LEERMEESTER (n. m.)

LEHRMEISTER (deu.) · MAESTRO (ita.) · MAÎTRE (fra.) · MASTER (eng.) · MEISTER (deu.)
TERM USED IN EARLY TRANSLATIONS
/ · DOCTOR (lat.) · LEHRMEISTER (deu.) · MASTER (eng.) · PRAECEPTOR (lat.) · TEACHER (eng.)

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Quotation

Nu soo en behoeft sich hier niemandt van dese Konst af-keerigh te houden, ten aensien van d'ontallicke menichte der naturelicker dingen die af-ghebeeldt worden; ghemerckt daer nerghens een Konst is in welcke alles wat de Konst betreft van den Leer-Meester moet voor ghehouden worden. Ghewisselick, de wijds en sijds verspreyde nature der dinghen kan 't niet verdraeghen dat een Leer-Meester in dese Konst sijnen Leerlinghen elcke bysondere ghedaente soude gaen voorstellen: ende indien erghens yemant sulcks aenvanght, deselvighe sal, nae 't seggen van Quintilianus {orat. Instit. Lib. 5. cap.10}, dese twee onghemacken ondergaan, dat hy sijne Leer-jonghens altijds te vele sal voorhouden, en nimmermeer ghenoeg.

[Suggested translation, Marije Osnabrugge:] As such now no one has to stand aloof from this Art, regarding the countless mass of natural things that are depicted; considering there is no Art anywhere in which everything regarding the Art has to be demonstrated by the Master. Certainly, the far and wide spread nature of things cannot bear it that a Master in this Art would be showing every specific shape to his Pupils: and if someone somewhere initiates something like that, he will, as is said by Quintilianus {…}, undergo these two discomforts, that he will always show his apprentice too much, and never enough.

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Dit selvighe wordt mede bevestight met dese woorden van den gheleerden Quintilianus; t staet eenen Leer-Meester toe, seght hy {Orat. Institut. Lib. 7. cap. 10.}, daghelicks aen te wijsen hoedanigh 't vervolge der dinghen sy, als oock hoe de selvighe aen elck-ander hanghen: want het onmoghelick is, al 't ghene de Konst aen-gaet, in 't bysonder voor te schrijven. Waer vindt men doch erghens een Schilder, die al 't ghene in de nature voor-valt, heeft leeren naetrecken? Nochtans sal hy, de rechte maniere der imitatie maer eens gevat hebbende, al wat hem voor-komt lichtelick af-beelden.

[Suggested translation, Marije Osnabrugge:] The same is also confirmed with these words by the learned Quintilianus; it is allowed to a Master, he says {…}, to designate daily how the continuation of the things will be, as well as how things are connected to each other: as it is impossible to lay out all that concerns Art in its specificity. Where then does one find a Painter, who has learned to trace all that happens in nature? Nonetheless he will, once he has grasped the right manner of imitation, easily depict all that occurs to him.

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Dies worden oock d'eerste beginselen deser Konsten seer lichtelick an dieghene ghevat, dewelcke haeren wille ongheveynsdelick daer toe gheneyght vinden: ende soo wanneer yemant langhsaemlick daer in voordtvaert, deselvighe magh het sijn eyghene weder-strevigheydt danck weten: want wy sullen het eerste onderwijs kort ghenoeg vinden, indien wy maer alleen ons selven en andere niet en soecken moedt-willighlick wijs te maecken dat het eenen verdrietiglick langhen wegh is: Behalven dat oock een bequame maniere van onderwijsinghe alle dinghen noch al korter sal maecken. Nu daerenteghen soo is de eerste ende de meeste schuld in de Leer-Meesters, die 't fuselboeck soeckende haere Leer-jonghers wonderlick geerne ophouden,…

[Suggested translation, Marije Osnabrugge:] The first principles of these Arts are also easily grasped by those, who sincerely put themselves to it: and when someone slowly advances in it, he may thank his own opposition: because we will find the first education short enough, if we only try not to consciously deceive ourselves and others that it is a sad long road: Besides that, an adequate way of education will also make all things much shorter. By contrast, the first and most blame is then on the Masters, who strangely enjoy detaining their apprentices by causing delay,…

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Soo is dit oock d'eenighe reden waerom dese Konsten altijdt in haeren eersten aenvangh de hulpe van een oprecht Leer-meester vereyschen, die ons ghetrouwelick voor houde all 't gene in d'oude Konst nae-volgenswaerdt is, die ons onderwijse, die onse eerste mis-grepen verbetere, die onse onervaerene sinnen ende handen sorghvuldighlick bestiere, die ons eyndelick te kennen gheve door hoedaenighen schijn van onghelijckheydt de ghelijckenisse van d'aller ghelijckste dingen behoort bedeckt ende in maniere van spreken bewimpelt te worden.

[Suggested translation, Marije Osnabrugge:] As such this is also the only reason why these Arts always demand the assistance of an honest Master, who faithfully show us all that which is worth imitating in the old Art, who teaches us, who improves our first blunders, who carefully governs our inexperienced senses and hands, who finally lets us know by which appearance of inequality the similitude of the most similar things needs to be covered and in a manner of speaking hidden.

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Den almoghenden God, als wesende den eenighen rijcken springh-ader alles goeds, word hier Godvruchtiglick in d’eerste plaetse gestelt; wiens oneyndelicke goedertierenheydt de herten der Ouders ghestaedighlick verweckt, om goede sorge over haere Kinderen te draeghen, ten eynde dat haere liefste panden ghetijdighlick in handen eenes goeden ende ghetrouwen Leer-meesters overghelevert sijnde, niet allen d’eerste grondslaeghen maer oock d’allerdiepste gheheymenissen der Konste van kinds beenen aen moghten indrinken. Indien het dan gheviel dat de Leerlingen haere leer-jaeren gheeyndight hebben ’t goede voorschrift der Meesters achter den rugghe bestonden te versmijten, ende haer eyghen hoofd tot naedeel van de konst te volghen, so plaght de vreese van strenghe wetten teghen de verdervers der konsten ghemaeckt dese haere onghebondenheyt krachtighlick te betoomen: indien sy daer en teghen van oprechtigheyd haerer eerster onderwijsinghe in het minste niet ghesint waeren af te wijcken, so wierden sy in desen standvastighen loop dapper ghestijft door eenen sekeren Naer-yver ofte Aemulatie, die de wackere verstanden gheen ruste liet ghenieten tot dat sy niet alleen haer Meester achterhaelden; maer ook de Meesters haerer Meesters te boven gingen.

[Suggested translation, Marije Osnabrugge:] The almighty God, being the only rich vein of all things good, is Devoutly placed here in first place; whose endless mercy steadily causes in the hearts of Parents to take good care of their Children, lest their dearest offspring are delivered timely to the hands of a good and loyal Master, may they not only drink in the first principles but also the deepest secrets of Art from childhood on. If it then happens that the Pupils, having finished their period of training, throw away the good instruction of the Master behind his back and follow their own mind to the disadvantage of the art, then the fear of strict laws made against the corruptors of the arts is apt to strongly bound this licentiousness: however, if out of honesty they never intended to deviate from their first instruction, then they are valiantly strengthened in this firm course through a certain envy or emulation, which would not allow the mind to enjoy any rest until they would not only overtake their Master; but also surpass the Masters of their Masters.

meester

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Want ghelijck d’opvoedinghe van de lichaemen die wel oyt d’aller kloeckste sullen wesen met de melck spijse, met het wieghen-ghesol, met het kruypen langhs stoelen en bancken plaght te beghinnen, soo moeten oock dieghene dewelcke met de tijd voor d’aller uytnemenste Konstenaers gheouden worden haer selven een goede wijle tijds ontrent d’eerste linien besigh houden, te vrede sijnde dat de hand des Leermeesters haere hand bestiert tot dat sy nae een ghenoegsaeme hand-leydinghe van selfs op den rechten treck vallen.

[Suggested translation, Marije Osnabrugge:] Just like the upbringing of the bodies that one day will be the stoutest tends to start with the drinking of milk, with the rocking of the cradle, with crawling along chairs and benches, as such those who will become the very best Artists have to occupy themselves for a good while with the first lines as well, being content that the hand of the Master guides their hand until after a sufficient guidance of the hand it will fall on the right track [NDR: stroke] by itself.

In the Latin edition (1637), Junius uses the description 'manu regentis'. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Aengaende nu de meeste nuttigheyt diemen uyt het navolgen ende bestudeeren van oude ende geleerde stucken moet halen, is, datmen de Konst ende kracht van soodanige Schildery, aen sijne eygen Wercken leert toepassen, en daer in als sijn eygen Werck vertoont, dat is datmen de Deught van een beroemt Meesters Wercken, ontrent ende in een Nieuwe Inventy geleerdelijck oeffent. Hierom is ‘et datmen de Konst-stucken met geen losse, of loopende ooge mach besichten; {Gebruyck uyt het gene men in ’t Copieeren geleert heeft.} maer deselve wel nadencken, ende die bedenckingen andermael hervatten, de stucken in de handt nemen, en bespeculeeren die wel naeuwe door en door, op datmen alsoo na een veelvoudighe op-merckingh, de ware Deught der Konste ende geest door welke soodanigen Meester is geleyt geworden, verstaende, die ons selfs eygen kome te maken. Doet ‘er by dat daerom eenen Jongelingh ontrent de Konst van soodanigen navolgingh, sich moeste versien, met de hulpe ende onderwijsinge van een getrouw Leer-Meester, op dat hy ontrent het gheseyde, sijne onervaerne sinnen ende handen geleerdelijck bestieren mochte.

[suggested translation, Marije Osnabrugge:] Regarding the best use that one has to obtain from the imitation and study of old and learned pieces, one should learn to apply the Art and power of such a Painting to his own works, and show it as his own work, i.e. that one intelligently practices the Virtue of the Works of a famous Master regarding and in a New Invention. This is why one should never look at the Art works with a loose or moving eye; {Use from that which one has learned by Copying.} but think well about it and take up these considerations once again, taking the pieces in one’s hands and considering them closely through and through, so that one may appropriate after a multiple observation, understanding the true Virtue of Art and the spirit by which such a Master was driven. Add to this that this is why, regarding the Art of such imitation, a young man must ascertain himself, the assistance and education by a loyal Teacher, so that regarding that which has been said, he may guide his inexperienced senses and hands intelligently.

Conceptual field(s)

L’ARTISTE → apprentissage