Selected quad for the lemma: soul_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
soul_n	body_n	call_v	reason_n	4,039	5	4.9623	4	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A36766	De arte graphica The art of painting / by C.A. Du Fresnoy ; with remarks ; translated into English, together with an original preface containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu'd down to the present times, according to the order of their succession, by another hand.; De arte graphica. English	Dufresnoy, Charles-Alphonse, 1611-1668.; Dryden, John, 1631-1700.; Graham, Richard, fl. 1680-1720. Short account of the most eminent painters.	1695 (1695)	Wing D2458; ESTC R18532	173,861	426

knowing and best Painters of Antiquity that is to say from the last two Ages to our times And also moderates that fury of the Fancy c. There is in the Latine Text which produces onely Monsters that is to say things out of all probable resemblance Such things as are often found in the works of Pietro Testa It often happens says Dionysius Longinus a grave Author That some men imagining themselves to be possess'd with a divine Fury far from being carry'd into the rage of Bacchanalians often fall into toys and trifles which are only Puerilities A subject beautifull and noble c. Painting is not onely pleasing and divertising but is also a kind of Memorial of those things which Antiquity has had the most beautifull and the noble in their kinds re-placing the History before our Eyes as if the thing at that time were effectually in Action even so far that beholding the Pictures wherein those noble deeds are represented we find our selves stung with a desire of endeavouring somewhat which is like that Action there express'd as if we were reading it in the History The Beauty of the subject inspires us with Love and Admiration for the Pictures As the fair mixture causes us to enter into the subject which it imitates and imprints it the more deeply into our Imagination and our Memory these are two Chains which are interlink'd which contain and are at the same time contain'd and whose matter is equally precious and estimable And well season'd c. Aliquid salis somewhat that is ingenious fine and picquant extraordinary of a high relish proper to instruct and to clear the Understanding The Painters ought to do like the Orators says Cicero Let them instruct let them divertise and let them move us this is what is properly meant by the word Salt On which the whole Machine as it may be call'd of the Picture is to be dispos'd c. 'T is not without reason nor by chance that our Author uses the word Machine A Machine is a just assembling or Combination of many pieces to produce one and the same effect And the Disposition in a Picture is nothing else but an Assembling of many parts of which we are to foresee the agreement with each other And the justness to produce a beautifull effect as you shall see in the fourth Precept which is concerning the Oeconomy This is also call'd the Composition by which is meant the distribution and orderly placing of things both in general and in particular Which is what we properly call Invention c. Our Author establishes three parts of Painting the INVENTION the DESIGN or DRAWING and the COLOURING which in some places he also calls the CROMATIQUE Many Authors who have written of Painting multiply the parts according to their pleasure and without giving you or my self the trouble of discussing this matter I will onely tell you that all the parts of Painting which others have nam'd are reducible into these three which are mention'd by our Author For which reason I esteem this division to be the justest and as these three parts are Essential to Painting so no man can be truly call'd a Painter who does not posses them all together In the same manner that we cannot give the name of Man to any Creature which is not compos'd of Body Soul and Reason which are the three parts necessarily constituent of a Man How therefore can they pretend to the Quality of Painters who can onely copy and purloyn the works of others who therein employ their whole industry and with that onely Talent would pass for able Painters And do not tell me that many great Artists have done this for I can easily answer you that it had been their better course to have abstain'd from so doing that they have not thereby done themselves much honour and that copying was not the best part of their reputation Let us then conclude that all Painters ought to acquire this part of Excellence not to do it is to want courage and not dare to shew themselves 'T is to creep and grovel on the ground 't is to deserve this just reproach O imitatores servum pecus 'T is with Painters in reference to their productions as it is with Orators A good beginning is always costly to both much sweat and labour is requir'd but 't is better to expose our works and leave them liable to censure for fifteen years th●●n to blush for them at the end of fifty On this account 't is necessary for a Painter to begin early to do somewhat of his own and to accustom himself to it by continual excercise for so long as endeavouring to raise himself he fears falling he shall be always on the ground See the following observation Invention is a kind of Muse which being possess'd of the other advantages common to her Sisters c. The Attributes of the Muses are often taken for the Muses themselves and it is in this sence that Invention is here call'd a Muse. Authors ascribe to each of them in particular the Sciences which they have say they invented and in gen●●ra●● the belle lettere because they contain almost all th●● others These Sciences are those advantages 〈◊〉 which our Author speaks and with which h●● would have a Painter furnish himself sufficiently and in truth there is no man though his under standing be very mean who knows not and who finds not of himself how much Learning is necessary to animate his Genius and to compleat it And the reason of this is that they who have studied have not onely seen and learn'd many excellent things in their course of studies but that also they have acquir'd by that exercise a great Facility of profiting themselves by reading good Authors They who will make profession of Painting must heap up treasures out of their reading and there will find many wonderfull means of raising themselves above others who can onely creep upon the ground or if they elevate themselves 't is onely to fall from a higher place because they serve themselves of other Men's Wings neither understanding their Use nor Vertue 'T is true that it is not the present Mode for a Painter to be so knowing and if any of them in these times be found to have either a great Wit or much Learning the multitude would not fail to say that it was great pity and that the Youth might have come to somewhat in the practical part or it may be in the Exchequer or in the Families of some Noble-men So wretch'd is the Destiny of Painting in these later ages By Learning 't is not so much the knowledge of the Greek and Latine Tongue which is here to be understood as the ●●eading of good Authors and understanding those things of which they treat for Translations being made of the best Authors there is not any Painter who is not capable in some sort of understanding those Books of Humanity

persons in the same degree of Fear who shall express that Passion all of them differently And 't is that diversity of Species which distinguishes those Painters who are able Artists from those whom we may call Mannerists and who repeat five or six times over in the same Picture the same Hairs of a Head There are a vast number of other Passions which are as the Branches of those which we have nam'd we might for example under the Notion of Love comprehend Grace Gentleness and Civility Caresses Embraces and Kisses Tranquillity and Sweetness and without examining whether all these things which Painters comprize under the name of Passions can be reduc'd to those of the Philosophers I am of opinion that every one may use them at his pleasure and that he may study them after his own manner the name makes nothing One may even make Passions of Majesty fierceness Dissatisfaction Care Avarice Sloathfulness Envy and many other things like these These Passions as I have said ought to be learnt from the life it self or to be studied on the Ancient Statues and excellent Pictures we ought to see for example all things which belong to Sadness or serve to express it to design them carefully and to imprint in our Memories after such a manner as we may distinctly understand seven or eight kinds of them more or less and immediately after draw them upon Paper without any other Original than the Image which we have conceiv'd of them We must be perfect Masters of them but above all we must make sure of possessing them throughly We are to know that it is such or such a stroke or such a Shadow stronger or weaker which make such or such a Passion in this or that degree And thus if any one should ask you what makes in Painting the Majesty of a King the Gravity of a Hero the Love of a Christ the Grief of a Madonna the Hope of the good Thief the Despair of the bad One the Grace and Beauty of a Venus and in fine the Character of any Passion whatsoever you may answer positively on the spot and with assurance that it is such a Posture or such lines in the parts of the Face form'd of such or such a fashion or even the one and the other both together for the parts of the Body separately make known the Passions of the Soul or else conjoyntly one with the other But of all the parts the Head is that which gives the most of Life and the most of Grace to the Passion and which alone contributes more to it than all the rest together The others separately can onely express some certain Passions but the Head expresses all of them nevertheless there are some which are more particular to it as for example Humility which it expresses by the stooping or bending of the Head Arrogance when it is lifted or as we say toss'd up Languishment when we hang it on one side or lean it upon one Shoulder Obstinacy or as the French calls it Opiniatreté with a certain stubborn unruly barbarous Humour when 't is held upright stiff and poiz'd betwixt the Shoulders And of the rest there are many marks more easily conceiv'd than they can be express'd as Bashfulness Admiration Indignation and Doubt 'T is by the Head that we make known more visibly our Supplications our Threatnings our Mildness our Haughtiness our Love our Hatred our Ioy our Sadness our Humility in fine 't is enough to see the Face and to understand the Mind at half a word Blushing and Paleness speak to us as also the mixture of them both The parts of the Face do all of them contribute to expose the Thoughts of our Hearts but above the rest the Eyes which are as it were the two Windows through which the Soul looks out and shows it self The Passions which they more particularly express are Pleasure Languishment Disdain Severity Sweetness Admiration and Anger Ioy and Sadness may bear their parts if they did not more especially proceed from the Eye-brows and the Mouth And the two parts last nam'd agree more particularly in the expression of those two Passions nevertheless if you joyn the Eyes as a third you will have the Product of a wonderfull Harmony for all the Passions of the Soul The Nose has no Passion which is particular to it it onely lends its assistance to the others before nam'd by the stretching of the Nostrils which is as much mark'd in Ioy as it is in Sadness And yet it seems that Scorn makes us wrinkle up the Nose and stretch the Nostrils also at the same time drawing up the upper Lip to the place which is near the corners of the Mouth The Ancients made the Nose the seat of Derision eum subdolae irr●●sioni dicaverunt says Pliny that is they dedicated the Nose to a cunning sort of Mockery We read in the 3d. Satyre of Persius Disce sed ira cadat Naso rugosaque sanna Learn but let your Anger fall from your Nose and the sneering Wrinkles be dismounted And Philostratus in the Picture of Pan whom the Nymphs had bound and scornfully insulted over says of that God that before this he was accustom'd to sleep with a peaceable Nose softning in his slumbers the Wrinkles of it and the Anger which commonly mounted to that part but now his Nostrils were widen'd to the last degree of Fury For my own part I should rather believe that the Nose was the seat of Wrath in Beasts than in Mankind and that it was unbecoming of any God but onely Pan who had very much of the Beast in him to wrinkle up his Nose in Anger like other Animals The moving of the Lips ought to be but moderate if it be in Conversation because we speak much more by the Tongue than by the Lips And if you make the Mouth very open 't is onely when you are to express the violence of Passion and more properly of Anger For what concerns the Hands they are the Servants of the Head they are his Weapons and his Auxiliaries without them the action is weak languishing and half dead their Motions which are almost infinite make innumerable expressions Is it not by them that we desire that we hope that we promise that we call towards us and that we reject besides they are the instruments of our Threats of our Petitions of the Horror which we show for things and of the Praises which we give them By them we fear we ask Questions we approve and we refuse we show our Ioy and our Sadness our Doubts and our Lamentations our Concernments of Pity and our Admirations In short it may be said that they are the Language of the Dumb that they contribute not a little to the speaking of the universal Tongue common to all the World which is that of Painting Now to tell you how these parts are to be dispos'd so as to express the different Passions is impossible no precise Rules can be given