Selected quad for the lemma: spirit_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
spirit_n	know_v	see_v	soul_n	6,285	5	4.9453	4	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A20926	The painting of the ancients in three bookes: declaring by historicall observations and examples, the beginning, progresse, and consummation of that most noble art. And how those ancient artificers attained to their still so much admired excellencie. Written first in Latine by Franciscus Junius, F.F. And now by him Englished, with some additions and alterations.; De pictura veterum libri tres. English	Junius, Franciscus, 1589-1677.	1638 (1638)	STC 7302; ESTC S110933	239,341	370

insensible distinction And here will it not bee amisse to observe an example or two of this same Harmoge as it is in nature For when we behold how the sea and sky doe meet in one thinne and misty Horizontal stroke both are most strangely lost and confounded in our eyes neither are wee able to discerne where the one or other doth begin or end water and aire severall and sundry coloured elements seeme to be all one at their meeting See Statius Papinius li. 5. Thebaid vers 493. Yet doth the Rain-bow minister to us a clearer proof of this same Harmoge when she beguileth our sight with the scarse distinguished shadowes of melting languishing leisurely vanishing colors For although there doe shine a thousand severall colours in the Rain-bow sayth Ovid * Lib. vi Metam their transition for all that deceiveth the eyes of the spectators seeing her colors are all one where they touch though farther off they are much different Boëthius expresseth the same When the Rain-bow appeareth in the clouds sayth he * Lib. v. art music cap. 4. such is the neighbourhood of colours that there is no certaine end which distinguisheth the one from the other but we see that the red falleth away to a certaine kind of palenesse and turneth it selfe by a continuall changing into the next colour there being no other colour in the middest to distinguish them both The very same falleth out in musicall concents c. Whosoever looketh upon the rain-bow as consisting of one colour sayth Marcus Byzantius * Lib. I. de vitis Soph. doth not know how to admire her enough but whosoever considers her as consisting of colors wondreth much more Read Tul. l. 3. de nat deor and Plut lib. III. ca. 5 de placitis philos Let me now apply this same observation of Natures admirable skill unto my present purpose by shewing a few examples of Arts no lesse admirable imitation the proofe is obvious in every good picture So doth Ovid in the place alleadged above commend Arachne most of all for observing this vertue Philostratus Iconum lib. II Chiron is painted sayth he * In Achillis educatione after the manner of a Centaure though it be no great wonder to joyne a horse with a man but to joyne and to unite them so cunningly as to impart unto them both the same beginning and ending yea to beguile the eyes which goe about to know where the man parteth with the horse is in my opinion the worke of an excellent Painter Lucian likewise speaketh very much to the same purpose The mixture and harmoge of the bodies sayth he * In Zeuxide for as much as the horse is joyned and bound up with the woman is not done all at once but gently and turneth from the one into the other as by a quiet and insensible induction deceiving the eye with a strange stealth of change § 10. Besides this same Harmoge which draweth different colours into one by an orderly and pleasant confusion it is furthermore requisite that an Artist should take speciall care about the extreame or uttermost lines seeing it was ever held one of the greatest excellencies in these Arts that the unrestrained extremities of the figures resembled in the worke should be drawne so lightly and so sweetly as to represent unto us things we doe not see neither can it be otherwise but our eye will alwayes beleeve that behind the figures there is something more to be seene then it seeth when the lineaments that doe circumscribe compasse or include the images are so thinne and fine as to vanish by little and little and to conveigh themselves quite away out of our sight All Masters doe confesse sayth Plinie * Lib. xxxv cap. 10. that Parrhasius his chiefe glorie was in the uttermost lines and that indeed is the highest subtiltie in Picture for although it require great skill to paint the bodie and middlemost parts of figures yet are there many that got credit by it To make the extremities of bodies and handsomly to shut up the measure of an ending picture is seldome found in the greatest successe of Art seeing the extremitie ought to compasse her selfe about ending with a promise of other things behinde and setting forth also what shee concealeth Parrhasius for all that being compared with himselfe seemeth to comeshort in the expression of the middlemost bodies The following words of Petronius urge the same I came into agallery sayth he * In Satyrico much to bewondered at for severall sorts of pictures I saw there Zeuxis his hand which as yet had escaped the injuries of age as for Apelles his picture which was knowne among the Grecians by the name Monocnemos I did not sticke to adore it for the extremities of the images were with such a wonderfull subtiltie cut off after the similitude that you could not but thinke it to be a picture of the spirits and soules it selfe Seeing then that Petronius and Plinie doe urge such a singular subtiltie in the uttermost lines of an exact and absolute picture wee may very well suspect that they did anciently in these extremities of images require certaine lines approching neere to the subtiltie of the imaginarie Geometricall lines which are nothing else but a length without breadth That it is not an idle fancy of our brain sayth Ammonius * In Aristotelis praedicam that there should be a longitude without latitude but that such a thing is in Nature the parting 's betweene enlightened and shadowed places doe manifestly shew for when it chanceth that the Sunne casting his beames upon a wall enlighteneth but some part of the same the partition betweene the enlightened and shadowed place must needs be a longitude without latitude for if it hath any latitude it must needs be either enlightened or else shadowed with the rest seeing nothing can be conceived betweene these two and if it be enlightened it is to be put to the enlightened part if on the contrary it be shadowed it is to be added to the shadowed part but now there is a line manifestly to be seene in the middest which by her length doth onely distinguish the enlightened part from the shadowed and if these parts are distinguished one from another there must of necessitie be something besides them that distinguisheth which as it shall not be enlightened nor shadowed so shall it consequently be without any breadth Whosoever therefore doth but slenderly understand how much a neat and delicate picture abhorreth all maner of grosse course lines the same shall easily be perswaded to conceive well of those extreame lines that come something neere the Geometricall neither shall he be very much deceived who guesseth that this was the maine reason why the ancients studied with such an industrious care to draw all manner of lines in colours with a light easie hand We shewed above lib. II cap. XI § 1 that this was Apelles his daily practice and

must not onely fill his unoccupied minde with all kinde of great and haughty conceits but he is likewise to cherish these restlesse motions of his generous resolution by emulating the better sort of antient writers When we do imitate the best authors sayth the younger Pliny * Li. vii ep 9 we doe inable our selves to finde the like Attentive reading and studying furnisheth us with a rich store of many and great matters and teacheth us not onely to use them as they chance to meet us but as it is fit Pericles the great supporter of Art and the onely patron of the incomparable Phidias made wonderfull much of Anaxagoras Clazomenius who having fully instructed him in the knowledge of naturall things but of those especially that were above in the ayrė and firmament put in him the majestie and gravitie he shewed in all his sayings and doings so that he grew by Anaxagoras his conversation not onely to have a great minde and an eloquent tongue without any affectation or grosse countrey termes but hee accustomed himselfe likewise to a certaine modest countenance that scantly smiled being very sober in his gate modest in his apparel having a kinde of sound in his voyce that he never lost or altred and was of very honest behaviour never troubled in his talke for any thing that crossed him and many other such like things as all that saw and considered them in him could but wonder at him See Plutarch in Pericles his life Seeing then that naturall philosophy could effect so much in a studious Prince how shall not history and Poësie do the same in an Artificer History the witnesse of times the light of truth the life of memory the schoole-mistresse of our actions as Tully * De Orat. tearmeth her cannot but inspire magnanimous thoughts into our breasts when shee placeth us upon her Theatre that wee might see from thence the most profitable examples of so many sage and valiant Captaines that wee might step in the middest of the consultations which great men held about great matters and chuse out of al ages the most vertuous times and persons to be acquainted with Poësie likewise being haughty and of a lofty stile as Lucian * De conscrib hist speaketh is able to inlarge our conceits Neither doe wee finde among the Antients any artificers more renowmed than those that drew their inventions out of excellent Poëts The spirit and weightinesse of the matter sayth Quintilian * Lib. x c. 1. the whole gesture of the affections the decent comelines of persons is drawne out of Poëts Demetrius Phalereus Dionys Halicarnass and Pliny ascribe unto Phidias a certaine kinde of accurate greatnesse and worthy magnificence and our conjecture shall not be vaine if we affirme That hee fetched the chiefest strength of his invention out of poëts seeing hee himselfe was not ashamed to confesse that his much admired Elean Jupiter was made after the image of Jupiter described in Homer See Valer. Maximus lib. III. cap. 7. ex ext 4. Apelles also when he painted Diana among the sacrificing virgins tooke his patterne out of the same Homer See Pliny lib. xxxv ca. 10. It is likewise evident that Timanthes whose wit all antient authors do so highly extoll for that pretty shift he made in the picture of Iphigenia did owe his invention unto Euripides seeing this same wise Tragaedian * In Iphigen Anlidensi bringeth in Agamemnon with a vaile before his eyes Praxiteles when he made the statue of Bacchus as it is reported in Callistratus tooke his invention out of Euripides The same Callistratus affirmeth likewise That Euripides his description of the miserable Medea was followed by all the artificers which meant to expresse the streits Medea's wavering minde was in when shee found her selfe distracted betweene compassion and revenge standing now ready to save or to destroy Longinus his words are worth noting Many are carried away by another mans spirit as by a divine inspiration sayth he * De sublimi orat § 2. even as the report goeth that Pythia the Priest of Apollo is suddenly surprised when she approacheth unto the trivet where they say there is an abrupt hole in the ground breathing forth a divine exhalation and that the priest filled with this divine power doth instantly prophecie by inspiration Even so do we see that from the loftinesse of the Antients there doe flow some little streames into the mindes of their imitators so that they finde themselves compelled to follow their greatnesse for company though else of their owne accord they are very little given to these enthusiasticall fits Neither may this be called a theft seeing it is but an expression of the bravest maners devices and works of the Antients So is this same strife and contention for glory most worthy of praise and victory yea it is glorious enough to be therein overcome by our predecessors Although now reading and study can doe much yet shal that Artificer bring greater spirits to his worke who beside the most profitable endeavours of an emulating vertue associateth himselfe with Apelles Protogenes Polycletus Phidias not only considering with himselfe what these noble soules if they were present should do or else advise him to doe in the workes he taketh in hand but propounding also unto himselfe how they should censure his worke brought to an end The feare of being disgraced and the hope of an everlasting same encrease this same care in him whilest an earnest desire to please doth still augment his prosperous endeauours Martial felt some such thing when he sayth * In Epist ad Priscum praefixa lib. 12. Epigr. If there is any thing in my bookes that deserveth approbation the auditor hath suggested it unto me Hence it is that every artificer though he loveth privacie and retyrednesse never so much whilest he is a doing yet looketh he for a great conflux of eager and applauding spectators when the work is done he scorneth to approve his laborious art to one spectator only A thing appertaining to all sayth Symmachus * Li. 1. ep 49 is never content with one witnesse And as we see that a frequent auditorie was wont to inflame the Poëts so shall an Artificer likewise receive great benefit by it if he admitteth every day such men as doe deserve his respect For it is a rare thing sayth Quintilian * Lib. x. c. 7. that any man should reverence his owne selfe This conceived presence of antient and the true presence of moderne masters will do us more good if wee doe constantly beleeve that the estimation of these present and following times dependeth on the judgement of those whom we make choice of for the reforming of our works It is impossible that hee should entertaine any abject and meane thoughts who knoweth that all ages will speake of him sayth Mamertinus Paneg. Juliano Imp. dicto Verily so it is saith Quintilian * Lib. xii c. 2. they do