painting's thread Thus like the soul oth'world our subtle Art Insinuates it self through every part Strange Rarity which canst the Body save From the coorse usage in a sullen grave Yet never make it Mummie Strange that hand That spans and circumscribes the Sea and Land That drawes from death to th' life without a Spell As Orpheus did Eurydice from Hell But all my Lines are rude and all such praise Dead colour'd nonsense Painters scorn slight Baies Let the great Art commend it self and then You 'l praise the Pensill and deride the Pen T. FLATMAN lately Fellow of New Coll. Oxon now Inn-Temp Lond. To the exquisitely Ingenious W. SANDERSON Esq On his Book of Painting in Water-Colours Great Artist VVHen I saw thy ROYAL STORY That Theater erected for thy glory I stood amaz'd at each Majestick line And deem'd each syllable therein Divine Thinking Thee All-Historian But now Thy Protean Pen constrains me to allow The Diadem of Arts and Sciences to Thee Their vanquish'd depths confesse Thy Soveraignty Whose absolute Dominion can dethrone The Rest and fix supremacy in One Rare MINIATURE whose glitt'ring Trophies stand Rear'd by the learn'd endeavours of Thine hand Thy Water-Colours shall out-brave the Fire And dare couragiously confront Jove's ire Your fame shall spite of Proverbs make it plain To write in Water 's not to write in vain Clarissimo viro Guilielmo Sandersono Artis Zoographicae excultori Celeberrimo OUis precor hic iterúmne Orbi comparet Apelles Anne magis radio Pictor Apollo suo Neuter adest sed uterque tamen sed major utroque Sive homines lubeat pingere sive Deos Pingendi heic stupido prostent cum viscera mundo Viscera Primaevis impenetranda Sophis Forma Norma recens Artique Ars addita priscae Et pictura Ostro nobiliore nitens Cuncta suis speciosa notis renovata Colorum Temperies Radii Daedala forma novi Authoris Genium si non depingere saltem Fas Vati aeternis pangere Carminibus Plaudite Pictores Patremque agnoscite vobis Ludus erit priscis quod fuit antè labor Obruat expositas nè fortè litura Fabellas Picturae Archetypon nobile Pictor habe Amicissimè scripsit amicus charissimus GUILIELMUS MOORHEAD A tam laudato laudari laus erit vera GRAPHICE OR The use of the Pen and Pensill in Designing Drawing and Painting with an exact Discourse of each of them AS ALSO Concerning Miniature or Limning in Water-Colours The Names Natures and Properties of Colours The ordering preparing washing and using them for Pictures of Life Landskip and History AS ALSO Of Croyons or Dry-Colours by Pastills or Powders The way of making them and working with them With rare Receipts and Observations of the best Masters of this Art In two Parts With some Cuts and Prints proper to each Section By WILLIAM SANDERSON Esq LONDON Printed for Robert Crofts at the signe of the Crown in Chancery-Lane under Serjeant's Inne 1658. G Faithorne Excud Carolus Primus D. G. Ang●iae Sc●●iae Franciae et Hiberniae Rex ●● In Effigiem Caroli Nuper-Regis INdiges heic quorsum prostat Tibi Carolus Ann● Hunc quòd ames vel quòd te redamârit erat Anne quòd Essigiem subrepti Martyris Orbis Quà patet indomito more honore colat Anne quòd hanc reliquis dum vixerat Artibus Artem Praetuleri● Genio discure Mome tuo Cuncta simul num vera sient non dirimit Author Cui satis est Sphyngem solvere posse suam G. M. GRAPHICE OR The use of the Pen and Pensil In the most Excellent Art of PAINTING THe most excellent use of the Penn and Pensil is illustrated by the admirable Art of Drawing and Painting and perfectly defined to be the Imitation of the Surface of Nature in Proportion and Colour By Mathematicall Demonstration of Globes Spheres Charts Mapps Cosmographicall Geographicall Chorographicall and Hydrographicall Or by particular description of Plotts Fortifications Formes of Batalia's Scituation of Townes Castles Forts Lands Rocks Mountaines Seas Ilands Rivers Or by shapes of Creatures Men and Beasts Birds and Fishes Or by Vegetables Fruits Flowers Hearbs In all it preferrs likenesse to the Life and conserves it after Death and altogether by the Sense of Seeing Of the Five Senses THe number of