ARISTIDES ( IVe siècle av. J.-C. )
Artiste de l'Antiquité grecque
Quotation
Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which, Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…]. [...] And so have we done with an Example of all in One : For
Invention allures the mind.
Proportion, attracts the Eyes.
Colour ; delights the Fancie.
Lively Motion, stirs up our Soul.
Orderly Disposition, charmes our Senses.
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.
Quotation
Aristides, van affecten.
Quotation
1 Gheen Mensch soo stantvastich, die mach verwinnen
Soo gantschlijck zijn ghemoedt en swack gheneghen,
Of d’Affecten en passien van binnen
En beroeren hem wel zijn hert’ en sinnen,
Dat d’uytwendighe leden mede pleghen,
En laten door een merckelijck beweghen,
Soo in ghestalten, ghedaenten, oft wercken,
Bewijselijcke litteyckenen mercken. {Niemant vry van passien, Affecten, oft Menschelijck swack gheneghen.}
2 De Natuer-condighe laten ons hooren,
Onderscheydelijck de namen der dinghen,
Affecten gheheeten, eerst en al vooren {VVat s’Menschen Affecten oft passien zijn.}
Liefde, begeerlijckheyt, vreucht, smert en tooren,
Commer en droefheyt, die t’herte bespringhen,
Cleynmoedicheyt, vreese quaet om bedwinghen,
Oock opgheblasentheyt, en nijdich veeten,
Dees en derghelijck, al Affecten heeten.
3 Aristides van Theben heeft dese stucken
(Ethe gheheeten, zijnde by de Griecken)
Alder eerst met de verwe gaen uytdrucken, {Aristides den eersten uytbeelder der Affecten.}
[…]
Quotation
But to treat Methodically of this, or as we have already enlarged in the History and Progresse of Chalcography, and the surviving labours of the most renowned Masters, would require no lesse time and pains : It were indeed a noble, curious, and useful work, but almost impossible to accomplish ; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousie, and esteem’d, as so many Jewels of greater value, then those of Pearles and Diamonds : For some of them being the very last workes, though but imperfect draughts of so Excellent Artists ; they have for the most part been in greater esteem, then even those of larger bulke and more finished ; as Pliny instances in the Iris of Aristides, the Medea of Timomachus, and some others ; because (as he there speaks) such touches did even expresse the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us ; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces […]
Quotation
But to treat Methodically of this, or as we have already enlarged in the History and Progresse of Chalcography, and the surviving labours of the most renowned Masters, would require no lesse time and pains : It were indeed a noble, curious, and useful work, but almost impossible to accomplish ; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousie, and esteem’d, as so many Jewels of greater value, then those of Pearles and Diamonds : For some of them being the very last workes, though but imperfect draughts of so Excellent Artists ; they have for the most part been in greater esteem, then even those of larger bulke and more finished ; as Pliny instances in the Iris of Aristides, the Medea of Timomachus, and some others ; because (as he there speaks) such touches did even expresse the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us ; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces […]
Quotation
Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
Quotation
Daerom segh ick zijnder nu bequaem, oft begrijplijcke jonghe gheesten oft vaten, tot onse Schilder-const leer-liefdigh oft lustigh wesende, […], die moghen desen mijnen willighen dienst dancklijck aennemen, en snel-geestigh opmercklijck achten op d’onderwijsighe deelen, die ick in desen mijnen Schilder-consten gront, oft gantschen Schilder-boeck, hen voor ooghen stelle oft voordraghe. […] hun vrymoedicheyt levende verweckt te wesen conden mercken : Soo bespreeck ick, datse onvertsaeghdlijck toetreden, en aengrijpen voor eerst het besonderste deel der Consten, te weten, een Menschlijck beeldt te leeren stellen, oock eyndlijck alle ander omstandighe deelen t’omhelsen, oft immers als Natuere en Geest anders niet willen toelaten, eenigh besonder deel, om daer in uytnemende te moghen worden: want het niet daeghlijcx gheschiet, dat een alleen alles vermagh, leeren, begrijpen, oft in alles uytnemende worden can. Sulcx bevintmen onder onse Const, van in den ouden oft Antijcken tijt te wesen toeghegaen, dat d’een in d’een, en d’ander in d’ander geschickter en beter Meester gheweest is, gelijck men in hun levens sal bevinden.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
Quotation
Aristote {L. de Poet. c. 6} le [ndr : Zeuxis] reprent aussi de n’avoir pas exprimé comme Polygnotus les mœurs, ny fait comprendre les passions, quoy que Pline {L. 35. c. 9. & 10.} dise qu’elles étoient visibles dans sa Penelope qui fit un de ses chefs-d’œuvres […]. Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
Quotation
FIGURE. Quoique ce mot soit fort général, dit Mr de Piles, & qu’il signifie tout ce qui peut être décrit par plusieurs lignes, néanmoins en Peinture, on l’entend ordinairement des figures humaines. Peindre la figure, faire la figure.
Annibal Carrache ne croyait pas qu’on dût faire entrer plus de douze figures dans un tableau : Il exceptoit apparamment certains sujets qui en demandent nécessairement un plus grand nombre ; comme un Jugement universel, un massacre des Innocens, une bataille, une peste. Aristide, un des plus fameux Peintre de la Gréce, a fait entrer cent figures dans le tableau de l’expédition d’Alexandre.
Quotation
Of the Necessity and Definition of Proportion.
It was not without just Cause, that the antient Græcians (at which time the Art of Painting had fully attained to his Perfection, by the Industry of Timantes, Eusenidas, Aristides, Eupompus, Sicyonias and Pamphilus, the famous Macedonian Painter, and Master of Apelles, who also was the first learned Painter directing his Workes by the Rules of Art, above any of his Predecessors, and well considering that whatsoever was made without measure and proportion, could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder) were wont to say, that it was impossible to make any tolerable, much less any Commendable Picture, without the help of Geometry and Arithmetick, wherefore they required the Knowledge thereof, as a thing most necessary, which saying was also approved by Philip Macedo. And surely it is impossible (to omitt the meere Artizans) that he who is ignorant of these two Sciences, should understand the exact measure and proprotion of any probable or true Body, the necessity of which proportions shall be shewed hereafter.
Quotation
{In welchen Studen jeder von den Alten oder antichen bäst qualificirt gewesen.} Es ist dieses bey unserer Kunst gewöhnlich/ auch so wol an den antichen/ als modernen/ zu ersehen/ daß der eine in einem/ der andere in etwas anders/ die wenigsten in allem/ excelliret und Meister gewesen. {Die Griechen.} Dann Apollodorus legte sonderlich der Schönheit zu. Zeuxis machte zu große Köpfe/ ware aber ein künstlicher Obst-Mahler. Eumarus gewöhnte sich/ alles nach dem Leben nachzubilden. Protogenes konte erstlich nur Schiffe mahlen. Apelles war in allem zierlich. Parrhasius ware gut in seinen Umrißen; Daemon, reich von invention; Timanthes verständig in allen seinen Werken/ auch immer verborgenen Sinns und Meinung; Pamphilus, gelehrt; Nicomachus, geschwind; Athenion, tieffsinnig; Nicophanes, sauber und nett; Amulius schön mit Farben; Pausias, munter in Bildung der Kinder und Blumen; Asclepidorius gut in dem messen und in den proportionen; Amphion, von Anordnung, Serapio, vernünftig in großen; Pireikus, in kleinen Sachen; Antiphilus in klein- und großen ; Dyonisius, konte nur Menschen mahlen; Euphranor, alles; Nicias, Thiere/ besonderlich Hunde. Nicophanes, konte wol nach-copiren/ und war in seinen Werken sauber; Mechophanes zu rauh in den Farben; Nealces, gut im ausbilden; Aristides, in affecte ; Clesides, nach dem Leben ; Ludius, in Landschaften.
Quotation
1 Gheen Mensch soo stantvastich, die mach verwinnen
Soo gantschlijck zijn ghemoedt en swack gheneghen,
Of d’Affecten en passien van binnen
En beroeren hem wel zijn hert’ en sinnen,
Dat d’uytwendighe leden mede pleghen,
En laten door een merckelijck beweghen,
Soo in ghestalten, ghedaenten, oft wercken,
Bewijselijcke litteyckenen mercken. {Niemant vry van passien, Affecten, oft Menschelijck swack gheneghen.}
2 De Natuer-condighe laten ons hooren,
Onderscheydelijck de namen der dinghen,
Affecten gheheeten, eerst en al vooren {VVat s’Menschen Affecten oft passien zijn.}
Liefde, begeerlijckheyt, vreucht, smert en tooren,
Commer en droefheyt, die t’herte bespringhen,
Cleynmoedicheyt, vreese quaet om bedwinghen,
Oock opgheblasentheyt, en nijdich veeten,
Dees en derghelijck, al Affecten heeten.
3 Aristides van Theben heeft dese stucken
(Ethe gheheeten, zijnde by de Griecken)
Alder eerst met de verwe gaen uytdrucken, {Aristides den eersten uytbeelder der Affecten.}
[…]
Quotation
Aristides was the most excellent of his time for expressing sence and passion, as in that peece of his, of a mother deadly wounded, and giving her child sucke, in whose face he expressed a deadly feare, as loath to deny it food, and unwilling to give it the teate for feare of killing it with her blood, which with the milke issued forth in great abundance. This Table Alexander carried with him to Pella.
Quotation
Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which, Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…]. [...] And so have we done with an Example of all in One : For
Invention allures the mind.
Proportion, attracts the Eyes.
Colour ; delights the Fancie.
Lively Motion, stirs up our Soul.
Orderly Disposition, charmes our Senses.
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.
Quotation
ABOUT this Time flourish’d Arestides, whose Excellency lay in expressing the Passions and Affections, and decyphering all the Virtues and Vices, and as particularly appear’d by that Piece of his of the Indulgent Mother, mortally wounded in the Body, and a sucking Infant hanging at the same Time upon her Breast, where, unconcern’d for her own Life, she express’d a wonderful Reluctancy, and strange Strife within her in regard to the Infant, as loath to deny it Food, and unwilling to give it the Breast, for fear of destroying it with her Blood, which mingled with her Milk, issued forth in great abundance. This Table was dear to Alexander, and carried along with him to Pella.
Quotation
Aristote {L. de Poet. c. 6} le [ndr : Zeuxis] reprent aussi de n’avoir pas exprimé comme Polygnotus les mœurs, ny fait comprendre les passions, quoy que Pline {L. 35. c. 9. & 10.} dise qu’elles étoient visibles dans sa Penelope qui fit un de ses chefs-d’œuvres […]. Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
Quotation
Of the Necessity and Definition of Proportion.
It was not without just Cause, that the antient Græcians (at which time the Art of Painting had fully attained to his Perfection, by the Industry of Timantes, Eusenidas, Aristides, Eupompus, Sicyonias and Pamphilus, the famous Macedonian Painter, and Master of Apelles, who also was the first learned Painter directing his Workes by the Rules of Art, above any of his Predecessors, and well considering that whatsoever was made without measure and proportion, could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder) were wont to say, that it was impossible to make any tolerable, much less any Commendable Picture, without the help of Geometry and Arithmetick, wherefore they required the Knowledge thereof, as a thing most necessary, which saying was also approved by Philip Macedo. And surely it is impossible (to omitt the meere Artizans) that he who is ignorant of these two Sciences, should understand the exact measure and proprotion of any probable or true Body, the necessity of which proportions shall be shewed hereafter.
Quotation
Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
Quotation
Of the Necessity and Definition of Proportion.
It was not without just Cause, that the antient Græcians (at which time the Art of Painting had fully attained to his Perfection, by the Industry of Timantes, Eusenidas, Aristides, Eupompus, Sicyonias and Pamphilus, the famous Macedonian Painter, and Master of Apelles, who also was the first learned Painter directing his Workes by the Rules of Art, above any of his Predecessors, and well considering that whatsoever was made without measure and proportion, could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder) were wont to say, that it was impossible to make any tolerable, much less any Commendable Picture, without the help of Geometry and Arithmetick, wherefore they required the Knowledge thereof, as a thing most necessary, which saying was also approved by Philip Macedo. And surely it is impossible (to omitt the meere Artizans) that he who is ignorant of these two Sciences, should understand the exact measure and proprotion of any probable or true Body, the necessity of which proportions shall be shewed hereafter.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
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Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
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Daerom segh ick zijnder nu bequaem, oft begrijplijcke jonghe gheesten oft vaten, tot onse Schilder-const leer-liefdigh oft lustigh wesende, […], die moghen desen mijnen willighen dienst dancklijck aennemen, en snel-geestigh opmercklijck achten op d’onderwijsighe deelen, die ick in desen mijnen Schilder-consten gront, oft gantschen Schilder-boeck, hen voor ooghen stelle oft voordraghe. […] hun vrymoedicheyt levende verweckt te wesen conden mercken : Soo bespreeck ick, datse onvertsaeghdlijck toetreden, en aengrijpen voor eerst het besonderste deel der Consten, te weten, een Menschlijck beeldt te leeren stellen, oock eyndlijck alle ander omstandighe deelen t’omhelsen, oft immers als Natuere en Geest anders niet willen toelaten, eenigh besonder deel, om daer in uytnemende te moghen worden: want het niet daeghlijcx gheschiet, dat een alleen alles vermagh, leeren, begrijpen, oft in alles uytnemende worden can. Sulcx bevintmen onder onse Const, van in den ouden oft Antijcken tijt te wesen toeghegaen, dat d’een in d’een, en d’ander in d’ander geschickter en beter Meester gheweest is, gelijck men in hun levens sal bevinden.
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Aristides, van affecten.
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1 Gheen Mensch soo stantvastich, die mach verwinnen
Soo gantschlijck zijn ghemoedt en swack gheneghen,
Of d’Affecten en passien van binnen
En beroeren hem wel zijn hert’ en sinnen,
Dat d’uytwendighe leden mede pleghen,
En laten door een merckelijck beweghen,
Soo in ghestalten, ghedaenten, oft wercken,
Bewijselijcke litteyckenen mercken. {Niemant vry van passien, Affecten, oft Menschelijck swack gheneghen.}
2 De Natuer-condighe laten ons hooren,
Onderscheydelijck de namen der dinghen,
Affecten gheheeten, eerst en al vooren {VVat s’Menschen Affecten oft passien zijn.}
Liefde, begeerlijckheyt, vreucht, smert en tooren,
Commer en droefheyt, die t’herte bespringhen,
Cleynmoedicheyt, vreese quaet om bedwinghen,
Oock opgheblasentheyt, en nijdich veeten,
Dees en derghelijck, al Affecten heeten.
3 Aristides van Theben heeft dese stucken
(Ethe gheheeten, zijnde by de Griecken)
Alder eerst met de verwe gaen uytdrucken, {Aristides den eersten uytbeelder der Affecten.}
[…]
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Aristides was the most excellent of his time for expressing sence and passion, as in that peece of his, of a mother deadly wounded, and giving her child sucke, in whose face he expressed a deadly feare, as loath to deny it food, and unwilling to give it the teate for feare of killing it with her blood, which with the milke issued forth in great abundance. This Table Alexander carried with him to Pella.
Quotation
Alhoewel wy in de voorighe afdeylinghen wijdloopighlick genoeg hebben aengewesen, dat de schilderijen door ’t bequaeme by een voeghen der figuren veelsins worden gheholpen; so schijnt doch evewel de duydelickheyt, die somtijds oock d’uytdruckelickheyt ghehnaemt wordt, een van de voornaemste vruchten der Ordinantie te wesen. Want gelijck een goed ende omsightigh Konstenaer het gantsche beleyd sijner Dispositie uyt de kracht der fantasije ghewoon is the haelen, mids de gantsche geleghenheyd der materie sich selven als teghenwoordigh voorstellende; so plaght hy oock altijd een klaer en levendigh afdrucksel van dese verbeelde teghenwordigheyd soo krachtighlick in sijne wercken in te printen, dat d’aendachtighe aenschouwers door de duydelickheyt deser afbeeldinghen aengheleydt sijnde, even de selvighe verbeeldenskracht in haere herten schijnen te vernemen, die den werckenden Konstenaer wel eer in ’t schicken ende ’t by een voeghen der materie ghevoelt heeft, siet de laetste afdeylinge van ’t vierde Capittel onses eersten Boecks, alwaer wy den grond-slag van dit punt kortelick hebben aengheroert. De uytdruckelickheyt vereyscht dat men d’afgebeelde dinghen niet verkeerdelick voorstelle, maer achter volghens d’orden daer in de dinghen selver gheschiedt sijn, seght Aristides Rhetor de Civili orat. Cap. 10. De uytdruckelickheyd t’saemen ghevoeghd e en konstighlick in een ghevlochten dinghen, seght Lucianus [De Conscribe. historia}, moet over al in het gantsche werck uytschijnen; vant de volmaecktheyd des wercks voornamelick daer in gheleghen is.
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Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
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Le peintre Aristide est le premier de tous qui se servit de la Morale dans sa profession, & qui sçeut pendre l’Ame avecque ses pensées aussi bien que le corps, par l’expression visible de tous les mouvemens interieurs ; les couleurs dont il [ndr : Aristide] se servoit estoient neantmois trouvées un peu rudes de son tems.
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Of Action and Passion.
{4. Action and Passion.} The next observation, is out of which, Life and Motion doth result : It shews no Action or Passion in a Piece, barely upright, looking forward ; the Armes hanging down, the feet close together, and so seems unmoveable, and stiff.
{How to be expressed} In lineall Pieces, there may be a deceitfull similitude of Life and Motion, and statues may seem to live and breathe but coloured Pictures shew a lively force in the severall effects, and properties of Life and Spirit.
{And to be improved} To be well acquainted with Nature, Manner, guize and behaviour ; as to paint a Man, angry or sad ; joyfull earnest ; or idle ; all passions to be proper to the figure : […]. Indeed the severall postures of the head, describe the Numbers of passions ; […]. In a word, each severall member or part of the body, either of themselves, or in reference of some other part, expresses the passions of the mind, as you may easily observe in the Life.
[…].
{By example of Titian’ Pieces.} I have seen a piece of Tytian’s : A Child in the Mothers Lap playing with a Bird ; so round and pleasing, it seem’s a doubt whether a Sculpture or Painting ; whether Nature or Art, made it ; the mother smiles and speaks to : the child starts, and answers.
{And of Palma’s Piece.} Another of Palma’s ; a speaking Piece indeed. The young Damsell brought for Old Davids Bedfellow ; all the company in Passion and Action : some in admiration of her beauty, others in examining her features, which so please the good Old Man, that in some Extasie of passion, he imbraces her which her humility admits, yet with a silent modesty as best became her, only to be dumb and so suffer.
[…]. [...] And so have we done with an Example of all in One : For
Invention allures the mind.
Proportion, attracts the Eyes.
Colour ; delights the Fancie.
Lively Motion, stirs up our Soul.
Orderly Disposition, charmes our Senses.
{Conclude a rare Picture.} These produce gracefull Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double diligence, or over doing ; a careless shew, hath much of Art.
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But to treat Methodically of this, or as we have already enlarged in the History and Progresse of Chalcography, and the surviving labours of the most renowned Masters, would require no lesse time and pains : It were indeed a noble, curious, and useful work, but almost impossible to accomplish ; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousie, and esteem’d, as so many Jewels of greater value, then those of Pearles and Diamonds : For some of them being the very last workes, though but imperfect draughts of so Excellent Artists ; they have for the most part been in greater esteem, then even those of larger bulke and more finished ; as Pliny instances in the Iris of Aristides, the Medea of Timomachus, and some others ; because (as he there speaks) such touches did even expresse the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us ; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces […]
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Of the Necessity and Definition of Proportion.
It was not without just Cause, that the antient Græcians (at which time the Art of Painting had fully attained to his Perfection, by the Industry of Timantes, Eusenidas, Aristides, Eupompus, Sicyonias and Pamphilus, the famous Macedonian Painter, and Master of Apelles, who also was the first learned Painter directing his Workes by the Rules of Art, above any of his Predecessors, and well considering that whatsoever was made without measure and proportion, could never carry with it any such congruity as might represent either Beauty or Grace to the judicious beholder) were wont to say, that it was impossible to make any tolerable, much less any Commendable Picture, without the help of Geometry and Arithmetick, wherefore they required the Knowledge thereof, as a thing most necessary, which saying was also approved by Philip Macedo. And surely it is impossible (to omitt the meere Artizans) that he who is ignorant of these two Sciences, should understand the exact measure and proprotion of any probable or true Body, the necessity of which proportions shall be shewed hereafter.
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Es wird auch ihr Vorzug behauptet/ durch die sonderbare Remuneration und Belohnung/ welche unserer Pictura widerfahren. […]
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{In welchen Studen jeder von den Alten oder antichen bäst qualificirt gewesen.} Es ist dieses bey unserer Kunst gewöhnlich/ auch so wol an den antichen/ als modernen/ zu ersehen/ daß der eine in einem/ der andere in etwas anders/ die wenigsten in allem/ excelliret und Meister gewesen. {Die Griechen.} Dann Apollodorus legte sonderlich der Schönheit zu. Zeuxis machte zu große Köpfe/ ware aber ein künstlicher Obst-Mahler. Eumarus gewöhnte sich/ alles nach dem Leben nachzubilden. Protogenes konte erstlich nur Schiffe mahlen. Apelles war in allem zierlich. Parrhasius ware gut in seinen Umrißen; Daemon, reich von invention; Timanthes verständig in allen seinen Werken/ auch immer verborgenen Sinns und Meinung; Pamphilus, gelehrt; Nicomachus, geschwind; Athenion, tieffsinnig; Nicophanes, sauber und nett; Amulius schön mit Farben; Pausias, munter in Bildung der Kinder und Blumen; Asclepidorius gut in dem messen und in den proportionen; Amphion, von Anordnung, Serapio, vernünftig in großen; Pireikus, in kleinen Sachen; Antiphilus in klein- und großen ; Dyonisius, konte nur Menschen mahlen; Euphranor, alles; Nicias, Thiere/ besonderlich Hunde. Nicophanes, konte wol nach-copiren/ und war in seinen Werken sauber; Mechophanes zu rauh in den Farben; Nealces, gut im ausbilden; Aristides, in affecte ; Clesides, nach dem Leben ; Ludius, in Landschaften.
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ABOUT this Time flourish’d Arestides, whose Excellency lay in expressing the Passions and Affections, and decyphering all the Virtues and Vices, and as particularly appear’d by that Piece of his of the Indulgent Mother, mortally wounded in the Body, and a sucking Infant hanging at the same Time upon her Breast, where, unconcern’d for her own Life, she express’d a wonderful Reluctancy, and strange Strife within her in regard to the Infant, as loath to deny it Food, and unwilling to give it the Breast, for fear of destroying it with her Blood, which mingled with her Milk, issued forth in great abundance. This Table was dear to Alexander, and carried along with him to Pella.
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FIGURE. Quoique ce mot soit fort général, dit Mr de Piles, & qu’il signifie tout ce qui peut être décrit par plusieurs lignes, néanmoins en Peinture, on l’entend ordinairement des figures humaines. Peindre la figure, faire la figure.
Annibal Carrache ne croyait pas qu’on dût faire entrer plus de douze figures dans un tableau : Il exceptoit apparamment certains sujets qui en demandent nécessairement un plus grand nombre ; comme un Jugement universel, un massacre des Innocens, une bataille, une peste. Aristide, un des plus fameux Peintre de la Gréce, a fait entrer cent figures dans le tableau de l’expédition d’Alexandre.