“Amphions Harp gaue sence vnto stone Walles”: The Five Senses and Musical–Visual Affect

In 1582 George Whetstone described the feeling of entering a barren Great Chamber the morning after a night of sparkling social and musical entertainments. Recounting the previous night’s activities, he reflected on the relationship between musical activity and space, saying ‘the Poets fayned not without reason, that Amphions Harp gaue sence vnto stone Walles’. This article explores the complex relationships between sensing, sociability, activity, and space through an in-depth examination of a late sixteenth- and seventeenth-century English interior design trend: personifications of the Five Senses. Using active imagining, it considers how the Five Senses engaged early modern English subjects in a dialectic between sensory/bodily absence and presence as a mode for exploring the precarious pleasure of holding the passions on the edge of balance. Looking at the spatial and musical-ritual framings of the Five Senses decoration at Knole House, Kent, it investigates how feeling, sensing bodies experienced musical–visual sensory interplay in early modern elite households. It seeks to better understand the aesthetic, emotional experiences of those who gave life to the musical, social situations in such spaces.