“Amphions Harp gaue sence vnto stone Walles”: The Five Senses and Musical–Visual Affect
Abstract
:I entred the great Chamber, with as strange a regarde, as he that commeth out of a House full of Torch and Taperlights, into a darke and obscure corner: knowing that at midnight (about which time, I forsooke my company) I left the place [which was]… a verie Sympathie of an imagined Paradise. And in the space of one slumbering stéepe, to be left like a desart wildernesse, without any creature, saue sundry Sauage Beastes, portrayed in the Tapistrie hangings, imprest such a heauy passion in my minde, as for the time, I fared as one whose sences had forgot howe to doe their bounden offices: In the ende, to recomfort my throbbing heart, I tooke my Citterne, and to a solemne Note, sung this following Sonet…
Farewell, bright Golde, thou glory of the worlde,Faire is thy show, but some thou mak’st the soule:Farewell, prowde Mynde, in thousand Fancies twirld:Thy pompe, is lyke the Stone, that still doth rowle.
Farewell, sweete Loue, thou wish of worldly ioy,Thy wanton Cuppes, are spiste with mortal sin:Farewell, dyre Hate, thou doost thy selfe annoy;Therefore my hart, no place to harbour in.
Enuy, farewel, to all the world a foe,Lyke DENNIS BVLL, a torture to thy selfe:Disdayne, farewell, though hye thy thoughts doe flow,Death comes, and throwes, thy Sterne vpon a shelfe.
Flatterie, farewell, thy Fortune dooth not last.Thy smoothest tales, concludeth with thy shame:Suspect, farewell, thy thoughts, thy intrayles wast, (blameAnd fear’st to wounde, the wight thou faine woul’dst
Sclaunder, farewell, which pryest with LYNX his eyes,And canst not see, thy spots, when all are done:Care, Care, farewell, which lyke the Cockatrice:Doest make the Graue, that al men fame would shun.
And farewell world, since naught in thee I findeBut vanytie, my soule in Hell to drowne:And welcombe Phylosophy, who the myndeDoest with content, and heauenly knowledge crowne.
Whetstone’s sonnet overtly contrasts the ephemerality of sensuous social activity with the fixity of the surrounding walls and furnishings. It expresses a sense of wistful melancholy at the evanescence of sensory pleasure, which might be considered a kind of memento mori on the fleeting nature of the material world (an idea to which I shall return). While such fictional accounts, like paintings, require some caution (Elias 1989), Whetstone’s words hint at a particular relationship between sociability, musical activity, and the interior spaces in which those activities took place. Recreations such as music making or masquing are experiences that shake the senses, echo loudly in memory, and are also profoundly social—the exchange, symbiosis, and dissonance of meanings created and emotions generated through the co-experience of multiple senses in conjunction or proximity. Moreover, the relationship between activity, sensing, and passionate feeling was not straightforward. Recounting the previous night’s activities stirs in Whetstone a feeling so powerful, that he was left as ‘one whose sences had forgot how to doe their bounden offices’. Yet the only cure for this passion-induced senselessness is the hair of the dog.3During the time that my thoughtes swounded [swooned]2 with the charme of my passionate Musick: The Sunne decked in his most gorgious Rayes, gaue a bon Giorno to the whole troupe: and so many as were within the sound of my instrument, were drawen with no lesse vertue, then the Stéele vnto the Adamant… I was driuen foorth of my muse, with a starkeling admyration, not vnlike vnto him, that sléeping ouer a dying brand, is hastelie wakened with the lightening of a thousand sparckles… the Poets fayned not without reason, that Amphions Harp gaue sence vnto stone Walles.
Extrapolating from Chartier, Wistreich argues that music reading (a) brings the body into play, and (b) is to some extent communal, assertions vital to this examination of aesthetic contemplation of the Five Senses.6 These ideas are central to how music and visual culture worked together to both shape and reflect emotional experiences of recreational, social music making.7 Part of this is developing a more culturally contingent understanding of the quality of the relationship between materiality, iconography or ideas, and musical experience or the activity of musicking.8the act of reading musical notation (and, in the case of songs, its associated words) ‘back into sound’ is, by comparison with most other literary texts, almost always physiologically quite spectacularly dynamic and also usually to some degree both collaborative and communal … As such, it admirably fulfils Roger Chartier’s dictum that “Reading is not uniquely an abstract operation of the intellect: it brings the body into play, it is inscribed in a space and a relationship with oneself and with others”.
1. The Five Senses
* * * |
2. Mind the Gap
‘[t]he provision of an actual banquet (with music, perhaps, to complete the sensory assault), would thus have brought the decorative scheme of the [Pillar Parlour] to life in just the way that the play on the host’s temperament had done in the Anteroom’?
CHORUS‘When were the Senses in such order plac’d?’, marked to be ‘Sung by two Tenors, and a Base’.
FIRST TENORIf Love be called a lifting of the senseTo knowledge of that pure intelligence,Wherein the soul hath rest and residence,
SECOND TENORWhen were the senses in such order placed?
BASSThe sight, the hearing, smelling, touching, taste,All at one banquet?
FIRST TENORWould it ever last!
BASSWe wish the same. Who set it forth thus?
It seems no coincidence that the opening of Jonson’s Bolsover Masque asserts the realness of Cavendish’s banquet of the senses. As James Knowles observes, this variation on the ‘banquet of sense’, the treacherously alluring banquet that celebrated the sensory, sensual, and erotic pleasures often associated with Ovid, was regarded as the antitype of Platonism:Love!
Through a mode that itself expires, the song conveys a sense of memento mori as the singers lament the impermanence of both banquets and love.‘Here, Cavendish’s ‘real banquet to the sense’ combines sensory pleasures and a spiritual banquet and so surpasses the normal opposition of soul and senses. The banquet is ‘real’, that is, material and not simply ideal, stressing the point that his demesne embodies and fulfils Platonic (and, implicitly, royal) ideas’.(Knowles n.d)
In translating this treatise on painting and art from Giovanni Paolo Lomazzo, Haydock is only paraphrasing Horace in his English verse.25 It struck me that in Haydock’s version, it is the combined powers of ear and eye, words and action (or expression), that best produces wonder and fellow feeling. Both Small and Haydock are, in their own ways, acknowledging the embodied, social dimension of artistic communication. The presentation of the Five Senses as humanoid figures personified taps into this bodily connection, and perhaps also draws attention to the bodies doing those activities within those spaces. In refuting nineteenth-century criticism about the mediocrity of the Bolsover Pillar Parlour Five Senses, Cutts says(whence the Poet saith,If thou in me would’st true compasion breede,And from mine heavy eies wring flouds of teares:Then act thine inward griefes by word and deedeVnto mine eies, as well as to mine eares:)… And, that which is more, will cause the beholder to wonder, when it wondereth… to haue a fello-feeling when it is afflicted.
While Cutts may have been referring to the life illustrated within each pictorial plane, the real embodied activity within the space impacts the function of the images with potentially equal power.‘[t]hese figures are not merely abstract representations of the Senses… All five figures are alive in their own right and in surroundings that pulsate with life’.
3. A Procession of the Senses at Knole House
* * * |
* * * |
Roland, shall we have a song?Yea Sir: where bee your bookes ofmusick? for they bee the best corrected.
They bee in my chest: Katherine takethe key of my closet, you shall findthem in a litle til at the left hand:behold, therebee faire songes atfoure partes.
Who shall sing with me?You shall have companie enough:David shall make the base:Jhon [sic] the tenor: and James the treble.Begine: James, take your tune: go to: for what do you tarie?
As described here and in the excerpt from Whetstone, this kind of social musicking took place in a sensory-rich environment. As Niall Atkinson has argued, part of being a good host is tending to the senses and therefore the comfort of your guests; all the senses were inextricably linked to social relations (Atkinson 2018, p. 22).I have but a rest.Roland, drinke afore you begine,you will sing with a better corage
John Dowland: ‘Tell me, true Loue’Tell me, true Loue, where shall I seeke thy being.In thoughts or words, in vowes or promise making,In reasons, lookes, or passions neuer seeing,In men on earth or womens minds partaking.Thou canst not dye, and therefore liuing,tell me where is thy seate, Why doth this age expell thee?
When thoughts are still vnseen, and words disguised;vowes are not sacred held, nor promise debt:By passion reasons glory is surprised,in neither sexe is true loue firmely set.Thoughts fainde, words false, vowes and promise brokenMade true Loue fly from earth, this is the token.
Mount then my thoughts, here is for thee no dwelling.since truth and falsehood liue like twins together:Beleeve not sense, eyes, eares, touch, taste, or smelling,both Art and Nature’s forced: put trust in neyther.One only shee doth true Loue captive bindeIn fairest brest, but in a fairer minde.
This piece by John Dowland is just one of many that might have been sung in such a social situation. It is scored for solo voice, lute, bass viol, and cantus, altus, tenor, bassus ‘Repetition’. This was a four-voice optional ‘choral’ part, underlaid with text, in which additional singers might join in on a repeated refrain so more could partake in the music-making.34 The strophic form allows for expressive performance along the singers’ interpretation of the words. As Thomas Campion said in Rosseter’s Book of Aires (1601), ‘[a] naked Ayre without guide, or prop, or colour but its owne… requires so much the more inuention to make it please’, citing the importance of emotive or effective performance, or the ‘action’, as he calls it, in the creation of musical meaning (Rosseter 1601, sig.B1v).O fairest minde, enrich’d with Loues residing.retaine the best; in hearts let some seede fall,In stead of weeds Loues fruits may haue abiding,at Harvest you shall reape encrease of all.O happy Loue, more happy man that findes thee,Most happy Saint, that keepes, restores, vnbindes thee.
4. Considering the (Im)Material: Sensing Sight and Sound
The more senses that are involved, the more immersive the emotional experience. While Five Sense imagery often included overtly musical iconography, such as a woman playing a lute, it also tapped into wider ideas about sensing, knowledge, and recreational life that went beyond musical symbolism. Music’s connection to the Five Senses was not only about hearing, as music often was experienced in sensory-rich environments, whether in the home, a local pub, an outdoor festival, or church.And that our meditations in the Psalmes may not want their delight, we haue that excelle[n]t gift of God, the Art of Musick to accompany them: that out eyes beholding the words of Dauid, our fingers handling the Instruments of Musicke, our eares delighting in the swetenesse of the melody, and the heart obseruing the harmony of them all: all thse doe ioyne in a heauenly Consort, and God may bee glorified and out selues refreshed therewith.
Funding
Data Availability Statement
Conflicts of Interest
1 | Whetstone’s print is dedicated to Elizabeth I’s Lord Chancellor, Christopher Hatton, who was also the dedicatee for Byrd’s 1588 songbook. |
2 | In Mark Girouard ‘s Life in the English Country House (Girouard 1978, p. 94), Girouard interprets ‘swounded’ as ‘surrounded’, which also makes logical sense. Thanks to one of my reviewers for suggesting ‘swooned’, however. “swound, v.”. OED Online. March 2023. Oxford University Press. https://www-oed-com.bham-ezproxy.idm.oclc.org/view/Entry/196070?redirectedFrom=swounded (accessed 24 April 2023). |
3 | There were also those sceptical of this type of mollification through music, such as Richard Braithwaite, who wrote, ‘externally sounding accents, though they allay the passion for an instant, the note leaues such an impression, as the succeeding discontent takes away the mirth that was conceiued for the present’ (Braithwaite 1620, p. 8). |
4 | Gell says ‘[i]n place of symbolic communication, I place all the emphasis on agency, causation, result, and transformation. I view art as a system of action, intended to change the world rather than encode symbolic propositions about it’ (Gell 1998, p. 6). |
5 | Huizinga discusses how the card-table, tennis court or theatrical stage are all arenas in which special rules apply, ‘temporary worlds … dedicated to the performance of an act’ (Huizinga 1998, p. 10). |
6 | Wistrich’s study focuses on the physiological intensity and the sociability of a collective reading of music from part books and is more focused on the readers’ collective experience than that of any listeners. |
7 | Though a distinct topic, Gillian Woods’ chapter on visual engagement with dumb shows in early modern theatre explores how active spectatorship allowed for multisensory engagement with performance (Woods 2019). |
8 | An academically rigorous exploration of what is imaginable or possible when faced with scarce or ephemeral evidence is an area of some controversy. Noemie Ndiaye, adapting her use from Saidiya Hartman, describes this research approach as ‘subjunctive’ (Ndiaye 2022, p. 25). |
9 | Wells-Cole surmises these personified numerical sequences became popular in post-Reformation England when saints and martyrs were banned (Wells-Cole 1997, p. 102). |
10 | Hamling is an example of an exception within the study of early modern English material culture, as she contextualizes domestic plasterwork within Protestant household activity and culture. |
11 | Contemporary literature that addresses the Five Senses includes: Richard Braithwaite, Essaies vpon the fiue senses (London: printed by E.G[riffen], 1620), Thomas Tomkis’s play Lingua: or The combat of the tongue and the five senses (1607), Edmund Spenser’s “House of Alma” in The Faerie Queene (1590), John Davies, Nosce Teipsum (1599), Phineas Fletcher, The Purple Island (1633). |
12 | In addition to dozens of examples on hearing and sight in English song, touch is pondered in songs by East, Farmer, Campion, Weelkes, Danyel, Dowland, Pilkington, Jones, and more. Taste is considered by Tomkins, Dowland, Rosseter, Peerson, Ford, Hume, Jones, and Bateson, and smell by East and others. |
13 | She goes on to explain that such underlying precariousness drives the opposing clauses of Augustine’s description of sensuous pleasures in Augustine, Sermones, 159.2; PL 38.868, on Romans 8:30–1. |
14 | Perkinson points out that they could be found ‘in the gruesome ivories with their leering skeletons, oblivious lovers, and starkly moralizing inscriptions’ (Perkinson 2017, p. 74). |
15 | My use of ‘mindful’ throughout this article relies on a modern readers’ understanding of what it signifies—a present knowledge of one’s inner state—and does not imply this was an early modern term. |
16 | There are also instances of Five Senses decoration in the homes of the upper middling sort. Five Senses wall paintings, originally from Park Farm, Cambridgeshire show female personifications of each sense with a motto below, warning against the dangers of particular activities for women specifically. For example, Taste shows a well-dressed woman smoking a pipe with a relaxed expression. Below her it says: ‘Non sence is non sence, though it please my mind,/and is not proper for this sex and kind’. Hearing says: ‘Maydes must bee seene not heard. So am I/I am sure? you doth not heare my melodye’. While it is tempting to interpret these as straightforward Protestant warnings, I pick up on a touch of tongue-in-cheek humour in its presentation, so there is more to unpack here. Note: Malcom Jones cites these as from Hilton Hall, Huntingdonshire. |
17 | Gapper says the Blickling Five Senses are from plates illustrating the Five Orders with the Five Senses in Architectura by Hans and Paul Vredeman de Vries, 1606–7. They are depicted in P Fuhring & G Luitjen (eds), Hollstein’s Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700, Vol XLVIII, Vredeman de Vries, Part II, 1572–1630, Rotterdam, 1997, plates 615–19. |
18 | These more active terms are also used in late seventeenth-century prints of personifications in Dutch costume, three of which are at the Wellcome Collection: Seeing, Feeling, and Tasting (Jones 2010, p. 37). |
19 | Though as one reviewer rightly points out, the multifunctional character of such spaces in is part what imparts such dynamism to their sensory iconography. |
20 | There is a later seventeenth-century embroidered mirror at the Met Museum that might be related to these Senses-embroidered mirrors, though this one has some oddities that are outside the scope of this essay (Morrall and Watt 2008, pp. 216–21). |
21 | Nordenfalk observes that there were other tropes (a rose, etc.) that represented the senses in the Middle Ages. Sometimes caricatured body parts were also used in this earlier period, but I still see this as different from personification. |
22 | Crosby Stevens has written about Bolsover’s decoration and its relation to theatre sets. |
23 | As Francis Bacon noted, wainscotting is the superior acoustic material for musical entertainments: ‘Musick soundeth better in chambers wainscotted, than hanged’ (Bacon 1860, p. 246). |
24 | The Bolsover Four Humours provokes several questions to be asked at another time: Are such paintings or spaces musical ‘objects’? Can iconographies or bodies become ‘musical’ simply by accepting a visual, imagined invitation? |
25 | Höltgen says Haydock’s writing ‘created a work of a highly personal character’ (Höltgen 1978, p. 19). Lomazzo’s original quotes a shorter passage from Horace in a section on decorum and sympathetic affect: si vis me flere, dolendum estprimum ipsi tibi: tunc tua me infortunia laedent (If you would have me weep, you must first feel grief yourself: then, will your misfortunes hurt me) (Horace 1926, pp. 458–59). |
26 | Thanks to one of my reviewers for this astute observation. |
27 | It is worth noting that the word ‘emotion’ and concept of aesthetics were not terms available to early seventeenth-century subjects, but I rely on their use as signifiers to assist in the process of thinking and writing about historical subjectivities. |
28 | I have experienced a version of the pleasure produced through ‘precarious balance’ in my own musical–social life. I regularly get together with friends to sight-read polyphony (and sometimes madrigals) in both social and liturgical contexts. This has included singing the music of Sheppard where he was employed at Magdalen College Oxford, Mundy and Tallis in St Mary-at-Hill, and Tallis’s ‘O Lord in Thee is All My Trust’ in the presence of the Eglantine Table at Hardwick Hall, or Byrd’s Mass for Three Voices in my own home after a dinner party. The perfect cocktail of musical achievement, sociability, and space come together to produce what might be called in psychological terms, ‘group flow’ (Sawyer 2006, p.157). |
29 | KA Sackville Manuscripts U269/A1/6. |
30 | Lady Anne Clifford’s musical life is explored in greater depth by Lynn Hulse in “In Sweet Musicke Did Your Soule Delight” (Hulse 2009, pp. 87–97). Anne Clifford was also connected to well-known musicians through family. Her uncle Francis was Byrd’s patron for his 1611 songbook (Price 2009, p. 220). |
31 | While this may have been for the sake of the Sight trick, I doubt their order would have been random. |
32 | This was conveyed to me by one of the Knole volunteers, but I have yet to be able to consult a floorplan. |
33 | Between scenes, the narrator addresses ‘you Master Robert’ (Hollyband 1573, p. 142). |
34 | Anthony Rooley’s The Consort of Musicke recording includes this optional multi-voice refrain. Dowland: The Collected Words (Anthony Rooley’s The Consort of Musicke 2007). |
35 | Other examples of English song that question or contemplate sense perception include: Byrd, “O you that hear this voice” and “Where fancy fond” (1588), Weelkes, “Like Two Proud Armies” (1600), Bateson, “Love is the fire that burns me” (1618), Peerson, “Love is the delight” (1630), Coprario, “Deceitful fancy” (1606), Porter, “Tell me where the beauty lies” (1632), and more. Bank 2021, pp. 106–20). |
36 | As Francis Bacon wrote, ‘the sense of hearing striketh the spirits more immediately than the other senses’ (Bacon 1900, II.114). |
37 | For example, Thomas Sackville may have been acquainted with Robert Cecil and/or Robert Sidney, two of Dowland’s patrons, through courtly connections including Thomas Bodley, William Cecil, Penelope Rich, or even the monarchs themselves. Price has shown how families of similar stature, such as the Cavendishes, had Dowland’s music in their libraries (Price 2009, p. 116). |
References
- Abbot, George. 1608. A Sermon Preached at Westminster. London: Melchisedech Bradwood for William Aspley. [Google Scholar]
- Alison, Richard. 1599. The Psalmes of Dauid in Meter. London: William Barley. [Google Scholar]
- Anthony Rooley’s The Consort of Musicke. 2007. Dowland: The Collected Works. CD Recording. London: L’Oiseau-Lyre. [Google Scholar]
- Atkinson, Niall. 2018. The Social Life of the Senses. In A Cultural History of the Senses in the Renaissance. Edited by Herman Roodenburg. London: Bloomsbury. [Google Scholar]
- Austern, Linda Phyllis. 2020. Both from the Ears and Mind: Thinking About Music in Early Modern England. Chicago: University of Chicago Press. [Google Scholar]
- Bacon, Francis. 1860. The Works of Francis Bacon: Translations of the Philosophical Works. Edited by James Spedding. Translated by James Spedding. London: Longman and Co., vol. I. [Google Scholar]
- Bacon, Francis. 1900. Sylva Sylvarum: The Phenomena of the Universe; Or, The Model of a Repository of Materials: For Erecting a Solid and Serviceable Philosophy, on the Basis of Experiment and Observation. Edited by James Spedding, Robert Leslie Ellis and Douglas Denton Heath. Boston: Houghton, Mifflin and Company. [Google Scholar]
- Bank, Katie. 2021. Knowledge Building in Early Modern English Music. New York: Routledge. [Google Scholar]
- Beard, Geoffrey. 1975. Decorative Plasterwork in Great Britain. New York: Phaidon Press Limited. [Google Scholar]
- Boynton, Susan, and Diane J. Reilly, eds. 2015. Resounding Images: Medieval Intersections of Art, Music, and Sound. Turnhout: Brepols Publishers. [Google Scholar]
- Braithwaite, Richard. 1620. Essaies vpon the fiue senses with a pithie one vpon detraction. London: E: G[riffin]. [Google Scholar]
- Carruthers, Mary. 2013. The Experience of Beauty in the Middle Ages. Oxford: Oxford University Press. [Google Scholar]
- Chan, Eleanor. 2023. {Not}ation: The In/visible Visual Cultures of Musical Legibility in the English Renaissance. Arts 12: 75. [Google Scholar] [CrossRef]
- Classen, Constance. 1993. Worlds of Sense: Exploring the Senses in History and Across Cultures. London: Routledge. [Google Scholar]
- Clifford, David J. H., ed. 1992. The Diaries of Lady Anne Clifford. Stroud: Alan Sutton Publishing. [Google Scholar]
- Cole, Elizabeth. 2010. The State Apartment in the Jacobean Country House 1603–1625. Ph.D. thesis, University of Sussex, Brighton, UK. [Google Scholar]
- Crooke, Helikiah. 1616. Mikrokosmographia A Description of the Body of Man. London: W. Iaggard. [Google Scholar]
- Cutts, John P. 1970. When were the Senses in such order plac’d? Comparative Drama 4: 52–62. [Google Scholar] [CrossRef]
- De Certeau, Michel. 1984. The Practice of Everyday Life. Berkeley: University of California Press. [Google Scholar]
- Dowland, John. 1612. A Pilgrimes Solace. London: Thomas Snodham. [Google Scholar]
- Elias, Cathy Ann. 1989. Musical Performance in 16th-Century Italian Literature: Straparola’s Le piacevoli notti. Early Music 17: 161–73. [Google Scholar] [CrossRef]
- Gapper, Claire. 1998. Plasterers and Plasterwork in City, Court and Country c.1530-c.1660. Ph.D. thesis, Courtauld Institute of Art, London, UK. Available online: http://clairegapper.info/the-london-evidence.html#iconography (accessed on 13 November 2022).
- Gell, Alfred. 1998. Art and Agency: An Anthropological Theory. Oxford: Oxford University Press. [Google Scholar]
- Girouard, Mark. 1978. Life in the English Country House: A Social and Architectural History. New Haven: Yale University Press. [Google Scholar]
- Gouk, Penelope. 1997. Some English Theories of Hearing in the Seventeenth Century: Before and After Descartes. In The Second Sense: Studies in Hearing and Musical Judgement from Antiquity to the Seventeenth Century. Edited by Michael Fend, Penelope Gouk and Charles Burnett. London: The Warburg Institute. [Google Scholar]
- Hamling, Tara. 2010a. Decorating the ‘Godly’ Household: Religious Art in Post-Reformation Britain. New Haven: Yale University Press. [Google Scholar]
- Hamling, Tara. 2010b. Guide to Godliness: From Print to Plaster. In Printed Images in Early Modern Britain: Essays in Interpretation. Edited by Michael Hunter. London: Ashgate. [Google Scholar]
- Hamling, Tara. 2014. Living with the Bible in Post-Reformation England: The Materiality of Text, Image and Object in Domestic Life. In Religion and the Household: Papers Read at the 2012 Summer Meeting and the 2013 Winter Meeting of the Ecclesiastical History Society. Edited by John Doran, Charlotte Methuen and Alexandra Walsham. Woodbridge: Ecclesiastical History Society by the Boydell Press, pp. 238–39. [Google Scholar]
- Harvey, E. Ruth. 1975. The Inward Wits: Psychological Theory in the Middle Ages and the Renaissance. London: The Warburg Institute. [Google Scholar]
- Haydock, Richard. 1598. A Tracte Containing the Artes of Curious Paintinge Caruinge Buildinge. Oxford: Joseph Barnes. [Google Scholar]
- Hearn, Karen. 2009. Lady Anne Clifford’s Great Triptych. In Lady Anne Clifford: Culture, Patronage and Gender in 17th-Century Britain. Edited by Karen Hearn and Lynn Hulse. Leeds: Yorkshire Archaeological Society. [Google Scholar]
- Hollyband, Claude. 1573. The French Schoolemaister. London: William How for Abraham Veale. [Google Scholar]
- Höltgen, Josef. 1978. Richard Haydocke: Translator, Engraver, Physician. The Library 33: 15–32. [Google Scholar] [CrossRef]
- Horace. 1926. Satires. Epistles. The Art of Poetry. Translated by H. Rushton Fairclough. Cambridge: Loeb Classical Library, vol. 194, pp. 458–59. [Google Scholar]
- Huizinga, Johan. 1998. Homo Ludens: A Study of Play-Element in Culture. London: Routledge. [Google Scholar]
- Hulse, Lynn. 2009. In Sweet Musicke Did Your Soule Delight. In Lady Anne Clifford: Culture, Patronage and Gender in 17th-Century Britain. Edited by Karen Hearn and Lynn Hulse. Leeds: Yorkshire Archaeological Society. [Google Scholar]
- James, Susan. 1997. Passion and Action: The Emotions in Seventeenth-Century Philosophy. Oxford: Clarendon Press. [Google Scholar]
- Jean, Susi. 1958. Seventeenth-Century Musicians in the Sackville Papers. The Monthly Musical Record 88: 182–88. [Google Scholar]
- Jones, Malcom. 2010. The Print in Early Modern England: An Historical Oversight. New Haven: Yale University Press. [Google Scholar]
- Jonson, Ben. 1643. Love’s Welcome at Bolsover (1643). The Cambridge Edition of the Works of Ben Jonson Online. Edited by James Knowles. Available online: https://universitypublishingonline.org/cambridge/benjonson/k/works/bolsover/facing/# (accessed on 28 December 2022).
- Karim-Cooper, Farah. 2015. Afterward. In The Senses in Early Modern England 1558–1600. Edited by Simon Smith, Jackie Watson and Amy Kenny. Manchester: Manchester University Press. [Google Scholar]
- McCarthy, Kerry. 2013. Byrd. Oxford: Oxford University Press. [Google Scholar]
- Milner, Matthew. 2011. The Senses and the English Reformation. Farnham: Ashgate. [Google Scholar]
- Morrall, Andrew, and Melinda Watt, eds. 2008. English Embroidery from the Metropolitan Museum of Art, 1580–1700. New Haven: Yale University Press. [Google Scholar]
- Mulherron, Jamie, and Helen Wyld. 2012. Mortlake’s Banquet of the Senses. Apollo 175: 122–28. [Google Scholar]
- Ndiaye, Noémie. 2022. Scripts of Blackness: Early Modern Performance Culture and the Making of Race. Philadelphia: University of Pennsylvania Press. [Google Scholar]
- Nichols, John Gough. 1841. The Unton Inventories, Relating to Wadley and Farringdon, Co. Berks. In the Years 1596 and 1620, From the Originals in the Possession of Earl Ferrers. Edited by John Bowyer Nichols and Son. London: Berkshire Ashmolean Society. Available online: http://dbooks.bodleian.ox.ac.uk/books/PDFs/591002201.pdf (accessed on 28 December 2022).
- Nordenfalk, Carl. 1985. The Five Senses in Late Medieval and Renaissance Art. Journal of the Warburg and Courtauld Institutes 48: 1–22. [Google Scholar] [CrossRef]
- Page, Christopher, and Michael Fleming, eds. 2021. Music and Instruments of the Elizabethan Age: The Eglantine Table. Martlesham: The Boydell Press. [Google Scholar]
- Parton, Frances. 2019. Knole. Newhaven: National Trust Prints. [Google Scholar]
- Perkinson, Stephen. 2017. The Ivory Mirror: The Art of Mortality in Renaissance Europe. New Haven: Yale University Press. [Google Scholar]
- Price, David. 2009. Patrons and Musicians of the English Renaissance. Cambridge: Cambridge University Press. [Google Scholar]
- Raylor, Timothy. 1999. ‘Pleasure Reconciled to Virtue’: William Cavendish, Ben Jonson, and the Decorative Scheme of Bolsover Castle. Renaissance Quarterly 52: 402–39. [Google Scholar] [CrossRef]
- Richards, Jennifer. 2019. Voices and Books in the English Renaissance. Oxford: Oxford University Press. [Google Scholar]
- Rosenwein, Barbara H. 2010. Problems and Methods in the History of Emotions. Passions in Context I: 1–30. [Google Scholar]
- Rosseter, Philip. 1601. A Booke of Ayres Set Foorth to Be Song. London: Peter Short. [Google Scholar]
- Sanger, Alice, and Siv Tove Kulbrandstad Walker, eds. 2012. Sense and the Senses in Early Modern Art and Cultural Practice. Farnham: Ashgate. [Google Scholar]
- Sawyer, Keith. 2006. Group creativity: Musical performance and collaboration. Psychology of Music 34: 148–65. [Google Scholar] [CrossRef]
- Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown: Wesleyan University Press. [Google Scholar]
- Smith, Bruce R. 2000. Premodern Sexualities. PMLA 115: 318–29. [Google Scholar] [CrossRef]
- Smith, Bruce R. 2008. The Key of Green: Passion and Perception in Renaissance Culture. Chicago: University of Chicago Press. [Google Scholar]
- Smith, Simon. 2015. ‘I see no instruments, nor hands that play’: Antony and Cleopatra and visual musical experience. In The Senses in Early Modern England, 1558–1660. Edited by Simon Smith, Jackie Watson and Amy Kenny. Manchester: University of Manchester Press. [Google Scholar]
- Stevens, Crosby. 2017. ‘Oh, to make boards speak! There is a task’: Understanding the iconography of the applied paintings at Bolsover Castle. Early Modern Literary Studies 19. Available online: https://link.gale.com/apps/doc/A521047952/LitRC?u=googlescholar&sid=googleScholar&xid=134a0c94 (accessed on 4 July 2023).
- Summers, David. 1987. Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge: Cambridge University Press. [Google Scholar]
- Tomlinson, Gary. 1988. The Historian, The Performer, and Authentic Musical Meaning. In Authenticity and Early Music: A Symposium. Edited by Nicholas Kenyon. Oxford: Oxford University Press. [Google Scholar]
- Van Orden, Kate. 2015. Materialities: Books, Readers, and the Chanson in Sixteenth Century Europe. Oxford: Oxford University Press. [Google Scholar]
- Vinge, Louise. 1975. The Five Senses: Studies in a Literary Tradition. Lund: CWK Gleerup. [Google Scholar]
- Wells-Cole, Anthony. 1997. Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints, 1558–1625. London: Paul Mellon Centre for Studies in British Art. [Google Scholar]
- Whetstone, George. 1582. An Heptameron of Civil Discourses. London: Richard Jones. [Google Scholar]
- Wistreich, Richard. 2011. Music books and sociability. Il Saggiatore Musicale 18: 230–46. [Google Scholar]
- Wistreich, Richard. 2012. Introduction: Musical Materials and Cultural Spaces. Renaissance Studies 26: 1–12. [Google Scholar] [CrossRef]
- Woods, Gillian. 2019. Understanding Dumb Shows and Interpreting The White Devil. In Stage Directions & Shakespearean Theatre. Edited by Sarah Hustagheer and Gillian Woods. London: Bloomsbury Publishing. [Google Scholar]
Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content. |
© 2023 by the author. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).
Share and Cite
Bank, K. “Amphions Harp gaue sence vnto stone Walles”: The Five Senses and Musical–Visual Affect. Arts 2023, 12, 219. https://doi.org/10.3390/arts12050219
Bank K. “Amphions Harp gaue sence vnto stone Walles”: The Five Senses and Musical–Visual Affect. Arts. 2023; 12(5):219. https://doi.org/10.3390/arts12050219
Chicago/Turabian StyleBank, Katie. 2023. "“Amphions Harp gaue sence vnto stone Walles”: The Five Senses and Musical–Visual Affect" Arts 12, no. 5: 219. https://doi.org/10.3390/arts12050219