[suggested translation, Marije Osnabrugge:] But in order that we would also use a large part of our short yet valuable time, to invent delightful Arts and sciences, useful for all Humanity, practice them and also convey them to others – based on the Gift of competence that is given to everyone – by means of education; as this is only for Men a proper and God-given blessing, {Seeking Art and Science is only given to Man amongst all Creatures.} which he can evolve by constraining all wild passions through Virtue and Reason and with a good Order of his Mind, besides searching the eternal blessing, to reach all liberal Arts; lacking this gift, it would be impossible to know for certain how far the Creator had placed us above the unreasoning Animals.

[suggested translation, Marije Osnabrugge:] But in order that we would also use a large part of our short yet valuable time, to invent delightful Arts and sciences, useful for all Humanity, practice them and also convey them to others – based on the Gift of competence that is given to everyone – by means of education; as this is only for Men a proper and God-given blessing, {Seeking Art and Science is only given to Man amongst all Creatures.} which he can evolve by constraining all wild passions through Virtue and Reason and with a good Order of his Mind, besides searching the eternal blessing, to reach all liberal Arts; lacking this gift, it would be impossible to know for certain how far the Creator had placed us above the unreasoning Animals.

[suggested translation, Marije Osnabrugge:] But in order that we would also use a large part of our short yet valuable time, to invent delightful Arts and sciences, useful for all Humanity, practice them and also convey them to others – based on the Gift of competence that is given to everyone – by means of education; as this is only for Men a proper and God-given blessing, {Seeking Art and Science is only given to Man amongst all Creatures.} which he can evolve by constraining all wild passions through Virtue and Reason and with a good Order of his Mind, besides searching the eternal blessing, to reach all liberal Arts; lacking this gift, it would be impossible to know for certain how far the Creator had placed us above the unreasoning Animals.

[suggested translation, Marije Osnabrugge:] But in order that we would also use a large part of our short yet valuable time, to invent delightful Arts and sciences, useful for all Humanity, practice them and also convey them to others – based on the Gift of competence that is given to everyone – by means of education; as this is only for Men a proper and God-given blessing, {Seeking Art and Science is only given to Man amongst all Creatures.} which he can evolve by constraining all wild passions through Virtue and Reason and with a good Order of his Mind, besides searching the eternal blessing, to reach all liberal Arts; lacking this gift, it would be impossible to know for certain how far the Creator had placed us above the unreasoning Animals.

[suggested translation, Marije Osnabrugge:] Of these People it is easy to understand, how estranged it must be from their minds to figure out and bring to light an Artful idea to help those close to them. {What should be thought about such people.} One can hardly place them under the Incapable, who have never enjoyed the Richness of a brave Art. Therefore, it would not be strange to anyone that many sciences have the misfortune, that they are undervalued by most, Yes many excellent Arts are despised and distinguished Artisans seen with little respect. It seems (says Sidonius Apollinaris very well) to be imprinted by a natural flaw in the hearts of Men, that those who do not understand the Arts, also pay little attention to the Artists. {The Arts have no greater enemy than those who do not understand them.} But to speak from the heart: which sensible Man would love any Art, who would not Honour the Art of Painting with the utmost respect – as the highest Guardian, Creator and Governor [ndr: in Dutch, these titles are feminine] of all Arts – an Art springing forth from Nature and the perfection of it until a Master possesses them.

SIDONIUS APOLLINARIS (Saint)

[suggested translation, Marije Osnabrugge:] Yet in order for us to claim rather light and loosely the futile judgment of those who despise it, or the highest perfections and ability of the Art of Painting, as if it could be understood or begotten without any diligent Study, as a minor and slavish hand-work; as such we have resolved to show in this Inleydingh [ndr: Goeree is referring to the whole book], what should necessarily be known by a learned and perfect Master, in order that anyone (seeing what belongs to this Art) will learn to have a great admiration of it, and will not think that it is just about making a living (as one tends to say out of spite:) or that it – just like many other Arts that spring from the Art of Painting and Drawing – is being touched upon. {That we will contradict the disrespect of the Art of Painting, by showing what belongs to it.}

[suggested translation, Marije Osnabrugge:] Yet in order for us to claim rather light and loosely the futile judgment of those who despise it, or the highest perfections and ability of the Art of Painting, as if it could be understood or begotten without any diligent Study, as a minor and slavish hand-work; as such we have resolved to show in this Inleydingh [ndr: Goeree is referring to the whole book], what should necessarily be known by a learned and perfect Master, in order that anyone (seeing what belongs to this Art) will learn to have a great admiration of it, and will not think that it is just about making a living (as one tends to say out of spite:) or that it – just like many other Arts that spring from the Art of Painting and Drawing – is being touched upon. {That we will contradict the disrespect of the Art of Painting, by showing what belongs to it.}

[suggested translation, Marije Osnabrugge:] Yet in order for us to claim rather light and loosely the futile judgment of those who despise it, or the highest perfections and ability of the Art of Painting, as if it could be understood or begotten without any diligent Study, as a minor and slavish hand-work; as such we have resolved to show in this Inleydingh [ndr: Goeree is referring to the whole book], what should necessarily be known by a learned and perfect Master, in order that anyone (seeing what belongs to this Art) will learn to have a great admiration of it, and will not think that it is just about making a living (as one tends to say out of spite:) or that it – just like many other Arts that spring from the Art of Painting and Drawing – is being touched upon. {That we will contradict the disrespect of the Art of Painting, by showing what belongs to it.}

[suggested translation, Marije Osnabrugge:] Yet in order for us to claim rather light and loosely the futile judgment of those who despise it, or the highest perfections and ability of the Art of Painting, as if it could be understood or begotten without any diligent Study, as a minor and slavish hand-work; as such we have resolved to show in this Inleydingh [ndr: Goeree is referring to the whole book], what should necessarily be known by a learned and perfect Master, in order that anyone (seeing what belongs to this Art) will learn to have a great admiration of it, and will not think that it is just about making a living (as one tends to say out of spite:) or that it – just like many other Arts that spring from the Art of Painting and Drawing – is being touched upon. {That we will contradict the disrespect of the Art of Painting, by showing what belongs to it.}

[suggested translation, Marije Osnabrugge:] Yet in order for us to claim rather light and loosely the futile judgment of those who despise it, or the highest perfections and ability of the Art of Painting, as if it could be understood or begotten without any diligent Study, as a minor and slavish hand-work; as such we have resolved to show in this Inleydingh [ndr: Goeree is referring to the whole book], what should necessarily be known by a learned and perfect Master, in order that anyone (seeing what belongs to this Art) will learn to have a great admiration of it, and will not think that it is just about making a living (as one tends to say out of spite:) or that it – just like many other Arts that spring from the Art of Painting and Drawing – is being touched upon. {That we will contradict the disrespect of the Art of Painting, by showing what belongs to it.}

[suggested translation, Marije Osnabrugge:] Just as there is nothing that immediately obtains its beginning and its perfection simultaneously, as such the Arts (says Arnobius) have not fallen out of the Heavens together with our mind, but they were invented here on Earth, {The Arts are imperfect in their first invention.} and developed little by little with the continuation of time: The Art of Painting was just as raw and imperfect in its first beginnings; Yes so much so, that the oldest Painters (according to what is cited by Franciscus Junius from AElianus) {The Nakedness of the Art of Painting in the beginning.} were obliged to write the name in letters next to every depiction, so one could recognize it was an Ox, Hedgehog, Horse or Tree.

ÆLIANUS, Claudius
Anciens (les)
ARNOBIUS
JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just as there is nothing that immediately obtains its beginning and its perfection simultaneously, as such the Arts (says Arnobius) have not fallen out of the Heavens together with our mind, but they were invented here on Earth, {The Arts are imperfect in their first invention.} and developed little by little with the continuation of time: The Art of Painting was just as raw and imperfect in its first beginnings; Yes so much so, that the oldest Painters (according to what is cited by Franciscus Junius from AElianus) {The Nakedness of the Art of Painting in the beginning.} were obliged to write the name in letters next to every depiction, so one could recognize it was an Ox, Hedgehog, Horse or Tree.

ÆLIANUS, Claudius
Anciens (les)
ARNOBIUS
JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just as there is nothing that immediately obtains its beginning and its perfection simultaneously, as such the Arts (says Arnobius) have not fallen out of the Heavens together with our mind, but they were invented here on Earth, {The Arts are imperfect in their first invention.} and developed little by little with the continuation of time: The Art of Painting was just as raw and imperfect in its first beginnings; Yes so much so, that the oldest Painters (according to what is cited by Franciscus Junius from AElianus) {The Nakedness of the Art of Painting in the beginning.} were obliged to write the name in letters next to every depiction, so one could recognize it was an Ox, Hedgehog, Horse or Tree.

ÆLIANUS, Claudius
Anciens (les)
ARNOBIUS
JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just as there is nothing that immediately obtains its beginning and its perfection simultaneously, as such the Arts (says Arnobius) have not fallen out of the Heavens together with our mind, but they were invented here on Earth, {The Arts are imperfect in their first invention.} and developed little by little with the continuation of time: The Art of Painting was just as raw and imperfect in its first beginnings; Yes so much so, that the oldest Painters (according to what is cited by Franciscus Junius from AElianus) {The Nakedness of the Art of Painting in the beginning.} were obliged to write the name in letters next to every depiction, so one could recognize it was an Ox, Hedgehog, Horse or Tree.

ÆLIANUS, Claudius
Anciens (les)
ARNOBIUS
JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] This especially started to take its shape stronger when money, honour and a rich reward started to practise its power on the Artists, because the gold fever has always had the limits of Virtue and Vice in its power; {The arts are mainly cultivated through reward.}

[suggested translation, Marije Osnabrugge:] This especially started to take its shape stronger when money, honour and a rich reward started to practise its power on the Artists, because the gold fever has always had the limits of Virtue and Vice in its power; {The arts are mainly cultivated through reward.}

[suggested translation, Marije Osnabrugge:] This especially started to take its shape stronger when money, honour and a rich reward started to practise its power on the Artists, because the gold fever has always had the limits of Virtue and Vice in its power; {The arts are mainly cultivated through reward.}

[suggested translation, Marije Osnabrugge:] It has also been noted that those Nations which do not have or aspire to a regular interaction with other Peoples, nor make their sciences known to the World, will also have missed out on many arts, in which they would otherwise have excelled. This flaw has always been the cause amongst the Chinese why – up to this day – they do not understand the main principles of the Art of Drawing and Painting: while they commonly have a great desire and affection for it, as it was well-practiced amongst them, but they cannot compete with Europe (no matter how bright Minds they are); the reason for this is on the one hand, because they do not understand it in relation to the shadows and lights, nor do they possess the knowledge to blend all sorts of lively colorations from simple colors, which makes their Paintings appear very pale, flat and lifeless, even though the most beautiful colors of the World are found with them.

École chinoise

[suggested translation, Marije Osnabrugge:] It has also been noted that those Nations which do not have or aspire to a regular interaction with other Peoples, nor make their sciences known to the World, will also have missed out on many arts, in which they would otherwise have excelled. This flaw has always been the cause amongst the Chinese why – up to this day – they do not understand the main principles of the Art of Drawing and Painting: while they commonly have a great desire and affection for it, as it was well-practiced amongst them, but they cannot compete with Europe (no matter how bright Minds they are); the reason for this is on the one hand, because they do not understand it in relation to the shadows and lights, nor do they possess the knowledge to blend all sorts of lively colorations from simple colors, which makes their Paintings appear very pale, flat and lifeless, even though the most beautiful colors of the World are found with them.

École chinoise

[suggested translation, Marije Osnabrugge:] It has also been noted that those Nations which do not have or aspire to a regular interaction with other Peoples, nor make their sciences known to the World, will also have missed out on many arts, in which they would otherwise have excelled. This flaw has always been the cause amongst the Chinese why – up to this day – they do not understand the main principles of the Art of Drawing and Painting: while they commonly have a great desire and affection for it, as it was well-practiced amongst them, but they cannot compete with Europe (no matter how bright Minds they are); the reason for this is on the one hand, because they do not understand it in relation to the shadows and lights, nor do they possess the knowledge to blend all sorts of lively colorations from simple colors, which makes their Paintings appear very pale, flat and lifeless, even though the most beautiful colors of the World are found with them.

École chinoise

[suggested translation, Marije Osnabrugge:] Since the Art of Painting has increased as long as the kindness and rich reward of the Great has stimulated the diligence of the ambitious [men] to receive an immortal name, knowing that if they would manage to get it they would not miss out on profit; {As long as the rich reward lasted, the Art of Painting was flourishing.} to the contrary, she has again started to decline as soon as the Love of Money, started to push the Love for the Art out of the hearts of powerful Kings and Rulers, because of which the great Masters diminished, and there was almost nobody who took care of the Arts;

[suggested translation, Marije Osnabrugge:] Since the Art of Painting has increased as long as the kindness and rich reward of the Great has stimulated the diligence of the ambitious [men] to receive an immortal name, knowing that if they would manage to get it they would not miss out on profit; {As long as the rich reward lasted, the Art of Painting was flourishing.} to the contrary, she has again started to decline as soon as the Love of Money, started to push the Love for the Art out of the hearts of powerful Kings and Rulers, because of which the great Masters diminished, and there was almost nobody who took care of the Arts;

[suggested translation, Marije Osnabrugge:] Since the Art of Painting has increased as long as the kindness and rich reward of the Great has stimulated the diligence of the ambitious [men] to receive an immortal name, knowing that if they would manage to get it they would not miss out on profit; {As long as the rich reward lasted, the Art of Painting was flourishing.} to the contrary, she has again started to decline as soon as the Love of Money, started to push the Love for the Art out of the hearts of powerful Kings and Rulers, because of which the great Masters diminished, and there was almost nobody who took care of the Arts;

[suggested translation, Marije Osnabrugge:] Since the Art of Painting has increased as long as the kindness and rich reward of the Great has stimulated the diligence of the ambitious [men] to receive an immortal name, knowing that if they would manage to get it they would not miss out on profit; {As long as the rich reward lasted, the Art of Painting was flourishing.} to the contrary, she has again started to decline as soon as the Love of Money, started to push the Love for the Art out of the hearts of powerful Kings and Rulers, because of which the great Masters diminished, and there was almost nobody who took care of the Arts;

[suggested translation, Marije Osnabrugge:] Within the City of Thebes they paid such close attention to the Painters that nobody was allowed to settle inside the Walls, than those who were excellent Minds and had a famous Name: {Those of Thebes chased the Botchers out of the City.} Yes those, who made some dull or unwise Painting, were given a heavy Fine, or had to leave the City: because the Government did not want to accept that a Donkey would sit and daub in front of the others, and would bring the noble Art to the Ground with their smeared Canvases: which made them impose a ban that nobody (who practiced the Praiseworthy Art of Painting as a righteous Master,) was allowed to mingle with the Type of man who made mediocre craftwork, or who were just of a slavish mind.

[suggested translation, Marije Osnabrugge:] Within the City of Thebes they paid such close attention to the Painters that nobody was allowed to settle inside the Walls, than those who were excellent Minds and had a famous Name: {Those of Thebes chased the Botchers out of the City.} Yes those, who made some dull or unwise Painting, were given a heavy Fine, or had to leave the City: because the Government did not want to accept that a Donkey would sit and daub in front of the others, and would bring the noble Art to the Ground with their smeared Canvases: which made them impose a ban that nobody (who practiced the Praiseworthy Art of Painting as a righteous Master,) was allowed to mingle with the Type of man who made mediocre craftwork, or who were just of a slavish mind.

[suggested translation, Marije Osnabrugge:] Just like we find many Examples, that even Kings together with a great train of favored Courtiers would often honour the Shops of Artists with their presence. One could rightfully add to this a number of Examples which Franciscus Junius mentions in his second Book in the Ninth Chapter, in which he shows the enormous Price that was paid for the Works of distinguished Masters; which clearly shows the great admiration of the Art of Painting. {The high Price shows the great admiration of the ancients for the Art.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just like we find many Examples, that even Kings together with a great train of favored Courtiers would often honour the Shops of Artists with their presence. One could rightfully add to this a number of Examples which Franciscus Junius mentions in his second Book in the Ninth Chapter, in which he shows the enormous Price that was paid for the Works of distinguished Masters; which clearly shows the great admiration of the Art of Painting. {The high Price shows the great admiration of the ancients for the Art.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just like we find many Examples, that even Kings together with a great train of favored Courtiers would often honour the Shops of Artists with their presence. One could rightfully add to this a number of Examples which Franciscus Junius mentions in his second Book in the Ninth Chapter, in which he shows the enormous Price that was paid for the Works of distinguished Masters; which clearly shows the great admiration of the Art of Painting. {The high Price shows the great admiration of the ancients for the Art.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Just like we find many Examples, that even Kings together with a great train of favored Courtiers would often honour the Shops of Artists with their presence. One could rightfully add to this a number of Examples which Franciscus Junius mentions in his second Book in the Ninth Chapter, in which he shows the enormous Price that was paid for the Works of distinguished Masters; which clearly shows the great admiration of the Art of Painting. {The high Price shows the great admiration of the ancients for the Art.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] We know of course that in many nice Cities there are several Guilds, with which the Inhabitants have a special privilege: {Guilds, amongst whom necessary.} […] and it is not so much for the liberal Art practice such as the Art of Painting, which is open to practice to anyone from another profession out of Love and Desire. But notwithstanding this is the truth, the Guild and Brotherhoods, especially with regard to the Art of Painting, are truly unnecessary, as (which is what happens most frequently) such coins with which one buys the Freedom from such a Guild or Brotherhood, and has to pay yearly, are not used for the goal for which they were originally installed: {For which goal a Guild is supposed to exist.} namely to be placed in a Treasury, so that in case of need the poor, sick and miserable Guildsman may use it for their weekly sustenance, or to raise their surviving Orphans, to found a Guildhall; or if one would receive this through the criminal provision of the honorable Magistrate, to fill it with all sorts of Art works, like Paintings, Sculptures, Drawings and Art Books, to found Schools for Practice and what else can be thought of for the continuation and Luster of the general Art of Drawing: Then such Cities would get an onrush, the diligence would be ignited and the Art would be pushed towards the highest summit and be upheld. Yet one may contradict by saying that without the Guilds and the preservation of their privileges, the Inhabitants or Free men would not be able to make a living, or exist; {Whether the Inhabitants could exist without a Guild.}, on which one will be answered that the fault should be placed on those who come from outside, but rather on the laziness or incapability of the Inhabitants themselves, who often would not be able to show anything from their hand to a capable eye, or it would oftentimes be humiliated by a general foreigner. But if Freedom would be given to all Minds, there is generally a rather big chance to cultivate good Masters and lure others in from common Cities; as these seem to be unnatural laws, that one would want to protect bunglers and botchers with a special privilege, so that they will not be outdone any time soon by Quicker or more diligent [men]. {Freedom provides the possibility to cultivate Arts and draw [them] into the Cities.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] Show us whichever strange caprice you want, invented by the Art of Painting, one will quickly be able to show you, wherefrom the parts from which it is assembled are stolen. Who would not be able to see, from which parts the flying horse of Pegasus, the Sphinx and such are formed from? From what is said, it becomes clear that the saying (when we see something charming in the natural life) that is Painterly, is used erroneously, and is used as if the Creatures are barely as Witty, Gracefully and Pleasant, as the Painted things, which is a great mistake, as one intends to say that is Painterly (that is) worthy to be painted because of its pleasure, charming selection and magnificence. Because otherwise it seems as if it is commonly perceived that the Painting is the Principal and the perfect nature nothing but a copy.

[suggested translation, Marije Osnabrugge:] Show us whichever strange caprice you want, invented by the Art of Painting, one will quickly be able to show you, wherefrom the parts from which it is assembled are stolen. Who would not be able to see, from which parts the flying horse of Pegasus, the Sphinx and such are formed from? From what is said, it becomes clear that the saying (when we see something charming in the natural life) that is Painterly, is used erroneously, and is used as if the Creatures are barely as Witty, Gracefully and Pleasant, as the Painted things, which is a great mistake, as one intends to say that is Painterly (that is) worthy to be painted because of its pleasure, charming selection and magnificence. Because otherwise it seems as if it is commonly perceived that the Painting is the Principal and the perfect nature nothing but a copy.

[suggested translation, Marije Osnabrugge:] Show us whichever strange caprice you want, invented by the Art of Painting, one will quickly be able to show you, wherefrom the parts from which it is assembled are stolen. Who would not be able to see, from which parts the flying horse of Pegasus, the Sphinx and such are formed from? From what is said, it becomes clear that the saying (when we see something charming in the natural life) that is Painterly, is used erroneously, and is used as if the Creatures are barely as Witty, Gracefully and Pleasant, as the Painted things, which is a great mistake, as one intends to say that is Painterly (that is) worthy to be painted because of its pleasure, charming selection and magnificence. Because otherwise it seems as if it is commonly perceived that the Painting is the Principal and the perfect nature nothing but a copy.

[suggested translation, Marije Osnabrugge:] Show us whichever strange caprice you want, invented by the Art of Painting, one will quickly be able to show you, wherefrom the parts from which it is assembled are stolen. Who would not be able to see, from which parts the flying horse of Pegasus, the Sphinx and such are formed from? From what is said, it becomes clear that the saying (when we see something charming in the natural life) that is Painterly, is used erroneously, and is used as if the Creatures are barely as Witty, Gracefully and Pleasant, as the Painted things, which is a great mistake, as one intends to say that is Painterly (that is) worthy to be painted because of its pleasure, charming selection and magnificence. Because otherwise it seems as if it is commonly perceived that the Painting is the Principal and the perfect nature nothing but a copy.

[suggested translation, Marije Osnabrugge:] Show us whichever strange caprice you want, invented by the Art of Painting, one will quickly be able to show you, wherefrom the parts from which it is assembled are stolen. Who would not be able to see, from which parts the flying horse of Pegasus, the Sphinx and such are formed from? From what is said, it becomes clear that the saying (when we see something charming in the natural life) that is Painterly, is used erroneously, and is used as if the Creatures are barely as Witty, Gracefully and Pleasant, as the Painted things, which is a great mistake, as one intends to say that is Painterly (that is) worthy to be painted because of its pleasure, charming selection and magnificence. Because otherwise it seems as if it is commonly perceived that the Painting is the Principal and the perfect nature nothing but a copy.

[suggested translation, Marije Osnabrugge:] It is moreover not unlikely that Sculpture and Casting need to be jealous of the Art of Painting, as, seeing that she can do anything thanks to her great power, and therefore came into great respect and esteem, because she brought forth her works very lively with proper and natural Colors. {The art of painting evokes jealousy from the other Arts.} Nevertheless the Sculptors have then often tried to surpass the Art of Painting, about which many discussions have taken place amongst the Supporters as to which of them was more successful than the other, the Sculptors argued that the Art of Painting was sophistic, appearing to be true and presentable as they pointed out that in a Painting the things only appeared to exist, but that they weren’t there in truth, and that to the contrary in the Art of Sculpture, the things were true, externally voluminous, comprehensible and touchable, both in their length and breadth and thickness. {What Sculptors evoked to fly higher than the Art of Painting.} [ndr: paragone continues…]

[suggested translation, Marije Osnabrugge:] It is moreover not unlikely that Sculpture and Casting need to be jealous of the Art of Painting, as, seeing that she can do anything thanks to her great power, and therefore came into great respect and esteem, because she brought forth her works very lively with proper and natural Colors. {The art of painting evokes jealousy from the other Arts.} Nevertheless the Sculptors have then often tried to surpass the Art of Painting, about which many discussions have taken place amongst the Supporters as to which of them was more successful than the other, the Sculptors argued that the Art of Painting was sophistic, appearing to be true and presentable as they pointed out that in a Painting the things only appeared to exist, but that they weren’t there in truth, and that to the contrary in the Art of Sculpture, the things were true, externally voluminous, comprehensible and touchable, both in their length and breadth and thickness. {What Sculptors evoked to fly higher than the Art of Painting.} [ndr: paragone continues…]

[suggested translation, Marije Osnabrugge:] One could add in favour of the Art Of Painting, that she extends more generally to the imitation of all natural things than Sculpting [does], especially by means of Colors and proper colorings; so one may say that she can execute anything: {The Art of Painting would create living Images if the Soul would have been a visible thing.}

[suggested translation, Marije Osnabrugge:] One could add in favour of the Art Of Painting, that she extends more generally to the imitation of all natural things than Sculpting [does], especially by means of Colors and proper colorings; so one may say that she can execute anything: {The Art of Painting would create living Images if the Soul would have been a visible thing.}

[suggested translation, Marije Osnabrugge:] One could add in favour of the Art Of Painting, that she extends more generally to the imitation of all natural things than Sculpting [does], especially by means of Colors and proper colorings; so one may say that she can execute anything: {The Art of Painting would create living Images if the Soul would have been a visible thing.}

[suggested translation, Marije Osnabrugge:] One could add in favour of the Art Of Painting, that she extends more generally to the imitation of all natural things than Sculpting [does], especially by means of Colors and proper colorings; so one may say that she can execute anything: {The Art of Painting would create living Images if the Soul would have been a visible thing.}

[suggested translation, Marije Osnabrugge:] As such one may remark that the Art of Painting extends to many things; and is even necessary to the most precise describers of Nature. {The Art of Painting is necessary to the describers of nature.} And we see how often the Teachers have to ask for its assistance, and how they are forced to drawing after Humans, Birds, Fishes, and crawling creatures, in order to describe the Nature of things: […] The Architects, says Vitruvius, have to be very experienced in the Art of Drawing, in order for them to be able to show the nature of their proposed Work, with all its extras and Ornaments, in an easier way by means of a sketch. The Cartographers, Describers of the World and Star-Artists [ndr: Astronomers], have always known to portray everything in a clever way with the Art of Drawing. […]

VITRUVIUS

Goeree continues to list different uses of drawings and paintings, until page 31. [MO]

[suggested translation, Marije Osnabrugge:] As such one may remark that the Art of Painting extends to many things; and is even necessary to the most precise describers of Nature. {The Art of Painting is necessary to the describers of nature.} And we see how often the Teachers have to ask for its assistance, and how they are forced to drawing after Humans, Birds, Fishes, and crawling creatures, in order to describe the Nature of things: […] The Architects, says Vitruvius, have to be very experienced in the Art of Drawing, in order for them to be able to show the nature of their proposed Work, with all its extras and Ornaments, in an easier way by means of a sketch. The Cartographers, Describers of the World and Star-Artists [ndr: Astronomers], have always known to portray everything in a clever way with the Art of Drawing. […]

VITRUVIUS

Goeree continues to list different uses of drawings and paintings, until page 31. [MO]

[suggested translation, Marije Osnabrugge:] As such one may remark that the Art of Painting extends to many things; and is even necessary to the most precise describers of Nature. {The Art of Painting is necessary to the describers of nature.} And we see how often the Teachers have to ask for its assistance, and how they are forced to drawing after Humans, Birds, Fishes, and crawling creatures, in order to describe the Nature of things: […] The Architects, says Vitruvius, have to be very experienced in the Art of Drawing, in order for them to be able to show the nature of their proposed Work, with all its extras and Ornaments, in an easier way by means of a sketch. The Cartographers, Describers of the World and Star-Artists [ndr: Astronomers], have always known to portray everything in a clever way with the Art of Drawing. […]

VITRUVIUS

Goeree continues to list different uses of drawings and paintings, until page 31. [MO]

[suggested translation, Marije Osnabrugge:] But notwithstanding that we said earlier (although not without reason), that the power of the Art of Painting is general, to produce everything, except the living Souls in the Images, as such some have doubted whether one could be able to depict lifeless things in their movement: {Whether one can depict things that appear to be moving.} which (although observed by few) we would plainly like to argue with a Yes; because nobody will be able to contradict, that the Art follows nature in everything, especially in that which can be observed during a period of time with consideration:

[suggested translation, Marije Osnabrugge:] But notwithstanding that we said earlier (although not without reason), that the power of the Art of Painting is general, to produce everything, except the living Souls in the Images, as such some have doubted whether one could be able to depict lifeless things in their movement: {Whether one can depict things that appear to be moving.} which (although observed by few) we would plainly like to argue with a Yes; because nobody will be able to contradict, that the Art follows nature in everything, especially in that which can be observed during a period of time with consideration:

[suggested translation, Marije Osnabrugge:] But notwithstanding that we said earlier (although not without reason), that the power of the Art of Painting is general, to produce everything, except the living Souls in the Images, as such some have doubted whether one could be able to depict lifeless things in their movement: {Whether one can depict things that appear to be moving.} which (although observed by few) we would plainly like to argue with a Yes; because nobody will be able to contradict, that the Art follows nature in everything, especially in that which can be observed during a period of time with consideration:

[suggested translation, Marije Osnabrugge:] But notwithstanding that we said earlier (although not without reason), that the power of the Art of Painting is general, to produce everything, except the living Souls in the Images, as such some have doubted whether one could be able to depict lifeless things in their movement: {Whether one can depict things that appear to be moving.} which (although observed by few) we would plainly like to argue with a Yes; because nobody will be able to contradict, that the Art follows nature in everything, especially in that which can be observed during a period of time with consideration:

[suggested translation, Marije Osnabrugge:] From this and similar Examples it can easily be derived, how very unacceptable and shameful it is, to connect the Honorability of such a delightful Art to the servitude of all sorts of condemnable things, and as such aim to evoke the Art as a provocation of vices; {Despicability of the misuse of the Art of Painting.} just as was once done by the indecent heretics, who only esteemed the Artists, because they knew how to engrave and paint their Drink-vessels and Bacchus Mugs (as they had consumed unimaginable amounts of mead) with all sorts of horny and indecent Images.

[suggested translation, Marije Osnabrugge:] From this and similar Examples it can easily be derived, how very unacceptable and shameful it is, to connect the Honorability of such a delightful Art to the servitude of all sorts of condemnable things, and as such aim to evoke the Art as a provocation of vices; {Despicability of the misuse of the Art of Painting.} just as was once done by the indecent heretics, who only esteemed the Artists, because they knew how to engrave and paint their Drink-vessels and Bacchus Mugs (as they had consumed unimaginable amounts of mead) with all sorts of horny and indecent Images.

[suggested translation, Marije Osnabrugge:] From this and similar Examples it can easily be derived, how very unacceptable and shameful it is, to connect the Honorability of such a delightful Art to the servitude of all sorts of condemnable things, and as such aim to evoke the Art as a provocation of vices; {Despicability of the misuse of the Art of Painting.} just as was once done by the indecent heretics, who only esteemed the Artists, because they knew how to engrave and paint their Drink-vessels and Bacchus Mugs (as they had consumed unimaginable amounts of mead) with all sorts of horny and indecent Images.

[suggested translation, Marije Osnabrugge:] As we have spoken up until now of the origin, honorability and use of the Art of Painting, as such we now reach the initial encouragement, which she should obtain either from the innate nature or from the Laws of Art, in order for her to meet a well-formed natural thing through attempting such practice. Because like it has always been noted by the wise, that usually those things do succeed to which nature itself guides us, and that to the contrary the things of which one has a natural aversion usually fail; As such one may rightfully say, that it is impossible to require the Art of Painting unless one is born for it thanks to a affluence of nature. {A well-disposed nature is the greatest advantage for learning an Art.} […]Meaning such nature, that listens to the precept of the rules of Art, so that the Art will adequately shape itself after the stimulation of our nature: Because the Arts (says F. Iunius) can first be completely put to use, when all their rules and adequate nature meet.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] As we have spoken up until now of the origin, honorability and use of the Art of Painting, as such we now reach the initial encouragement, which she should obtain either from the innate nature or from the Laws of Art, in order for her to meet a well-formed natural thing through attempting such practice. Because like it has always been noted by the wise, that usually those things do succeed to which nature itself guides us, and that to the contrary the things of which one has a natural aversion usually fail; As such one may rightfully say, that it is impossible to require the Art of Painting unless one is born for it thanks to a affluence of nature. {A well-disposed nature is the greatest advantage for learning an Art.} […]Meaning such nature, that listens to the precept of the rules of Art, so that the Art will adequately shape itself after the stimulation of our nature: Because the Arts (says F. Iunius) can first be completely put to use, when all their rules and adequate nature meet.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] As we have spoken up until now of the origin, honorability and use of the Art of Painting, as such we now reach the initial encouragement, which she should obtain either from the innate nature or from the Laws of Art, in order for her to meet a well-formed natural thing through attempting such practice. Because like it has always been noted by the wise, that usually those things do succeed to which nature itself guides us, and that to the contrary the things of which one has a natural aversion usually fail; As such one may rightfully say, that it is impossible to require the Art of Painting unless one is born for it thanks to a affluence of nature. {A well-disposed nature is the greatest advantage for learning an Art.} […]Meaning such nature, that listens to the precept of the rules of Art, so that the Art will adequately shape itself after the stimulation of our nature: Because the Arts (says F. Iunius) can first be completely put to use, when all their rules and adequate nature meet.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] As such one can also ascertain oneself from that which has already been said, to which degree the instructive teachings have to profit nature, in order to complete the natural inclination with everything that is demanded from a perfect Artist; […] likewise the young men (of whom one may expect something good) have to be of a very diligent and laborious Mind, observing and clever of thoughts, full of pleasing imaginations and fantasies. They have to be laborious and diligent, while such an Art cannot be acquired with Gold or Silver, but only through a continuous practice; for which the Old tend to say that the Gods sell everything. The need to have percipience of thoughts, to become strong of imagination through the habit of practicing it daily; so that they will gradually learn to put it to use for the execution of their excellent fantasies. {What one should do to improve one’s condition.} Because of this Leonardo da Vinci demands that a Young Painter does not neglect anything, both in the observation of natural objects and specific events, as in the investigation and consideration of nice Histories, Poetic poetry and antiquity, and other things; from which he may find something, that could be useful for his study, to think of: As the imaginations and fantasies are placed within us, like a register, or indicator of that which we have one day seen with our eyes and understood with our mind.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Few can be found (being blessed with some Judgement), who are not gifted with the power of imagination, or will recognize some or other Idea in themselves when reading the Stories and Tales. Let a discerning Young man read through the Trojan Wars in the books Aeneas, poeticized by Vergil, I am certain that he will fill his mind with wonderful thoughts, sketches his fantasies full of great inventions, and will find his mind incited to the expression of many passions;

VIRGILIO

[suggested translation, Marije Osnabrugge:] Regarding the Poets, that much is clear, that one comes to understand many graceful inventions by reading them, like it has long become clear about many Artists, that they have obtained most magnificence in their works from those Poems. As such Valerius Maximus tells us that Phidias gladly admitted that he had found the model for his Helladic Jupiter with the poet Homeros: similarly some authors recount that Thimanthes and Praxiteles had borrowed many pleasant things from the poet Euripides.

PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)

EURIPIDÈS
HOMEROS
PHIDIAS
PRAXITELES
TIMANTHES
VALERIUS MAXIMUS

[suggested translation, Marije Osnabrugge:] We could adequately add to this, that the study after the Natural life, and the observation of the lovely Art of Prints, from both the Old and contemporary Masters: {The use of Life and the Art of Print.} but since we will discuss the use of that study, together with all other Practices, in the next Chapters, for the encouragement of their study we only want to explain to the Students, which good Authors are available and useful, to be read and studied for the profit in several Arts.

Following this citation, Goeree lists a long list of useful literature, until page 59 (the end of the chapter). [MO]

[suggested translation, Marije Osnabrugge:] What the work of Cesare Ripa is concerned, written by him in Italian and later translated to German by D.P. Pers, it may truly be called a distinguished Book: It is very useful, (as is pointed out on the Title page) to all Amateurs of the Sciences, as well as to Rhetoricians, Poets, Painters, Sculptors, Draughtsmen, and other imaginative minds; Serving to depict all sorts of clever ideainn-beeld s and inventions by means of Symbols: like he learns to knowledgably express the Virtues, Vices, Arts, inclinations, passions and other sensory things;

RIPA, Cesare

[suggested translation, Marije Osnabrugge:] The same Van Mander has also written an explanation of the Metamorphosis or recreation of Ovid, which may also serve for the understanding of the poetic fables, so that afterwards one may not behave himself unwisely in the composition of his inventions, but arrange them after the general explanations of such inventions; and also to apply them cleverly and eloquently at some occasions

VAN MANDER, Carel

[suggested translation, Marije Osnabrugge:] The same Van Mander has also written an explanation of the Metamorphosis or recreation of Ovid, which may also serve for the understanding of the poetic fables, so that afterwards one may not behave himself unwisely in the composition of his inventions, but arrange them after the general explanations of such inventions; and also to apply them cleverly and eloquently at some occasions

VAN MANDER, Carel

[suggested translation, Marije Osnabrugge:] The same Van Mander has also written an explanation of the Metamorphosis or recreation of Ovid, which may also serve for the understanding of the poetic fables, so that afterwards one may not behave himself unwisely in the composition of his inventions, but arrange them after the general explanations of such inventions; and also to apply them cleverly and eloquently at some occasions

VAN MANDER, Carel

[suggested translation, Marije Osnabrugge:] One can read in Livy, about Philopos the Commander in Chief, that he occupied himself continuously both in Peace and War with the practice of War, so that he would obtain wisdom in stock through this diligence; so that he would not be lacking Wise Councilors if he needed it. Likewise, from the start a Young Painter should aim to fill his mind with wisdom, by means of a continuous practice of Reading, Drawing, Speculating, Copying, questioning, practicing and researching, so that afterwards he will be able to show delightful things to the world based on these developed treasures. {That one should try to form a stock of wisdom and science.}

TITUS LIVIUS

[suggested translation, Marije Osnabrugge:] One can read in Livy, about Philopos the Commander in Chief, that he occupied himself continuously both in Peace and War with the practice of War, so that he would obtain wisdom in stock through this diligence; so that he would not be lacking Wise Councilors if he needed it. Likewise, from the start a Young Painter should aim to fill his mind with wisdom, by means of a continuous practice of Reading, Drawing, Speculating, Copying, questioning, practicing and researching, so that afterwards he will be able to show delightful things to the world based on these developed treasures. {That one should try to form a stock of wisdom and science.}

TITUS LIVIUS

[suggested translation, Marije Osnabrugge:] One can read in Livy, about Philopos the Commander in Chief, that he occupied himself continuously both in Peace and War with the practice of War, so that he would obtain wisdom in stock through this diligence; so that he would not be lacking Wise Councilors if he needed it. Likewise, from the start a Young Painter should aim to fill his mind with wisdom, by means of a continuous practice of Reading, Drawing, Speculating, Copying, questioning, practicing and researching, so that afterwards he will be able to show delightful things to the world based on these developed treasures. {That one should try to form a stock of wisdom and science.}

TITUS LIVIUS

[suggested translation, Marije Osnabrugge:] One can read in Livy, about Philopos the Commander in Chief, that he occupied himself continuously both in Peace and War with the practice of War, so that he would obtain wisdom in stock through this diligence; so that he would not be lacking Wise Councilors if he needed it. Likewise, from the start a Young Painter should aim to fill his mind with wisdom, by means of a continuous practice of Reading, Drawing, Speculating, Copying, questioning, practicing and researching, so that afterwards he will be able to show delightful things to the world based on these developed treasures. {That one should try to form a stock of wisdom and science.}

TITUS LIVIUS

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] Because while the Paintings often ache heavily under the different people who explain them, and have to suffer that the thoughts and the intention of the Painter, the explanation and the truth of the History, the reasoning of place, the Composition of the invention, the possibility of action, the true proportional Design, Clothing and hues, and yet other decent things, will be examined and disputed; which often gives the opportunity to find out the great or small experience of a Master, which often can be discerned in small things, yes as a careful Master has never thought of it, even less a minor spirit.

[suggested translation, Marije Osnabrugge:] As such the Meditations and Considerations that one has in the observation of the Art of Print, a specifically powerful Means to learn to understand everything (concerning the Art); {The observation of the Art of Print is a means to obtain a practiced mind.} notwithstanding it is argued that some resent it, believing because of a boasted fake Virtue of Mastery, that they would immediately be grouped amongst the Copyists and Failures, because some Losers exist, who do nothing but painting after Prints, Drawings as well as Paintings; {A misunderstanding of some in this regard.}

[suggested translation, Marije Osnabrugge:] As such the Meditations and Considerations that one has in the observation of the Art of Print, a specifically powerful Means to learn to understand everything (concerning the Art); {The observation of the Art of Print is a means to obtain a practiced mind.} notwithstanding it is argued that some resent it, believing because of a boasted fake Virtue of Mastery, that they would immediately be grouped amongst the Copyists and Failures, because some Losers exist, who do nothing but painting after Prints, Drawings as well as Paintings; {A misunderstanding of some in this regard.}

[suggested translation, Marije Osnabrugge:] As such the Meditations and Considerations that one has in the observation of the Art of Print, a specifically powerful Means to learn to understand everything (concerning the Art); {The observation of the Art of Print is a means to obtain a practiced mind.} notwithstanding it is argued that some resent it, believing because of a boasted fake Virtue of Mastery, that they would immediately be grouped amongst the Copyists and Failures, because some Losers exist, who do nothing but painting after Prints, Drawings as well as Paintings; {A misunderstanding of some in this regard.}

[suggested translation, Marije Osnabrugge:] As such the Meditations and Considerations that one has in the observation of the Art of Print, a specifically powerful Means to learn to understand everything (concerning the Art); {The observation of the Art of Print is a means to obtain a practiced mind.} notwithstanding it is argued that some resent it, believing because of a boasted fake Virtue of Mastery, that they would immediately be grouped amongst the Copyists and Failures, because some Losers exist, who do nothing but painting after Prints, Drawings as well as Paintings; {A misunderstanding of some in this regard.}

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] Let us add to this that the antique Statues that were made in the Golden Age, when the Art of the Old reached its peak, can offer the best Models and examples to young Painters and Draughtsmen: Like Mister Jan de Bisschop does not deny this in the Introduction of his fifty newly Etched Statues to Mister Constantijn Huygens, when he says “We feel it is unanimous, that the old remains of Statues and reliefs are of the greatest perfection in the Art, and the best example for the Students. […]”

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] Let us add to this that the antique Statues that were made in the Golden Age, when the Art of the Old reached its peak, can offer the best Models and examples to young Painters and Draughtsmen: Like Mister Jan de Bisschop does not deny this in the Introduction of his fifty newly Etched Statues to Mister Constantijn Huygens, when he says “We feel it is unanimous, that the old remains of Statues and reliefs are of the greatest perfection in the Art, and the best example for the Students. […]”

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] Let us add to this that the antique Statues that were made in the Golden Age, when the Art of the Old reached its peak, can offer the best Models and examples to young Painters and Draughtsmen: Like Mister Jan de Bisschop does not deny this in the Introduction of his fifty newly Etched Statues to Mister Constantijn Huygens, when he says “We feel it is unanimous, that the old remains of Statues and reliefs are of the greatest perfection in the Art, and the best example for the Students. […]”

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

BISSCHOP, Jan de
CICERO, Marcus Tullius
École vénitienne
MANTEGNA, Andrea
MICHELANGELO (Michelangelo Buonarroti)
NEGRETTI, Jacopo d'Antonio (Palma il Vecchio)
PLINIUS, L'Ancien
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] In the Wrestlers and the Fencers the force necessary for it is expressed, in Laocoon steady age, in Antinous a light almost feminine refinement of the body; in Apollo a well-made young man, in Bacchus twisting body parts, in Satyrs and Fauns sturdiness of flesh, and in the Women now a slender and then a well-fed and plump body; tacit on the different ages, postures, gestures, clothing and the like, the great beauty in each and the variety in all cannot amaze enough, accompanied by the highest simplicity and many other virtues:

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Bacchus, antique sculpture (dans GOEREE, 1670a, p. 68)
ANONYME, Antinoüs du Belvédère, le Lantin, v. 117 - v. 138, marbre, h. 195, Vatican, Vatican, Museo Pio-Clementino, MV_907_0_0.
ANONYME, Apollon du Belvédère, v. 130 - v. 140, marbre, h. 224, Vatican, Vatican, Museo Pio-Clementino, inv. 1015.
ANONYME, Les lutteurs, 27 avant J.C. - 476 après J.C., marbre, 89 x 90, Firenze, Uffizi, Inv. 61 et 216.
ANONYME, Satyrs en Faunen, [Antiquité].
ANONYME, Schermers, [Antiquité].

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] In the Wrestlers and the Fencers the force necessary for it is expressed, in Laocoon steady age, in Antinous a light almost feminine refinement of the body; in Apollo a well-made young man, in Bacchus twisting body parts, in Satyrs and Fauns sturdiness of flesh, and in the Women now a slender and then a well-fed and plump body; tacit on the different ages, postures, gestures, clothing and the like, the great beauty in each and the variety in all cannot amaze enough, accompanied by the highest simplicity and many other virtues:

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Bacchus, antique sculpture (dans GOEREE, 1670a, p. 68)
ANONYME, Antinoüs du Belvédère, le Lantin, v. 117 - v. 138, marbre, h. 195, Vatican, Vatican, Museo Pio-Clementino, MV_907_0_0.
ANONYME, Apollon du Belvédère, v. 130 - v. 140, marbre, h. 224, Vatican, Vatican, Museo Pio-Clementino, inv. 1015.
ANONYME, Les lutteurs, 27 avant J.C. - 476 après J.C., marbre, 89 x 90, Firenze, Uffizi, Inv. 61 et 216.
ANONYME, Satyrs en Faunen, [Antiquité].
ANONYME, Schermers, [Antiquité].

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] In the Wrestlers and the Fencers the force necessary for it is expressed, in Laocoon steady age, in Antinous a light almost feminine refinement of the body; in Apollo a well-made young man, in Bacchus twisting body parts, in Satyrs and Fauns sturdiness of flesh, and in the Women now a slender and then a well-fed and plump body; tacit on the different ages, postures, gestures, clothing and the like, the great beauty in each and the variety in all cannot amaze enough, accompanied by the highest simplicity and many other virtues:

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Bacchus, antique sculpture (dans GOEREE, 1670a, p. 68)
ANONYME, Antinoüs du Belvédère, le Lantin, v. 117 - v. 138, marbre, h. 195, Vatican, Vatican, Museo Pio-Clementino, MV_907_0_0.
ANONYME, Apollon du Belvédère, v. 130 - v. 140, marbre, h. 224, Vatican, Vatican, Museo Pio-Clementino, inv. 1015.
ANONYME, Les lutteurs, 27 avant J.C. - 476 après J.C., marbre, 89 x 90, Firenze, Uffizi, Inv. 61 et 216.
ANONYME, Satyrs en Faunen, [Antiquité].
ANONYME, Schermers, [Antiquité].

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] In the Wrestlers and the Fencers the force necessary for it is expressed, in Laocoon steady age, in Antinous a light almost feminine refinement of the body; in Apollo a well-made young man, in Bacchus twisting body parts, in Satyrs and Fauns sturdiness of flesh, and in the Women now a slender and then a well-fed and plump body; tacit on the different ages, postures, gestures, clothing and the like, the great beauty in each and the variety in all cannot amaze enough, accompanied by the highest simplicity and many other virtues:

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Bacchus, antique sculpture (dans GOEREE, 1670a, p. 68)
ANONYME, Antinoüs du Belvédère, le Lantin, v. 117 - v. 138, marbre, h. 195, Vatican, Vatican, Museo Pio-Clementino, MV_907_0_0.
ANONYME, Apollon du Belvédère, v. 130 - v. 140, marbre, h. 224, Vatican, Vatican, Museo Pio-Clementino, inv. 1015.
ANONYME, Les lutteurs, 27 avant J.C. - 476 après J.C., marbre, 89 x 90, Firenze, Uffizi, Inv. 61 et 216.
ANONYME, Satyrs en Faunen, [Antiquité].
ANONYME, Schermers, [Antiquité].

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] In the Wrestlers and the Fencers the force necessary for it is expressed, in Laocoon steady age, in Antinous a light almost feminine refinement of the body; in Apollo a well-made young man, in Bacchus twisting body parts, in Satyrs and Fauns sturdiness of flesh, and in the Women now a slender and then a well-fed and plump body; tacit on the different ages, postures, gestures, clothing and the like, the great beauty in each and the variety in all cannot amaze enough, accompanied by the highest simplicity and many other virtues:

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Bacchus, antique sculpture (dans GOEREE, 1670a, p. 68)
ANONYME, Antinoüs du Belvédère, le Lantin, v. 117 - v. 138, marbre, h. 195, Vatican, Vatican, Museo Pio-Clementino, MV_907_0_0.
ANONYME, Apollon du Belvédère, v. 130 - v. 140, marbre, h. 224, Vatican, Vatican, Museo Pio-Clementino, inv. 1015.
ANONYME, Les lutteurs, 27 avant J.C. - 476 après J.C., marbre, 89 x 90, Firenze, Uffizi, Inv. 61 et 216.
ANONYME, Satyrs en Faunen, [Antiquité].
ANONYME, Schermers, [Antiquité].

BISSCHOP, Jan de

[suggested translation, Marije Osnabrugge:] We do not want to forget the very lovely and excellent statues and ancient busts, which have recently been published by the Art-loving Mister Jan de Bisschop in The Hague, which, after having obtained the best sketches by himself and from the hands of other Amateurs of the Art of Drawing, he drew them again and etched them on Copper, some of which can also be found amongst the antiques of Perrier and other by Boissard. Of some he shows the different postures and choices to not let the beauties of these Statues remain hidden.

BISSCHOP, Jan de
BOISSARD, Jean Jacques
PERRIER, François

[suggested translation, Marije Osnabrugge:] We do not want to forget the very lovely and excellent statues and ancient busts, which have recently been published by the Art-loving Mister Jan de Bisschop in The Hague, which, after having obtained the best sketches by himself and from the hands of other Amateurs of the Art of Drawing, he drew them again and etched them on Copper, some of which can also be found amongst the antiques of Perrier and other by Boissard. Of some he shows the different postures and choices to not let the beauties of these Statues remain hidden.

BISSCHOP, Jan de
BOISSARD, Jean Jacques
PERRIER, François

[suggested translation, Marije Osnabrugge:] We do not want to forget the very lovely and excellent statues and ancient busts, which have recently been published by the Art-loving Mister Jan de Bisschop in The Hague, which, after having obtained the best sketches by himself and from the hands of other Amateurs of the Art of Drawing, he drew them again and etched them on Copper, some of which can also be found amongst the antiques of Perrier and other by Boissard. Of some he shows the different postures and choices to not let the beauties of these Statues remain hidden.

BISSCHOP, Jan de
BOISSARD, Jean Jacques
PERRIER, François

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] The words that Franciscus Junius cites from Fulgentius, are worth to be reread for their nice applications; {See his first Book, the end of the first Chapter.} in which he compares the whole diligence of an Inquisitive Artist, (which he says exists in nine things,) to the nine Muses or Goddesses of Singing, which he nicely applies according to the characteristics of their names: every time we read this, it urges us to writing that it would not be improper to discuss the entire Art of Painting, consisting of common knowledge and of the Art of Drawing, Architecture, Perspective, Anatomy, Composition and Coloration, in seven Books, and to connect these in this Introduction to the seven Liberal Arts, of Grammar, Dialectics, Rhetoric, Music, Arithmetic, Geometry and Astronomy; {The Art of Painting compared to the seven liberal Arts.}

FULGENTIUS, Fabius Planciades
JUNIUS, Franciscus

Following this citation, Goeree continues to explain the connection between the subjects of the envisioned seven books and the Liberal Arts, until page 84. [MO]

[suggested translation, Marije Osnabrugge:] Further we should also pay attention in this general part that one will not take the true practice of Painting on in a light manner, before one has a good understanding of the Theoretical knowledge of Drawing, Building, perspective and the likes. {That one should first practice Theory and then Practice.} The Old Masters who aimed at perfection, tended not to call themselves Artists, before they had prepared their inquisitive mind with a general knowledge of different Arts and sciences that are connected to the Art of Painting.

[suggested translation, Marije Osnabrugge:] Further we should also pay attention in this general part that one will not take the true practice of Painting on in a light manner, before one has a good understanding of the Theoretical knowledge of Drawing, Building, perspective and the likes. {That one should first practice Theory and then Practice.} The Old Masters who aimed at perfection, tended not to call themselves Artists, before they had prepared their inquisitive mind with a general knowledge of different Arts and sciences that are connected to the Art of Painting.

[suggested translation, Marije Osnabrugge:] Further we should also pay attention in this general part that one will not take the true practice of Painting on in a light manner, before one has a good understanding of the Theoretical knowledge of Drawing, Building, perspective and the likes. {That one should first practice Theory and then Practice.} The Old Masters who aimed at perfection, tended not to call themselves Artists, before they had prepared their inquisitive mind with a general knowledge of different Arts and sciences that are connected to the Art of Painting.

[suggested translation, Marije Osnabrugge:] Further we should also pay attention in this general part that one will not take the true practice of Painting on in a light manner, before one has a good understanding of the Theoretical knowledge of Drawing, Building, perspective and the likes. {That one should first practice Theory and then Practice.} The Old Masters who aimed at perfection, tended not to call themselves Artists, before they had prepared their inquisitive mind with a general knowledge of different Arts and sciences that are connected to the Art of Painting.

[suggested translation, Marije Osnabrugge:] Further we should also pay attention in this general part that one will not take the true practice of Painting on in a light manner, before one has a good understanding of the Theoretical knowledge of Drawing, Building, perspective and the likes. {That one should first practice Theory and then Practice.} The Old Masters who aimed at perfection, tended not to call themselves Artists, before they had prepared their inquisitive mind with a general knowledge of different Arts and sciences that are connected to the Art of Painting.

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] Junius describes the true Artist in a very different manner, when he describes him in such a way. {Description of a true Art-practitioner.} An Artist has to be a careful, attentive, decisive and alertly clever Man, who has been given a large understanding through the knowledge of various Sciences; because it is quite impossible that someone could bring forth a remarkable invention, unless he has been imprinted with the main grounds of the rightful learnedness from his early childhood on:

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] First of all it is infallibly certain to all sensible people, that he who wants to be a good Painter, has to attempt to be a confident and perfect Draughtsman: {A Painter principally has to be a good Draughtsman.} As we offer different comments as proof of the necessity of this art in our Teycken-konst. As such is it also necessary that the Painter understands Architecture or Art of Building, following the example of many good and famous Masters who have excelled in it, as will be argued in our third Book. {Must understand Architecture.}

GOEREE, Willem

Goeree refers to his book on the Art of Drawing (Inleydingh tot de al-gemeene Teycken-konst…, 1668) and his book on Architecture (d’Algemeene Bouwkunde…, 1681). [MO]

[suggested translation, Marije Osnabrugge:] First of all it is infallibly certain to all sensible people, that he who wants to be a good Painter, has to attempt to be a confident and perfect Draughtsman: {A Painter principally has to be a good Draughtsman.} As we offer different comments as proof of the necessity of this art in our Teycken-konst. As such is it also necessary that the Painter understands Architecture or Art of Building, following the example of many good and famous Masters who have excelled in it, as will be argued in our third Book. {Must understand Architecture.}

GOEREE, Willem

Goeree refers to his book on the Art of Drawing (Inleydingh tot de al-gemeene Teycken-konst…, 1668) and his book on Architecture (d’Algemeene Bouwkunde…, 1681). [MO]

[suggested translation, Marije Osnabrugge:] First of all it is infallibly certain to all sensible people, that he who wants to be a good Painter, has to attempt to be a confident and perfect Draughtsman: {A Painter principally has to be a good Draughtsman.} As we offer different comments as proof of the necessity of this art in our Teycken-konst. As such is it also necessary that the Painter understands Architecture or Art of Building, following the example of many good and famous Masters who have excelled in it, as will be argued in our third Book. {Must understand Architecture.}

GOEREE, Willem

Goeree refers to his book on the Art of Drawing (Inleydingh tot de al-gemeene Teycken-konst…, 1668) and his book on Architecture (d’Algemeene Bouwkunde…, 1681). [MO]

[suggested translation, Marije Osnabrugge:] Thirdly a Painter has to be firmly and profoundly experienced in perspective according to the most certain rules, and know them as good as his alphabet, so that he can shape everything that he encounters in the Art of Painting according to it. Therefore a young Painter, even from the beginning when he takes up the Art of Painting, should apply great diligence, to know what the perspective is, how it is seen in nature and how it is grounded in the Art, according to the rules that our sight has in seeing natural objects;

[suggested translation, Marije Osnabrugge:] Thirdly a Painter has to be firmly and profoundly experienced in perspective according to the most certain rules, and know them as good as his alphabet, so that he can shape everything that he encounters in the Art of Painting according to it. Therefore a young Painter, even from the beginning when he takes up the Art of Painting, should apply great diligence, to know what the perspective is, how it is seen in nature and how it is grounded in the Art, according to the rules that our sight has in seeing natural objects;

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] Fourthly a Painter should also understand the Anatomy very well, or the external and internal posture and distribution of the Human figure: {Should also be experienced in the Anatomy.} From this he should know the right proportional size in Nature, and the analysis of every part in regard to the whole, the weight and counter-weight in its movement. The variability of all natural and composed Actions, as for example going, standing, speaking, pointing, walking, jumping, throwing, carrying, pulling, standing, bowing and countless other actions. How this movement is carried out by the Muscles {Muscles.}, and how these are in appearance and specific use, where they put the most effort in one or another Action, and show themselves.

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] For this we should also know which are beautiful or deformed members, which can be sorted out from the observation of the beauties in the antique statues. Understand with good reason what the gracefulness, magnificence and harmony gives to a Figure, and furthermore the possible bends, the uttermost capacity and use of all members and joints. It can be added that he should also have knowledge by means of which lines, signs and views one can express all the passions and emotional inclinations of a Human heart after the specific encounter and occasion;

[suggested translation, Marije Osnabrugge:] All of which the painter should mind to imprint them in his memory: so that he would then be able to apply these things with good knowledge to his Figures. As such one should as a fifth thing, know all the main histories by diligently investigating the antiquities and Histories; {The Painter should be experienced in the Histories, and understand the old custom.} […]

Goeree lists many elements that are necessary to know to construct a history painting, such as clothing, furniture and animals, until page 96. [MO]

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.

[suggested translation, Marije Osnabrugge:] At last one should, besides all that has been said thus far, for Painting one should principally work to thoroughly know the nature, power and capacity of the Colors, Oils and Varnishes, with regard to coloring, also knowing how to compose these well and with variety, and pleasantly and modestly placing it on the right place and apply it to each thing in a natural way after the demand of the case; {The nature of the Colors should be understood.} so that one does not show that one has leaned on the beautiful colors or has based the Virtue of his Painting only by the splendor of colors. Similarly one should know, how to mix, treat and apply the colors, both in the dead-coloring and in finishing, and how they will cover the other [colors] in a clear, glowing and beautiful [way] and let them be applied with ease: { The handling of the colors should be understood.} so that they may appear wisely treated and pleasantly colored.