[translation: BEURS, en preparation, transl. Myra Scholz:] {Nature of colors} 2. That there are no colors without light, and that they owe all their diversity to the composition of the surfaces of the objects on which light falls and acts in various ways, is (in my opinion) understandable. Yet how they are actually caused by such surfaces and movements, and what comprises the nature of each of the main colors […] since we have the experiments of the renowned and experienced Sir Boyle, and the remarks of great minds that have also risen above Descartes in investigating the nature of things. {To what extent necessary for painters; aim of this booklet} 3. But these reflections have little or no relevance for painters, as long as they have a good understanding of the pigments and how to prepare them and paint […]

BOYLE, Robert
DESCARTES, René

[translation: BEURS, en preparation, transl. Myra Scholz:] {Nature of colors} 2. That there are no colors without light, and that they owe all their diversity to the composition of the surfaces of the objects on which light falls and acts in various ways, is (in my opinion) understandable. Yet how they are actually caused by such surfaces and movements, and what comprises the nature of each of the main colors […] since we have the experiments of the renowned and experienced Sir Boyle, and the remarks of great minds that have also risen above Descartes in investigating the nature of things. {To what extent necessary for painters; aim of this booklet} 3. But these reflections have little or no relevance for painters, as long as they have a good understanding of the pigments and how to prepare them and paint […]

BOYLE, Robert
DESCARTES, René

[translation: BEURS, en préparation, transl. Myra Scholz :] {White and black} 4. White is the surface of an object to the extent that it reflects many light rays at the same angle from which they struck it, and thus black is a surface that can bring none or very few of them to our eye, to affect it in a noticeable way. {How they can be described, and their uses} 5. Those materials or surfaces of objects can therefore be described as light and dark, on which things are made reasonably recognizable for the eye by depictions of well-lit parts and shadows, as one can see in prints, with hatching or in mezzotint, and in various paintings made only with black and white; for this reason they can also be used to lighten or darken all colors, as needed.

[translation: BEURS, en préparation, transl. Myra Scholz :] {White and black} 4. White is the surface of an object to the extent that it reflects many light rays at the same angle from which they struck it, and thus black is a surface that can bring none or very few of them to our eye, to affect it in a noticeable way. {How they can be described, and their uses} 5. Those materials or surfaces of objects can therefore be described as light and dark, on which things are made reasonably recognizable for the eye by depictions of well-lit parts and shadows, as one can see in prints, with hatching or in mezzotint, and in various paintings made only with black and white; for this reason they can also be used to lighten or darken all colors, as needed.

[translation: BEURS, en préparation, transl. Myra Scholz :] {White and black} 4. White is the surface of an object to the extent that it reflects many light rays at the same angle from which they struck it, and thus black is a surface that can bring none or very few of them to our eye, to affect it in a noticeable way. {How they can be described, and their uses} 5. Those materials or surfaces of objects can therefore be described as light and dark, on which things are made reasonably recognizable for the eye by depictions of well-lit parts and shadows, as one can see in prints, with hatching or in mezzotint, and in various paintings made only with black and white; for this reason they can also be used to lighten or darken all colors, as needed.

[translation: BEURS, en préparation, transl. Myra Scholz :] {White and black} 4. White is the surface of an object to the extent that it reflects many light rays at the same angle from which they struck it, and thus black is a surface that can bring none or very few of them to our eye, to affect it in a noticeable way. {How they can be described, and their uses} 5. Those materials or surfaces of objects can therefore be described as light and dark, on which things are made reasonably recognizable for the eye by depictions of well-lit parts and shadows, as one can see in prints, with hatching or in mezzotint, and in various paintings made only with black and white; for this reason they can also be used to lighten or darken all colors, as needed.

[translation: BEURS, en preparation, transl. Myra Scholz:] {The main colors yellow, red, and blue} 7. Let us freely state that the main colors, or main constituents of oil colors, such as are useful to painters, are three, namely yellow, which is the strongest and the closest to white, then red and blue.

[translation: BEURS, en preparation, transl. Myra Scholz:] {The main colors yellow, red, and blue} 7. Let us freely state that the main colors, or main constituents of oil colors, such as are useful to painters, are three, namely yellow, which is the strongest and the closest to white, then red and blue.

[translation: BEURS, en preparation, transl. Myra Scholz:] {The main colors yellow, red, and blue} 7. Let us freely state that the main colors, or main constituents of oil colors, such as are useful to painters, are three, namely yellow, which is the strongest and the closest to white, then red and blue.

[translation: BEURS, en preparation, transl. Myra Scholz:] {The main colors yellow, red, and blue} 7. Let us freely state that the main colors, or main constituents of oil colors, such as are useful to painters, are three, namely yellow, which is the strongest and the closest to white, then red and blue.

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {And of the main colors—yellow} 10. Now regarding the main colors, for yellow one takes king’s yellow, which is known to have largely replaced Paris yellow. Also used are light and brown ochre, massicot, realgar, as well as light and brown yellow lake. These are the pigments presently known to be useful to painters for the color yellow.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

Beurs distinguishes between Florentynsche and Haarlemse lak, as well as kogellak. Kogellak appears to be the same colour as Brezilje verf. [MO]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

Beurs distinguishes between Florentynsche and Haarlemse lak, as well as kogellak. [MO]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Red} 11. For red they use vermilion, red-brown, and various lakes, such as Florentine and Haarlem lake, also brazilin and distilled red lead. 12. Florentine lake is made of cochineals, and Haarlem lake by mixing the clippings of this with rose-red. Brazilin is prepared from brazilwood boiled with chalk thrown in, which is then made into pellets.

[translation: BEURS, en preparation, transl. Myra Scholz:] {Blue} 13. For blue the pigments ultramarine, smalt, German and English ash, and indigo are used. And that, to my knowledge, is everything necessary for use as far as pigments are known here;

Beurs distinguishes between Duitsche and Engelsche as. As is presumably the same colour as ascus. [MO]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Blue} 13. For blue the pigments ultramarine, smalt, German and English ash, and indigo are used. And that, to my knowledge, is everything necessary for use as far as pigments are known here;

[translation: BEURS, en preparation, transl. Myra Scholz:] {Blue} 13. For blue the pigments ultramarine, smalt, German and English ash, and indigo are used. And that, to my knowledge, is everything necessary for use as far as pigments are known here;

[translation: BEURS, en preparation, transl. Myra Scholz:] {Blue} 13. For blue the pigments ultramarine, smalt, German and English ash, and indigo are used. And that, to my knowledge, is everything necessary for use as far as pigments are known here;

In the German translation, this term is written as 'Schmelze'. [MO]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Blue} 13. For blue the pigments ultramarine, smalt, German and English ash, and indigo are used. And that, to my knowledge, is everything necessary for use as far as pigments are known here;

[translation: BEURS, en preparation, transl. Myra Scholz :] {Fame of white} We begin then by looking more closely at white, the purest and most pleasing of all, emblem of innocence, truth, honesty, and victory. {Flake white} Of the white pigments mentioned earlier, flake white is the best presently known to us; […] {Lead white, its selection and preparation} Lead white is tested for its quality as follows: […] {It is not as good as flake white} Good unground lead white is prepared in the same way as flake white; but it is easier to grind, also less costly,[…] {Black} As for black, from which the least number of rays, actually very few, bounce back, nothing special needs to be explained—only that in selecting a pigment one is more useful for this and another for that. […]

[translation: BEURS, en preparation, transl. Myra Scholz :] {Fame of white} We begin then by looking more closely at white, the purest and most pleasing of all, emblem of innocence, truth, honesty, and victory. {Flake white} Of the white pigments mentioned earlier, flake white is the best presently known to us; […] {Lead white, its selection and preparation} Lead white is tested for its quality as follows: […] {It is not as good as flake white} Good unground lead white is prepared in the same way as flake white; but it is easier to grind, also less costly,[…] {Black} As for black, from which the least number of rays, actually very few, bounce back, nothing special needs to be explained—only that in selecting a pigment one is more useful for this and another for that. […]

[translation: BEURS, en preparation, transl. Myra Scholz :] {Fame of white} We begin then by looking more closely at white, the purest and most pleasing of all, emblem of innocence, truth, honesty, and victory. {Flake white} Of the white pigments mentioned earlier, flake white is the best presently known to us; […] {Lead white, its selection and preparation} Lead white is tested for its quality as follows: […] {It is not as good as flake white} Good unground lead white is prepared in the same way as flake white; but it is easier to grind, also less costly,[…] {Black} As for black, from which the least number of rays, actually very few, bounce back, nothing special needs to be explained—only that in selecting a pigment one is more useful for this and another for that. […]

In the German translation, 'wit' is translated as 'Weisse Farbe'. [MO]

[translation: BEURS, en preparation, transl. Myra Scholz :] {Fame of white} We begin then by looking more closely at white, the purest and most pleasing of all, emblem of innocence, truth, honesty, and victory. {Flake white} Of the white pigments mentioned earlier, flake white is the best presently known to us; […] {Lead white, its selection and preparation} Lead white is tested for its quality as follows: […] {It is not as good as flake white} Good unground lead white is prepared in the same way as flake white; but it is easier to grind, also less costly,[…] {Black} As for black, from which the least number of rays, actually very few, bounce back, nothing special needs to be explained—only that in selecting a pigment one is more useful for this and another for that. […]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en preparation, transl. Myra Scholz:] {First main color: king’s yellow} It is now time for us to consider in the same way the aforementioned main colors, dealing first with king’s yellow. […] {Realgar} Realgar, […] {Light and brown ochre} Light and brown ochre […] {Massicot} Massicot is much used by landscape painters. […] {Yellow lake, brown yellow lake} The best yellow lake […] This also applies to brown yellow lake, which should be dark and glowing,[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] We now come to the second main color, namely red, and will proceed to its pigments. {Second main color: vermilion} Vermilion […] {Red-brown}The best red-brown […] {Lake} The best lake is the genuine Florentine variety, made from cochineal; […] {Distilled red lead} […]

[translation: BEURS, en préparation, transl. Myra Scholz:] We now come to the second main color, namely red, and will proceed to its pigments. {Second main color: vermilion} Vermilion […] {Red-brown}The best red-brown […] {Lake} The best lake is the genuine Florentine variety, made from cochineal; […] {Distilled red lead} […]

[translation: BEURS, en préparation, transl. Myra Scholz:] We now come to the second main color, namely red, and will proceed to its pigments. {Second main color: vermilion} Vermilion […] {Red-brown}The best red-brown […] {Lake} The best lake is the genuine Florentine variety, made from cochineal; […] {Distilled red lead} […]

Beurs specifies that he is refering to distilled minium (gedisitilleerde meny). [MO]

[translation: BEURS, en preparation, transl. Myra Scholz:] We now come to the second main color, namely red, and will proceed to its pigments. {Second main color: vermilion} Vermilion […] {Red-brown}The best red-brown […] {Lake} The best lake is the genuine Florentine variety, made from cochineal; […] {Distilled red lead} […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Third main color: ultramarine} The most costly blue color here is said to be ultramarine, […] {Smalt, German and English ash, indigo} Smalt […] as German and English ash can as well. But indigo […]

Again, Beurs distinguishes between Duitsche and Engelsche as. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Third main color: ultramarine} The most costly blue color here is said to be ultramarine, […] {Smalt, German and English ash, indigo} Smalt […] as German and English ash can as well. But indigo […]

In the German translation, this term is written as 'Indich'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Third main color: ultramarine} The most costly blue color here is said to be ultramarine, […] {Smalt, German and English ash, indigo} Smalt […] as German and English ash can as well. But indigo […]

In the German translation, this term is written as 'Schmelze'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Third main color: ultramarine} The most costly blue color here is said to be ultramarine, […] {Smalt, German and English ash, indigo} Smalt […] as German and English ash can as well. But indigo […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {General requirement} Since a painter wants to immortalize nature, and by means of his artworks his name as well, it is most important that he prepare the panel and canvas in such a way that he achieves his aim, and that the person who pays for the art has no complaints—and he will have no reason for such if one skillfully paints true to nature on durable painting surfaces with durable colors.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Panels in particular} As far as panels are concerned, not all types of wood can be used. And although we cannot identify precisely all the kinds that are suitable, and what the ancients used for their durable panels, the most reliable for use now, as far as we know, is good oak, which should if possible be taken from a single piece for smaller paintings, and should definitely be free of sapwood. […] {And canvas} The fabric must now be well spun and woven as tightly as the strength of the material allows. […]

Anciens (les)

[translation: BEURS, en préparation, transl. Myra Scholz:] {Panels in particular} As far as panels are concerned, not all types of wood can be used. And although we cannot identify precisely all the kinds that are suitable, and what the ancients used for their durable panels, the most reliable for use now, as far as we know, is good oak, which should if possible be taken from a single piece for smaller paintings, and should definitely be free of sapwood. […] {And canvas} The fabric must now be well spun and woven as tightly as the strength of the material allows. […]

Anciens (les)

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] […] we must now show how to apply an appropriate ground to the panel and canvas. {The ground on a panel} On the panel one first applies a ground of soft distemper mixed with white chalk […] After that umber is ground in oil with lead white to form a very thick mix, which is then first applied to the panel with a knife, then smoothed with one’s hand three or four times, depending on the degree of smoothness desired. This is suitable for a painter of human figures, but a landscape painter takes black mixed with lead white. {And on canvas} As for canvas, it is stretched on a frame and spread with an even layer of water and porridge to fill the small holes in the linen; after that it is rubbed smooth with a grinding stone or wooden board, so that no porridge remains on it. When this has been done, the canvas is treated the same way as a panel for taking a ground, except that one does not use chalk white.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Three types of tools} A person eager to begin can now exercise his natural and acquired talents on our prepared surface, and so should take in his hand, depending on what the work requires, soft hair brushes, bristle brushes, and fitches. One paints small and delicately or large and more roughly, and gently blends the colors together; for the first of these activities soft hair brushes are best suited, for the second bristle brushes, and for the last fitches.

Beurs distinguishes between three types of brushes: penseel, borstel and Vissch(en). [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Three types of tools} A person eager to begin can now exercise his natural and acquired talents on our prepared surface, and so should take in his hand, depending on what the work requires, soft hair brushes, bristle brushes, and fitches. One paints small and delicately or large and more roughly, and gently blends the colors together; for the first of these activities soft hair brushes are best suited, for the second bristle brushes, and for the last fitches.

Beurs distinguishes between three types of brushes: penseel, borstel and Vissch(en). [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Three types of tools} A person eager to begin can now exercise his natural and acquired talents on our prepared surface, and so should take in his hand, depending on what the work requires, soft hair brushes, bristle brushes, and fitches. One paints small and delicately or large and more roughly, and gently blends the colors together; for the first of these activities soft hair brushes are best suited, for the second bristle brushes, and for the last fitches.

Beurs distinguishes between three types of brushes: penseel, borstel and Vissch(en). [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

In the German translation, this term is described rather than translated, with the words: 'diejenigen die Landschaften mahlen'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Soft hair brushes} Soft hair brushes are commonly divided into four types or grades;[…] {And their differences}The largest types are used for applying sky and grounds, and the second for laying in trees and earth grounds; the third can serve for filling these in and for somewhat finer objects, and the last is used to render all the precise and particular detail necessary for painting life in all its intensity, in precious things seen up close or things that appear in very delicate form in the distance.The best soft brushes are those that have short hair and are pointed; they are also compact and the hairs do not split apart during painting. But it should be noted that landscape painters can very well use split brushes for trees.

[translation: BEURS, en préparation, transl. Myra Scholz:] And to give some instruction about working with them: Grounds, sky, trees, etc. are best applied with a flat brush, while the pointed brushes are used for small and very precise work—all sorts of fine lines and quickly drawn details, as for example, small twigs, fibers, veins, threads, hair, rigging of ships, and other things of this kind.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Bristle brushes and their use} Bristle brushes, as one would expect, are most commonly used in large works. Consider the ones with the softest hair to be the very best. With them you can spread out sky and grounds in large landscapes, using larger or smaller types depending on what is needed, as will also become self-evident.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Bristle brushes and their use} Bristle brushes, as one would expect, are most commonly used in large works. Consider the ones with the softest hair to be the very best. With them you can spread out sky and grounds in large landscapes, using larger or smaller types depending on what is needed, as will also become self-evident.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Fitches and their use} As for the last of them, the fitches, the softest ones can without doubt be considered the best, and they are used to blend the colors—if they go reasonably well together—into a soft and velvety mix, so that nature is imitated in the sweetest and most natural way.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Fitches and their use} As for the last of them, the fitches, the softest ones can without doubt be considered the best, and they are used to blend the colors—if they go reasonably well together—into a soft and velvety mix, so that nature is imitated in the sweetest and most natural way.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Fitches and their use} As for the last of them, the fitches, the softest ones can without doubt be considered the best, and they are used to blend the colors—if they go reasonably well together—into a soft and velvety mix, so that nature is imitated in the sweetest and most natural way.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Fitches and their use} As for the last of them, the fitches, the softest ones can without doubt be considered the best, and they are used to blend the colors—if they go reasonably well together—into a soft and velvety mix, so that nature is imitated in the sweetest and most natural way.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Fitches and their use} As for the last of them, the fitches, the softest ones can without doubt be considered the best, and they are used to blend the colors—if they go reasonably well together—into a soft and velvety mix, so that nature is imitated in the sweetest and most natural way.

[translation: BEURS, en préparation, transl. Myra Scholz:] A painter, too, can consider his work and art largely in vain if he juxtaposes colors that do not go well together. What is most excellent may lose its luster through what is inferior: […] {How to apply this to colors} But to apply this to our purpose, it is difficult to determine in what kinds of colors these laws are manifest. Yet one’s own experiments and experience, and the diligent observation of the supreme teacher, nature, which combines colors of many kinds in flowers, the rainbow, birds, stones, and all sorts of things, can in time give reasonable assurance, especially if sound judgment is used. But complete certainty would depend on the nature of colors, which is not yet adequately understood, and on the strength of the optic nerves and perception.

[translation: BEURS, en préparation, transl. Myra Scholz:] A painter, too, can consider his work and art largely in vain if he juxtaposes colors that do not go well together. What is most excellent may lose its luster through what is inferior: […] {How to apply this to colors} But to apply this to our purpose, it is difficult to determine in what kinds of colors these laws are manifest. Yet one’s own experiments and experience, and the diligent observation of the supreme teacher, nature, which combines colors of many kinds in flowers, the rainbow, birds, stones, and all sorts of things, can in time give reasonable assurance, especially if sound judgment is used. But complete certainty would depend on the nature of colors, which is not yet adequately understood, and on the strength of the optic nerves and perception.

[translation: BEURS, en préparation, transl. Myra Scholz:] A painter, too, can consider his work and art largely in vain if he juxtaposes colors that do not go well together. What is most excellent may lose its luster through what is inferior: […] {How to apply this to colors} But to apply this to our purpose, it is difficult to determine in what kinds of colors these laws are manifest. Yet one’s own experiments and experience, and the diligent observation of the supreme teacher, nature, which combines colors of many kinds in flowers, the rainbow, birds, stones, and all sorts of things, can in time give reasonable assurance, especially if sound judgment is used. But complete certainty would depend on the nature of colors, which is not yet adequately understood, and on the strength of the optic nerves and perception.

On page 26, this term is written as 'by elkanderen schikken'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] A painter, too, can consider his work and art largely in vain if he juxtaposes colors that do not go well together. What is most excellent may lose its luster through what is inferior: […] {How to apply this to colors} But to apply this to our purpose, it is difficult to determine in what kinds of colors these laws are manifest. Yet one’s own experiments and experience, and the diligent observation of the supreme teacher, nature, which combines colors of many kinds in flowers, the rainbow, birds, stones, and all sorts of things, can in time give reasonable assurance, especially if sound judgment is used. But complete certainty would depend on the nature of colors, which is not yet adequately understood, and on the strength of the optic nerves and perception.

On page 26, this term is written as 'by elkanderen schikken'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] A painter, too, can consider his work and art largely in vain if he juxtaposes colors that do not go well together. What is most excellent may lose its luster through what is inferior: […] {How to apply this to colors} But to apply this to our purpose, it is difficult to determine in what kinds of colors these laws are manifest. Yet one’s own experiments and experience, and the diligent observation of the supreme teacher, nature, which combines colors of many kinds in flowers, the rainbow, birds, stones, and all sorts of things, can in time give reasonable assurance, especially if sound judgment is used. But complete certainty would depend on the nature of colors, which is not yet adequately understood, and on the strength of the optic nerves and perception.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Colors that go well together} The following look attractive beside each other, namely red and white; white and yellow; yellow and green; green and rose-red; rose-red and blue; rose-red and light yellow.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Colors that go well together} The following look attractive beside each other, namely red and white; white and yellow; yellow and green; green and rose-red; rose-red and blue; rose-red and light yellow.

In the German translation, this term does not occur (as the marginalium is missing), but the Dutch 'sierlijk nevens elkanderen staan' is translated as: 'zierlich bey einander stehen'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Preliminary remarks} To go about this properly we should first alert the reader to what we will observe throughout this treatise, namely that one sees objects in sunlight; or in half-light, which one can call a midtone, as it is between sunlight (or highlights) and shadow; or in the shadow where the light begins to diminish; or in the reflections behind the lit side caused to a greater or lesser degree by illuminated objects in the surroundings.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Preliminary remarks} To go about this properly we should first alert the reader to what we will observe throughout this treatise, namely that one sees objects in sunlight; or in half-light, which one can call a midtone, as it is between sunlight (or highlights) and shadow; or in the shadow where the light begins to diminish; or in the reflections behind the lit side caused to a greater or lesser degree by illuminated objects in the surroundings.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Preliminary remarks} To go about this properly we should first alert the reader to what we will observe throughout this treatise, namely that one sees objects in sunlight; or in half-light, which one can call a midtone, as it is between sunlight (or highlights) and shadow; or in the shadow where the light begins to diminish; or in the reflections behind the lit side caused to a greater or lesser degree by illuminated objects in the surroundings.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Preliminary remarks} To go about this properly we should first alert the reader to what we will observe throughout this treatise, namely that one sees objects in sunlight; or in half-light, which one can call a midtone, as it is between sunlight (or highlights) and shadow; or in the shadow where the light begins to diminish; or in the reflections behind the lit side caused to a greater or lesser degree by illuminated objects in the surroundings.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Preliminary remarks} To go about this properly we should first alert the reader to what we will observe throughout this treatise, namely that one sees objects in sunlight; or in half-light, which one can call a midtone, as it is between sunlight (or highlights) and shadow; or in the shadow where the light begins to diminish; or in the reflections behind the lit side caused to a greater or lesser degree by illuminated objects in the surroundings.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Knowledge painters lack} If a painter adequately understood the nature of reflections and refractions—about which Sir Huygens, after Descartes, has written better and more understandably with his theory that rays from the light source are propagated as spherical waves equally in all directions—it would give him great satisfaction and certainty. Yet such a person will never be found. Indeed many of them barely understand the basics of perspective, knowledge so necessary for painters.

DESCARTES, René
HUYGENS, Christiaen

[translation: BEURS, en préparation, transl. Myra Scholz:] {Knowledge painters lack} If a painter adequately understood the nature of reflections and refractions—about which Sir Huygens, after Descartes, has written better and more understandably with his theory that rays from the light source are propagated as spherical waves equally in all directions—it would give him great satisfaction and certainty. Yet such a person will never be found. Indeed many of them barely understand the basics of perspective, knowledge so necessary for painters.

DESCARTES, René
HUYGENS, Christiaen

[translation: BEURS, en préparation, transl. Myra Scholz:] {Knowledge painters lack} If a painter adequately understood the nature of reflections and refractions—about which Sir Huygens, after Descartes, has written better and more understandably with his theory that rays from the light source are propagated as spherical waves equally in all directions—it would give him great satisfaction and certainty. Yet such a person will never be found. Indeed many of them barely understand the basics of perspective, knowledge so necessary for painters.

DESCARTES, René
HUYGENS, Christiaen

[translation: BEURS, en préparation, transl. Myra Scholz:] The shadows must glow and are made by mixing in black and somewhat more light ochre than for snow; and the reflections are made a little lighter than the shadows with some white, black, light ochre, and a little vermilion.

[translation: BEURS, en préparation, transl. Myra Scholz:] The shadows must glow and are made by mixing in black and somewhat more light ochre than for snow; and the reflections are made a little lighter than the shadows with some white, black, light ochre, and a little vermilion.

[translation: BEURS, en préparation, transl. Myra Scholz:] The shadows must glow and are made by mixing in black and somewhat more light ochre than for snow; and the reflections are made a little lighter than the shadows with some white, black, light ochre, and a little vermilion.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Remarks on the placing of white} Taking leave of this subject, then, one last point: What must continually be kept in mind is that objects intended to appear as prominent in a composition should not be painted white, to avoid weakening them and spoiling the right relations so necessary in a work of art between strong and subdued, in accordance with how the objects stand out or recede.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Remarks on the placing of white} Taking leave of this subject, then, one last point: What must continually be kept in mind is that objects intended to appear as prominent in a composition should not be painted white, to avoid weakening them and spoiling the right relations so necessary in a work of art between strong and subdued, in accordance with how the objects stand out or recede.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Remarks on the placing of white} Taking leave of this subject, then, one last point: What must continually be kept in mind is that objects intended to appear as prominent in a composition should not be painted white, to avoid weakening them and spoiling the right relations so necessary in a work of art between strong and subdued, in accordance with how the objects stand out or recede.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Remarks on the placing of white} Taking leave of this subject, then, one last point: What must continually be kept in mind is that objects intended to appear as prominent in a composition should not be painted white, to avoid weakening them and spoiling the right relations so necessary in a work of art between strong and subdued, in accordance with how the objects stand out or recede.

[translation: BEURS, en préparation, transl. Myra Scholz:] Eighth Chapter: Of yellow and its shades in flowers and fabrics

In this paragraph, Beurs describes the different applications of the various types of yellow pigments. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {and other yellow flowers} These are all the most important things that need to be pointed out for painting flowers with yellow. For from these three a lover of the liberal art of painting can learn to mix colors for other types of yellow flowers, which can be deduced from one of those explained above. Sunflowers, for example, require only a little more glow than the sweet brier;

[translation: BEURS, en préparation, transl. Myra Scholz:] {and other yellow flowers} These are all the most important things that need to be pointed out for painting flowers with yellow. For from these three a lover of the liberal art of painting can learn to mix colors for other types of yellow flowers, which can be deduced from one of those explained above. Sunflowers, for example, require only a little more glow than the sweet brier;

Beurs is using the term 'liefhebber' for the artist (instead of the spectator), in specific a painter of still lifes. Here, the term 'liefhebber' comes very close to the sense of the French/English term 'amateur'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {and other yellow flowers} These are all the most important things that need to be pointed out for painting flowers with yellow. For from these three a lover of the liberal art of painting can learn to mix colors for other types of yellow flowers, which can be deduced from one of those explained above. Sunflowers, for example, require only a little more glow than the sweet brier;

[translation: BEURS, en préparation, transl. Myra Scholz:] {and other yellow flowers} These are all the most important things that need to be pointed out for painting flowers with yellow. For from these three a lover of the liberal art of painting can learn to mix colors for other types of yellow flowers, which can be deduced from one of those explained above. Sunflowers, for example, require only a little more glow than the sweet brier;

[translation: BEURS, en préparation, transl. Myra Scholz:] Ninth Chapter: Of red and its shades in flowers and fabrics [...]

In this paragraph, Beurs describes the different applications of the various types of red pigments. [MO]

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation:BEURS, en préparation, transl. Myra Scholz :] When dry after being painted in this way, they are glazed or coated to tone down the contrast of the highlights and shadows with only thin Florentine lake, and given a sheen on the highlights with a little thin flake white. […] When dry they need the same glaze and addition of sheen as the ranunculi.

[translation: BEURS, en préparation, transl. Myra Scholz:] The Tenth and Last Chapter: Of blue and its shades in fabrics and flowers [...]

In this paragraph, Beurs describes the different applications in flower painting and the depiction of fabrics of the various blue pigments. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz :] {Four stages} Furthermore, of the five basic colors, one can mix two, three, four, or all five, producing four stages of mixing and a certain number of colors which theoretically could again be endlessly mixed—indeed so often that no number could express it, just as the twenty-three or twenty-four letters of the alphabet can yield so many words and languages that no number can ever be given for them.

[translation: BEURS, en préparation, transl. Myra Scholz :] {Four stages} Furthermore, of the five basic colors, one can mix two, three, four, or all five, producing four stages of mixing and a certain number of colors which theoretically could again be endlessly mixed—indeed so often that no number could express it, just as the twenty-three or twenty-four letters of the alphabet can yield so many words and languages that no number can ever be given for them.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Wide scope of the art of painting} With regard to the mixing of colors, then, this art appears infinite, an indefinable sea in which a person can lose his way. For this reason a painter can best apply himself to mastering that which is most in keeping with his individual character, in order to experience the greatest pleasure in aspiring to a high degree of perfection.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Wide scope of the art of painting} With regard to the mixing of colors, then, this art appears infinite, an indefinable sea in which a person can lose his way. For this reason a painter can best apply himself to mastering that which is most in keeping with his individual character, in order to experience the greatest pleasure in aspiring to a high degree of perfection.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Wide scope of the art of painting} With regard to the mixing of colors, then, this art appears infinite, an indefinable sea in which a person can lose his way. For this reason a painter can best apply himself to mastering that which is most in keeping with his individual character, in order to experience the greatest pleasure in aspiring to a high degree of perfection.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Wide scope of the art of painting} With regard to the mixing of colors, then, this art appears infinite, an indefinable sea in which a person can lose his way. For this reason a painter can best apply himself to mastering that which is most in keeping with his individual character, in order to experience the greatest pleasure in aspiring to a high degree of perfection.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Wide scope of the art of painting} With regard to the mixing of colors, then, this art appears infinite, an indefinable sea in which a person can lose his way. For this reason a painter can best apply himself to mastering that which is most in keeping with his individual character, in order to experience the greatest pleasure in aspiring to a high degree of perfection.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

In the German translation, the translator translated verschiet erroneously wiht ‘Verscheidenheit’. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Proper application of everything is necessary} If a painter does not know these things, he will lose control of his work, which will be chaotic and deviate from nature, having no balance of intense and subdued, nearness and distance. {Different subjects require different orders} As one can imagine, not all subjects should be treated in the same way. For some, with little difference in distances, one can simply rely on imagination as established by habit—but not when one is beginning to practice art. Some pieces have many gradations of distance and grounds, such as landscapes, where sky must also be applied in shades from the lower part (adjacent to the landscape) upward. There are also floral pieces with many amazing combinations of blossoms and leaves. There are interior scenes with human figures, also needed for historical paintings. All these can easily confuse a pupil who is not well versed in the order of application.

In the German translation, the translator translated verschiet erroneously wiht ‘Verscheidenheit’. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {This cannot be rigidly prescribed, the author’s method} Although I do not want to constrain the free spirit of artists—knowing what powerful imaginations there are in some cases, and that a master can be so sure of himself that he has learned to paint everything in his own way without rules; knowing also that in some things one imagination is guided differently from another—I shall merely offer pupils my method and order of painting, which I have no doubt will prove useful and fruitful.

[translation: BEURS, en préparation, transl. Myra Scholz:] {This cannot be rigidly prescribed, the author’s method} Although I do not want to constrain the free spirit of artists—knowing what powerful imaginations there are in some cases, and that a master can be so sure of himself that he has learned to paint everything in his own way without rules; knowing also that in some things one imagination is guided differently from another—I shall merely offer pupils my method and order of painting, which I have no doubt will prove useful and fruitful.

[translation: BEURS, en préparation, transl. Myra Scholz:] {This cannot be rigidly prescribed, the author’s method} Although I do not want to constrain the free spirit of artists—knowing what powerful imaginations there are in some cases, and that a master can be so sure of himself that he has learned to paint everything in his own way without rules; knowing also that in some things one imagination is guided differently from another—I shall merely offer pupils my method and order of painting, which I have no doubt will prove useful and fruitful.

[translation: BEURS, en préparation, transl. Myra Scholz:] {This cannot be rigidly prescribed, the author’s method} Although I do not want to constrain the free spirit of artists—knowing what powerful imaginations there are in some cases, and that a master can be so sure of himself that he has learned to paint everything in his own way without rules; knowing also that in some things one imagination is guided differently from another—I shall merely offer pupils my method and order of painting, which I have no doubt will prove useful and fruitful.

[translation: BEURS, en préparation, transl. Myra Scholz:] {This cannot be rigidly prescribed, the author’s method} Although I do not want to constrain the free spirit of artists—knowing what powerful imaginations there are in some cases, and that a master can be so sure of himself that he has learned to paint everything in his own way without rules; knowing also that in some things one imagination is guided differently from another—I shall merely offer pupils my method and order of painting, which I have no doubt will prove useful and fruitful.

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Perspective is useful here} Just as one brings perspective into a floor and similarly into a beamed ceiling, which forms an upside-down floor, the same approach is used for land and sea and for the sky above them, viewed as a beamed or vaulted ceiling. But here the hollowness of the sky offers little to go by for gradations.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Perspective is useful here} Just as one brings perspective into a floor and similarly into a beamed ceiling, which forms an upside-down floor, the same approach is used for land and sea and for the sky above them, viewed as a beamed or vaulted ceiling. But here the hollowness of the sky offers little to go by for gradations.

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {We divide the sky into four parts} Even though everything in the sky blends together in imperceptible degrees, it is necessary nevertheless, in order to arrive at an orderly approach and clear ideas for a proper composition and coloring, to identify a few parts of the sky, if one has chosen to include its entire expanse in the picture. We therefore posit four of them, and will explain all the kinds of sky and their effects on landscape and water, where they gradually melt together. {Clear sky}We begin then with a clear sky, which we will explain in terms of the parts mentioned, starting from the lowest and proceeding to the highest point. {First part in the background} The first part, around the horizon, is painted with smalt or ultramarine mixed with white and a little lake in order to make it recede, and the closer it is to the horizon the more it must recede. If someone wants to add a little light ochre, he should feel free to do so. {Second part} The second part, which in keeping with the rules of perspective we make larger, will need approximately half of the lake and light ochre used in the mix of the first part, depending on whether it is nearer or further away from the first part. {Third and fourth part} And for the same reason very little lake should be used in the third part, and much less light ochre, while the fourth part requires only smalt or ultramarine and white.

In the German translation, six parts are distinguished instead of four. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Allowing some freedom} The instructions we have just given should not, however, prove too constraining and limiting for a painter. Rather, he should grant himself some freedom because of the endless variations found in life—just as all the parts of the landscape must be subtly and imperceptibly melded together.

[translation: BEURS, en préparation, transl. Myra Scholz:] The clouds, then, in a sky first painted as clear, are added beside the blue in the uppermost part with smalt, lake, black, and white, also a little brown if it [i.e. the sky behind them] is blue, and they are heightened with the color closest to the horizon.

[translation: BEURS, en préparation, transl. Myra Scholz:] The clouds, then, in a sky first painted as clear, are added beside the blue in the uppermost part with smalt, lake, black, and white, also a little brown if it [i.e. the sky behind them] is blue, and they are heightened with the color closest to the horizon.

[translation: BEURS, en préparation, transl. Myra Scholz:] The clouds, then, in a sky first painted as clear, are added beside the blue in the uppermost part with smalt, lake, black, and white, also a little brown if it [i.e. the sky behind them] is blue, and they are heightened with the color closest to the horizon.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

In the German translation, this term is described as: 'Zurückkehrung der Strahlen'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Amazing variations, transition to the night}In order to introduce many amazing variations into the evening sky, one can conceal the sun between one and eight degrees below the horizon and then consider all the play and radiance caused by the bouncing and bending of light rays that can strike our eye, and practice diligently the mirroring of such skies in order to hone one’s perception and skills.[…]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Light at night} The brown, dark, and black night should make the light more intense, its brilliance more glowing, and the shadows more sharply outlined.

[translation: BEURS, en préparation, transl. Myra Scholz :] {Water and its various forms} Bodies of water, to limit our discussion on their nature, are transparent liquid objects that do not readily solidify, and their transparency is reduced to the degree that other objects are mixed into them. […] {How it can be painted} Water in its pure state cannot be painted, because it cannot be seen as such, and for this reason colors of objects and of the sky play on it, also on the surface of muddy water. One paints water, then, by making the highlights correspond to the appearance of the sky, and with reflections of objects playing on it, observing their different movements in waves or ripples in calm weather, or how they appear over the surface of large waves in a strong wind.

Beurs discusses how to paint water. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz :] {Water and its various forms} Bodies of water, to limit our discussion on their nature, are transparent liquid objects that do not readily solidify, and their transparency is reduced to the degree that other objects are mixed into them. […] {How it can be painted} Water in its pure state cannot be painted, because it cannot be seen as such, and for this reason colors of objects and of the sky play on it, also on the surface of muddy water. One paints water, then, by making the highlights correspond to the appearance of the sky, and with reflections of objects playing on it, observing their different movements in waves or ripples in calm weather, or how they appear over the surface of large waves in a strong wind.

Beurs discusses how to paint water. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {And drops of water} And to say something here about drops of water, they are painted as follows: One scumbles thinly with black over the lit side of the painted object on which the drop will appear. In the reflection, or mirroring, one brings a somewhat brighter shade than that of the object; then on the darker color, towards the light, a gleam must be added with only white; and finally, there has to be a shadow behind the reflection corresponding to the object on which it lies […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Conclusion} Now it is not necessary to go into more detail about scorpions, for from everything that has already been said, a painter that has the life situation before him will be able to paint it well enough. […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Conclusion} Now it is not necessary to go into more detail about scorpions, for from everything that has already been said, a painter that has the life situation before him will be able to paint it well enough. […]

[translation: BEURS, en préparation, transl. Myra Scholz:] And this should be enough on the subject of all birds, particularly if we learn how to render with the brush the beautiful, shining colors of the peacock, as they appear in life.

[translation: BEURS, en préparation, transl. Myra Scholz:] And this should be enough on the subject of all birds, particularly if we learn how to render with the brush the beautiful, shining colors of the peacock, as they appear in life.

[translation: BEURS, en préparation, transl. Myra Scholz:] Our aim is therefore to give instruction about the colors; the rest will depend on the practice and judgment of the painter himself.

[translation: BEURS, en préparation, transl. Myra Scholz:] Our aim is therefore to give instruction about the colors; the rest will depend on the practice and judgment of the painter himself.

[translation: BEURS, en préparation, transl. Myra Scholz:] Our aim is therefore to give instruction about the colors; the rest will depend on the practice and judgment of the painter himself.

[translation: BEURS, en préparation, transl. Myra Scholz:] Our aim is therefore to give instruction about the colors; the rest will depend on the practice and judgment of the painter himself.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Reason for this discussion} Large numbers of the small winged creatures described by Goedart, Swammerdam, Blankaart, and others can gradually be collected by oneself for the purpose of painting them. The most colorful ones can be found in our country, as far as I know. {Subjects of this chapter} They greatly embellish floral and fruit pieces, which is why—even though one could learn how to mix their colors from the instructions for flowers and birds—we will give the pupil a briefer and clearer explanation of a few important ones.

BLANKAART, Steven
GOEDAERT, Johannes
SWAMMERDAM, Jan

[translation: BEURS, en préparation, transl. Myra Scholz:] {Reason for this discussion} Large numbers of the small winged creatures described by Goedart, Swammerdam, Blankaart, and others can gradually be collected by oneself for the purpose of painting them. The most colorful ones can be found in our country, as far as I know. {Subjects of this chapter} They greatly embellish floral and fruit pieces, which is why—even though one could learn how to mix their colors from the instructions for flowers and birds—we will give the pupil a briefer and clearer explanation of a few important ones.

BLANKAART, Steven
GOEDAERT, Johannes
SWAMMERDAM, Jan

[translation: BEURS, en préparation, transl. Myra Scholz:] {Reason for this discussion} Large numbers of the small winged creatures described by Goedart, Swammerdam, Blankaart, and others can gradually be collected by oneself for the purpose of painting them. The most colorful ones can be found in our country, as far as I know. {Subjects of this chapter} They greatly embellish floral and fruit pieces, which is why—even though one could learn how to mix their colors from the instructions for flowers and birds—we will give the pupil a briefer and clearer explanation of a few important ones.

BLANKAART, Steven
GOEDAERT, Johannes
SWAMMERDAM, Jan

[translation: BEURS, en préparation, transl. Myra Scholz:] {Reason for this discussion} Large numbers of the small winged creatures described by Goedart, Swammerdam, Blankaart, and others can gradually be collected by oneself for the purpose of painting them. The most colorful ones can be found in our country, as far as I know. {Subjects of this chapter} They greatly embellish floral and fruit pieces, which is why—even though one could learn how to mix their colors from the instructions for flowers and birds—we will give the pupil a briefer and clearer explanation of a few important ones.

BLANKAART, Steven
GOEDAERT, Johannes
SWAMMERDAM, Jan

[translation: BEURS, en préparation, transl. Myra Scholz :] {Introduction and order of topics} Having dealt with sky, landscapes, water, fish, and birds, which can for the most part be observed directly, like the still life, we now devote ourselves to the still life proper. Although it is generally considered easier, it will nevertheless teach us about the most important and more difficult subjects, which will give a painter work aplenty if he wants to render them properly. {Contents of this chapter} There are many totally different objects that nevertheless have the same colors. The many colors of hair, for example, also appear in fruits, straw, barns, stone, ships, and similar things. For this reason we intend a thorough discussion of hair to be sufficient, being assured that a painter has already learned to give and take, and understands how he should mix colors in accordance with the lit side, shadows, and reflections and highlights, as was illustrated with examples of many kinds in the first part of this treatise.

[translation: BEURS, en préparation, transl. Myra Scholz :] {Introduction and order of topics} Having dealt with sky, landscapes, water, fish, and birds, which can for the most part be observed directly, like the still life, we now devote ourselves to the still life proper. Although it is generally considered easier, it will nevertheless teach us about the most important and more difficult subjects, which will give a painter work aplenty if he wants to render them properly. {Contents of this chapter} There are many totally different objects that nevertheless have the same colors. The many colors of hair, for example, also appear in fruits, straw, barns, stone, ships, and similar things. For this reason we intend a thorough discussion of hair to be sufficient, being assured that a painter has already learned to give and take, and understands how he should mix colors in accordance with the lit side, shadows, and reflections and highlights, as was illustrated with examples of many kinds in the first part of this treatise.

In the German translation, this term is described as: 'nach Propertie oder Gleichmässigkeit'. [MO]

[translation: BEURS, en préparation, transl. Myra Scholz :] {Introduction and order of topics} Having dealt with sky, landscapes, water, fish, and birds, which can for the most part be observed directly, like the still life, we now devote ourselves to the still life proper. Although it is generally considered easier, it will nevertheless teach us about the most important and more difficult subjects, which will give a painter work aplenty if he wants to render them properly. {Contents of this chapter} There are many totally different objects that nevertheless have the same colors. The many colors of hair, for example, also appear in fruits, straw, barns, stone, ships, and similar things. For this reason we intend a thorough discussion of hair to be sufficient, being assured that a painter has already learned to give and take, and understands how he should mix colors in accordance with the lit side, shadows, and reflections and highlights, as was illustrated with examples of many kinds in the first part of this treatise.

[translation: BEURS, en préparation, transl. Myra Scholz :] {Introduction and order of topics} Having dealt with sky, landscapes, water, fish, and birds, which can for the most part be observed directly, like the still life, we now devote ourselves to the still life proper. Although it is generally considered easier, it will nevertheless teach us about the most important and more difficult subjects, which will give a painter work aplenty if he wants to render them properly. {Contents of this chapter} There are many totally different objects that nevertheless have the same colors. The many colors of hair, for example, also appear in fruits, straw, barns, stone, ships, and similar things. For this reason we intend a thorough discussion of hair to be sufficient, being assured that a painter has already learned to give and take, and understands how he should mix colors in accordance with the lit side, shadows, and reflections and highlights, as was illustrated with examples of many kinds in the first part of this treatise.

[translation: BEURS, en préparation, transl. Myra Scholz:] {Use of these colors} From the kinds of hair explained here, with mixtures differing according to occasion and preference, one can dress up men and women, young and old in a wide variety of ways, as their lives, their histories, country of origin, beauty, and age require.