JUNIUS, Franciscus, De Schilder-konst der Oude, Begrepen in drie Boecken, Middelburg, Zacharias Roman, 1641.
In 1637, Junius wrote De pictura veterum (in Latin) for the Earl of Arundel, who was a prominent collector of antique art.[1] The second edition, The painting of the Ancients (in English), was published in 1638 and dedicated to the earl’s wife Alethea Howard. Developing a strong interest in the development of the Dutch language, Junius published his treatise in Dutch in 1641 (Schilder-konst der Oude), re-editing and enlarging the text considerably (see various comments throughout the analysis in this database). New editions were published in all three languages, amongst them a Dutch edition published by Willem Goeree in 1675 (that is, after Goeree had started publishing his own treatises on art). The German translation of 1770 made use of the original Latin edition of 1637.
De Schilderkonst der Oude is divided into three books, each with different chapters which in turn are divided into paragraphs. In his treatise, which is theoretical in nature, Junius describes the art of painting, by means of citations from the work of a wide range of ancient Greek and Roman, and medieval (Latin) authors. In the Latin edition, he comments very concisely on the citations (while including original Greek citations), whereas he increasingly formulates his interpretation of the ancient texts more freely in the English and Dutch editions (in which the citations are translated into the respective languages). In the first book, he attempts to define what painting is, focusing primarily on the notions of imitation and imagination (Cap. I-III); the relation between Poetry and Painting (esp. Cap. IV); the necessity of practice and diligence and the role of patronage (Cap. V). In the second book, Junius gives an explanation for the existence of art (Cap.I); he describes the importance of instruction and inclination (Cap. II-III); offers a list of sources on artists (Cap. III); argues for competition and emulation to make progress (Cap. IV-V); warns for the loss of simplicity (‘eenvoudigheyd’) (Cap. VI); attempts to define positive characteristics for an art work (Cap. VII) and how to reach perfection (Cap. VIII); devotes considerable space to the different uses and functions (‘ghebruyck’) of different types of visual arts through time (Cap. VIII); reflects on reputation and appreciation (in the form of both honour and monetary rewards) and the role of patrons therein (Cap. IX-X); on artistic liberty, innovation and creativity (Cap. X); as well as success (‘gheluckighe uytkomste’) and what it takes to become a great and universal master (Cap. XI); he discusses judgement of art, both for the artist and the connoisseur (Cap. XII); the flourishing of art (XIII); he finishes the book by referring to differences in success (‘fortuyne’) between artists (Cap. IV). In the third and final book of De Schilder-konst der Oude, Junius elaborates on different elements of a painting. Therefore, this book – although essentially theoretical in nature – is more directly related to artistic practice. Junius subsequently discusses (providing ample references): the subject and history, or invention and the necessity of knowledge of these subjects and the ability to depict them truthfully and in a stately and decorous manner (Cap. I); proportion and harmony (Cap. II); colour, light and shadow (Cap. III); movement and the depiction of emotions (Cap. IV); composition (Cap. V). In chapter VI, Junius argues that all the previously discussed elements in a painting should be in harmony, which will lead to a beautiful whole. In chapter VII he returns to the question of judgement and provides advice to connoisseurs, with an excursus to the theme of copies.
Our choice to work from the Dutch edition of 1641 as a basis for the analysis in the database is based on the following reasons: Firstly, the Dutch text is the most elaborate of the three first editions, both in regard to Junius’ commentary on the citations from ancient authors and for the introduction and explanation of concepts. Secondly, for the Dutch edition, Junius clearly attempted to develop a Dutch language of art. He frequently lists several alternatives (synonyms and near-synonyms) for a term in order to clarify what he means, where the Latin and English text only offer one term. Junius’ Dutch translations of the Latin and English terminology are frequently not necessarily translations in the strictest sense, but rather approximate reflections of the terms Junius chose in the earlier Latin and English to describe a certain notion or concept. Oftentimes Junius had provided a description in the Latin or English edition, rather than a precise term (this is mentioned in the comments to the different citations). From the discrepancies between the Latin and English edition and the Dutch edition, especially in Book Three, it is clear that Junius reworked large parts of the text, mainly by adding explanations and clarifications to the citations. Since Junius (or someone close to him?) himself worked on the translation of the text, he took the effort to reformulate the text of the earlier edition. From this perspective, De Pictura Veterum differs from other texts in this database, where the translations were generally done at a later date and/or by someone unrelated to the original author. In fact, it is quite probable that the Latin edition of 1694 was based on the changes that Junius had made in the different English (1638) and Dutch editions (1641, 1659 and 1675).
N.B. The translation of the selected citations was done by Marije Osnabrugge. Please note that it is only a suggested translation, produced for the convenience of the database user and that it should by no means be considered a definite scientific translation. We have tried to stay as close to the wording in the Dutch text as possible, to convey Junius’ choice of words.
Marije Osnabrugge
[1] For an appreciation of the different editions and the impact of the book(s), see in particular WESTSTEIJN, 2015 (esp. Chapter Two for a reflection on Junius' three first editions and the translation process and the Appendix for the major differences between the first Latin and English editions).
Dedication
Aen zijn Hoogheyd
Ode at [unnumbered page]
Dédicace(s) at ***ii-***iii
Lettre at [unnumbered pages]
Avis au lecteur at [unnumbered pages]
JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637.
JUNIUS, Franciscus, Schilder-boeck, behelsende de schilder-konst der oude : begrepen in dry boecken. Nu wederom met een bequaem register vermeerdert,, Middelburg, Zacharias Roman, 1659.
JUNIUS, Franciscus, Begin, heerlijcke voortgangh, en grootdadigh vermogen der wijdberoemde schilderkonst der antycken; te gelyck met die van de boetseerkunde, giet-oeffeningh, en al wat vorder de reex van d'algemeene beeld-vorming der aal-oude konstenaeren aanhoorigh is, Middelburg - Amsterdam, Willem Goeree - Janssoons van Waesberge, 1675.
JUNIUS, Franciscus, De pictura libri tres, tot in locis emendati, et tam multis accessionibus aucti, ut plane novi possint videri : accedit Catalogus, adhuc ineditus, architectorum, mechanicorum, sed praecipue pictorum, statuariorum, caelatorum, tornatorum aliorumque artificum, et operum quae fecerunt, secundum seriem litterarum digestus, GRAEVIUS, Johannes Gregorius (éd.), London, Samuel Smith & Benjamin Watford, 1694.
JUNIUS, Franciscus, Von der Mahlerey der Alten : in drey Büchern. Aus dem Lateinischen, Breslau, Johann Ernst Meyer, 1770.
FEHL, Philipp P., « Franciscus Junius and the Defense of Art », Artibus et Historiae, II/3, 1981, p. 9-55 [En ligne : https://www.jstor.org/stable/pdf/1483099.pdf consulté le 30/03/2018].
NATIVEL, Colette, « Franciscus Junius et le “De pictura veterum” », dans NATIVEL, Colette, WILSON-CHEVALIER, Kathleen et ZOLOTOV, Iouri Konstantinovitch (éd.), Histoire et théorie de l’art en France au XVIIe siècle en hommage à Jacques Vanuxem, Paris, Société d’étude du XVIIe siècle, 1983, p. 7-30.
NATIVEL, Colette, « La comparaison entre la peinture et la poésie dans le “de Pictura Veterum” (1,4) de Franciscus Junius (1589–1677) », Word & image, 4/1, 1988, p. 323-330.
NATIVEL, Colette, « Quelques sources antiques du “De Pictura Veterum” de Franciscus Junius », De Zeventiende Eeuw, 5, 1989, p. 33-44 [En ligne : http://www.dbnl.org/tekst/_zev001198901_01/_zev001198901_01_0027.php consulté le 14/09/2015].
WARNKE, Martin, « Kunst vor ihrer Geschichte: zum kunsthistoriographischen Verfahren des Franciscus Junius », dans GANZ, Peter, WARNKE, Martin, OSEBRUCH, Martin et MEIER, Nikolaus (éd.), Kunst und Kunsttheorie 1400 - 1900, Wiesbaden, Harrassowitz in Komm, 1991, p. 135-143.
NATIVEL, Colette, « Peinture, rhétorique et philosophie : la lecture de Cicéron dans le “De Pictura Veterum” de Franciscus Junius », Revue des études latines, 70, 1992, p. 245-261.
NATIVEL, Colette, « Regards sur l’art antique : aspects de la littérature d’art humaniste aux XVIe et XVIIe siècles », dans HOFFMANN, Philippe et RINUY, Paul-Louis (éd.), Antiquités imaginaires : la référence antique dans l’art moderne de la Renaissance à nos jours, Paris, Presses de l’École Normale Supérieure, 1996, p. 3-20.
NATIVEL, Colette, « Quelques apports du “De Pictura Ueterum Libri Tres” de Franciscus Junius à la théorie de l’art en France », Revue d’esthétique : La naissance de la théorie de l’art en France 1640-1720, 31/32, 1997, p. 119-131.
NATIVEL, Colette, « A Plea for Franciscus Junius as an Art Theorician », dans BREMMER, Rolf Hendrik (éd.), Franciscus Junius F. F. and His Circle, Amsterdam, Rodopi, 1998, p. 19-33.
NATIVEL, Colette, « La théorie de la composition dans le “De Pictura Veterum” de Franciscus Junius : une transition entre Alberti et l’Académie », dans TAYLOR, Paul et QUIVIGER, François (éd.), Pictorial Composition from Medieval to Modern Art, Actes du colloque de Londres, London, Warburg Institute, 2000, p. 117-130.
NATIVEL, Colette, « Le triomphe de l’idée de la peinture : la “phantasia” chez Junius et Bellori », dans HECK, Michèle-Caroline (éd.), Théorie des arts et création artistique dans l’Europe du nord du XVIe au début du XVIIIe siècle, Actes du colloque de Lille, Villeneuve-d’Ascq, Université Charles de Gaulle - Lille 3, 2001, p. 219-231.
NOVIKOVA, Anastassia, Virtue by Virtue of Virtuosity: Virtuosity as a Form of Virtue in English and Dutch Paintings and Art Theory in the Earlier Seventeenth Century, Thesis, University of London, 2002.
NOVIKOVA, Anastassia, « Virtuosity and Declensions of Virtue: Thomas Arundel and Aletheia Talbot seen by Virtue of a Portrait Pair by Daniel Mytens and a Treatise by Franciscus Junius », Nederlands Kunsthistorisch Jaarboek, 54, 2003, p. 308-333 [En ligne : http://www.jstor.org/stable/24706513 consulté le 30/03/2018].
BLANC, Jan, « Le traité de peinture dans la Hollande du XVIIe siècle, de Carel Van Mander (1604) à Samuel Van Hoogstraten (1678) », COnTEXTES, 1, 2006, [non paginé] [En ligne : http://contextes.revues.org/66 consulté le 28/04/2015].
NATIVEL, Colette, « La mise en œuvre du comparatisme au XVIIe siècle : le “De Pictura Veterum” de Junius », dans BAYARD, Marc (éd.), L’histoire de l’art et le comparatisme : les horizons du détour, Actes du colloque de Rome, Paris, Somogy, 2007, p. 233-245.
WESTSTEIJN, Thijs, « The Germanic Origins of Art: Dutch and English Antiquity according to Verstegan, Junius and Van Hoogstraten », Dutch Crossing, 32/1, 2008, p. 43-70 [En ligne : http://hdl.handle.net/11245/1.296093 consulté le 30/03/2018].
WESTSTEIJN, Thijs, « Between Mind and Body: Painting the Inner Movements according to Samuel van Hoogstraten and Franciscus Junius », Nederlands Kunsthistorisch Jaarboek, 60, 2010, p. 261-281.
KOCH, Nadia J., « Der Paradigmenwechsel von der ars zum artifex um 1600. Ludovicus Demontiosius‘ und Franciscus Junius‘ Systematiken der antiken Künste », dans HEINEN, Ulrich (éd.), Welche Antike– Konkurrierende Rezeptionen des Altertums im Barock, Actes du colloque de Wolfenbüttel, Wiesbaden, Harrassowitz, 2011, p. 1037-1046.
WESTSTEIJN, Thijs, « Translating “Schilderspraeke”: Painters’ Terminology in the Dutch Edition of Franciscus Junius’ “The Painting of the Ancients“ (1637-1641) », dans COOK, Harold John et DUPRÉ, Sven (éd.), Translating Knowledge in the Early Modern Low Countries, Berlin, LIT, 2012, p. 163–196.
WESTSTEIJN, Thijs, « Passie, Hartstocht: Painting and Evoking Emotions in Rembrandt's Studio », dans FRITZSCHE, Claudia, LEONHARD, Karin et WEBER, Gregor J. M. (éd.), Ad Fontes! Niederländische Kunst Des 17. Jahrhunderts in Quellen, Petersberg, Michael Imhof Verlag, 2013, p. 304-329.
WESTSTEIJN, Thijs, Art and Antiquity in the Netherlands and Britain: the Vernacular Arcadia of Franciscus Junius (1591-1677), Leiden, Brill, 2015.
WESTSTEIJN, Thijs, « The Sublime and the "Beholder's Share": Junius, Rubens, Rembrandt », Journal of Historians of Netherlandish Art, 8/2, 2016, n.p. [En ligne : http://dx.doi.org/10.5092/jhna.2016.8.2.2 consulté le 06/03/2018].
JANSEN MA, Wieneke L., « Translations of Longinus' Sublime Terminology in Franciscus Junius' "De pictura veterum" », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne, Actes du colloque de Montpellier et Paris, Montpellier, PULM, 2018, p. 395-407 [En ligne : http://dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].
FILTERS
QUOTATIONS
[...] 't en waer saeck dat die ghene noch verder gingen de welcke dese wonderen der Nature niet alleen nae de maete des menschelicken vernufts beschouwen, maer oock de ghelijckenisse der selvigher wonderen nae 't leven wonderbaerlick af-maelen.
[Suggested translation, Marije Osnabrugge:] …it is necessity that those go even further, who observe these wonders of Nature not only to the extent of human ingenuity, but also wonderfully reproduce the similitude after life of the same wonders.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it is necessity that those go even further, who observe these wonders of Nature not only to the extent of human ingenuity, but also wonderfully reproduce the similitude after life of the same wonders.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it is necessity that those go even further, who observe these wonders of Nature not only to the extent of human ingenuity, but also wonderfully reproduce the similitude after life of the same wonders.
Conceptual field(s)
St Chrysostomus […] maeckt een wijdt-loopigh verhael der dinghen die de Schilder-konst plaght nae te boetsen; De schilders, seght hy {Homilia de Psal. 50.}, bestaen de Nature door hare Konst uyt te drucken, nae't vermenghen haere verwen, afmaelende allerley ghelijckenisse der sienelicker lichamen;
[Suggested translation, Marije Osnabrugge:] St Chrysostomus (…) constructs a verbose story of the things that the Art of Painting tends to imitate; The painters, he says {…}, consist in expressing Nature by her Art, after mixing her paints, reproducing all sorts of similitudees of visible bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] St Chrysostomus (…) constructs a verbose story of the things that the Art of Painting tends to imitate; The painters, he says {…}, consist in expressing Nature by her Art, after mixing her paints, reproducing all sorts of similitudees of visible bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] St Chrysostomus (…) constructs a verbose story of the things that the Art of Painting tends to imitate; The painters, he says {…}, consist in expressing Nature by her Art, after mixing her paints, reproducing all sorts of similitudees of visible bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] St Chrysostomus (…) constructs a verbose story of the things that the Art of Painting tends to imitate; The painters, he says {…}, consist in expressing Nature by her Art, after mixing her paints, reproducing all sorts of similitudees of visible bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] St Chrysostomus (…) constructs a verbose story of the things that the Art of Painting tends to imitate; The painters, he says {…}, consist in expressing Nature by her Art, after mixing her paints, reproducing all sorts of similitudees of visible bodies.
The practical term ‘vermengen’ (to mix) rarely occurs in the book. Junius uses the term in combination to ‘verf’ (paint or pigment , color). [MO]
Conceptual field(s)
De wijdtlopigheydt der dinghen welcker ghelijckenissen dese dappere kunste soeckt voor te stellen, wordt op een gantsch andere wijse van Socrates verhandelt; de Schilders, seght hy {apud Xenoph. Lib. 3 Apomnem.}, soecken met haere verwen af te beelden verdiepte ende verhooghte, verdonckerde ende verlichte, harde ende sachte, ruyghe ende gladde, nieuwe ende oude lichaemen.
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The diffuseness of things which similitudees this brave art tries to portray, is treated by Socrates in a completely different manner; the Painters, he says {…}, try to depict with her paints deepened and heightened, darkened and lit, hard and soft, rough and smooth, new and old bodies.
This is one of the few instances in this text where Junius refers directly to the effect of the material, the colours. [MO]
Conceptual field(s)
Apelles heeft oock dinghen gheschildert die niet en konnen af-gemaelt worden; als naemelick donder-slaeghen, weder-licht, blixem. Plin. Xxxv.10. Soo dat Theophylactus Simocasus hier op een oogh schijnt ghehadt te hebben, als hy seght {epist. 37}, dat de Schilders sich onder-winden soodaenighe dinghen uyt te drucken, die de Nature selver niet en kan ghedoen.
[Suggested translation, Marije Osnabrugge:] Apelles has also painted things that cannot be reproduced; such as for example thunderbolts, heat lightning, lightning, (…) So that Theophylactus Simocasus seems to have thought of this, when he says {…}, that the Painters strain themselves to express such things, that Nature itself cannot do.
From this extract, it is clear that Junius associates ‘afmaelen’ with painting directly after something which is before the artist’s eyes. Here, he remarks that ‘afmaelen’ is not possible in the case of temporary things like thunder and lightning, but that artists – in this case Apelles – have nonetheless painting such subjects. He then goes on to state that painters hereby manage to express something which Nature itself cannot. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Apelles has also painted things that cannot be reproduced; such as for example thunderbolts, heat lightning, lightning, (…) So that Theophylactus Simocasus seems to have thought of this, when he says {…}, that the Painters strain themselves to express such things, that Nature itself cannot do.
From this extract, it is clear that Junius associates ‘afmaelen’ with painting directly after something which is before the artist’s eyes. Here, he remarks that ‘afmaelen’ is not possible in the case of temporary things like thunder and lightning, but that artists – in this case Apelles – have nonetheless painting such subjects. He then goes on to state that painters hereby manage to express something which Nature itself cannot. [MO]
Conceptual field(s)
So is het dan blijckelick dat onder 't ghetal van soo veele ende verscheyden Konsten door de welcke eenen grooten naem ende een ontsterffelicke beroemtheydt verworven wordt, dese Konste gheen van de geringhste en is, dewelcke daer af-beeldet alles watmen onder 't wijde uyt-spansel des Hemels bedeckt siet.
[Suggested translation, Marije Osnabrugge:] It is then clear that amongst the number of so many and diverse Arts in which a great name and immortal fame is obtained, this Art, which depicts all that one sees covered under the wide firmament of Heaven, is not one of the least.
Conceptual field(s)
So is het dan blijckelick dat onder 't ghetal van soo veele ende verscheyden Konsten door de welcke eenen grooten naem ende een ontsterffelicke beroemtheydt verworven wordt, dese Konste gheen van de geringhste en is, dewelcke daer af-beeldet alles watmen onder 't wijde uyt-spansel des Hemels bedeckt siet.
[Suggested translation, Marije Osnabrugge:] It is then clear that amongst the number of so many and diverse Arts in which a great name and immortal fame is obtained, this Art, which depicts all that one sees covered under the wide firmament of Heaven, is not one of the least.
Conceptual field(s)
't Is ghewisselick een uyttermaeten groote saeck de waere verbeeldinghen van allerley roerende ende onroerende dinghen in sijn ghemoedt op te legghen; evenwel nochtans is het noch een meerder saecke datmen een levende ghelijckenisse deser inwendigher verbeeldinghen kan uytwercken, voornaemelick indien den Konstenaer niet en blijft hanghen aen dese of geene bysondere wercken der Natuere, maer liever uyt opmerkinghe van d'aller schoonste lichamen die erghens te vinden sijn een volmaeckt voor-beeldt in sijn fantasije indruckt,
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is clearly an extremely important case to imprint the true representations of all sorts of movable and unmovable things in one's mind; even so it is an even more important case that one can bring about a living similitude of these inner representations, especially if the Artist does not stick to these or other specific works of Nature, but rather by observation imprints a perfect example of the most beautiful bodies that can be found anywhere in his fantasy.
Conceptual field(s)
Hier toe dienen de woorden van eenen vermaerden Platonischen Philosophe bygebracht, de Beelt-Snijders, seght hy {Maximus Tyrius dissertat. Vii}, versaemelende al wat bysondere lichaemen fraey ende aerdigh is, brenghen door de konst in een enckele naboetsinghe van de volmaeckte schoonheydt te passe al wat sy uyt menighe schoone personagien hebben opghegaedert; ten eynde dat sy een bequaeme, suyvere, wel-ghematichde ghestalte mochte treffen, soo datmen nauwelicx sulcken volkomen schoonheydt erghens kan ghevinden, die met een wel ghewrocht Stock-Beeldt ofte Statuo mach worden vergeleken, want de Konsten soecken oyt 't aller schoonste.
[Suggested translation, Marije Osnabrugge:] To this the words of a famous Platonic Philosopher should be added, the Image-carvers, he says {…}, collecting all that is charming and pretty in specific bodies, show by art in a single imitation of perfect beauty all that they have gathered from many beautiful figures; with the goal that they will reach a able, pure, well-balanced figure, such that one can hardly find such a perfect beauty anywhere, that can be compared to a well-produced 'stock-beeldt' or statue, because the Arts always try to find the most beautiful.
Conceptual field(s)
Blijckt dan uyt het ghene alrede verhaelt is, dat de rechte Konstenaers die in haer ghemoed een on-ver-valscht voorbeeldt der volmaeckte schoonheydt om-draegen, doorgaens henen oock in alle haere werken en eenen sekeren glimps deser inwendigher verbeeldinghe plachten uyt te storten. […]'t Is oock seer wel van eenen ouden Orateur {Panegyr. Maxim. & Constant. dictus} aen-gemerckt, dat de afbeeldinghe van de voor-naemste schoonheydt d'aller moeylickste is; aenghesien de mis-maecktheydt lichtelick door sekere merck-teyckenen kan uytghedruckt worden de verghelijckinghe daerenteghen van de waere schoonheydt is soo weynigh ghemeyn, als de schoonheydt selver.
[Suggested translation, Marije Osnabrugge:] It shows from that what has already been said, that the true Artists who carry around an unadulterated example of the perfect beauty in their mind, normally also tend to pour out a certain glimpse of these internal representations in all their works. […]It has also been noticed very well by an old Orator {…} that the depiction of the most notable beauty is the hardest; since the deformity is easily expressed by certain marks, the comparison of true beauty in contrast is very uncommon [NDR: so little common], like beauty itself.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It shows from that what has already been said, that the true Artists who carry around an unadulterated example of the perfect beauty in their mind, normally also tend to pour out a certain glimpse of these internal representations in all their works. […]It has also been noticed very well by an old Orator {…} that the depiction of the most notable beauty is the hardest; since the deformity is easily expressed by certain marks, the comparison of true beauty in contrast is very uncommon [NDR: so little common], like beauty itself.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It shows from that what has already been said, that the true Artists who carry around an unadulterated example of the perfect beauty in their mind, normally also tend to pour out a certain glimpse of these internal representations in all their works. […]It has also been noticed very well by an old Orator {…} that the depiction of the most notable beauty is the hardest; since the deformity is easily expressed by certain marks, the comparison of true beauty in contrast is very uncommon [NDR: so little common], like beauty itself.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It shows from that what has already been said, that the true Artists who carry around an unadulterated example of the perfect beauty in their mind, normally also tend to pour out a certain glimpse of these internal representations in all their works. […]It has also been noticed very well by an old Orator {…} that the depiction of the most notable beauty is the hardest; since the deformity is easily expressed by certain marks, the comparison of true beauty in contrast is very uncommon [NDR: so little common], like beauty itself.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It shows from that what has already been said, that the true Artists who carry around an unadulterated example of the perfect beauty in their mind, normally also tend to pour out a certain glimpse of these internal representations in all their works. […]It has also been noticed very well by an old Orator {…} that the depiction of the most notable beauty is the hardest; since the deformity is easily expressed by certain marks, the comparison of true beauty in contrast is very uncommon [NDR: so little common], like beauty itself.
Conceptual field(s)
[...] oversulcx, als desen grooten Meester [Zeuxis] voor-genomen hadde den inwoonderen van Crotona een uytnemende schoon vrouwelick Beeldt nae te laeten, soo en vond hy het niet gheraedtsaem de gheheele volmaecktheydt van d'aller bevallighste schoonigheydt in een lichaem te soecken, maer hy heeft vijf van d'aller schoonste Maeghden uytghepickt, ten eynde dat hy uyt d'ernstighe opmerckinghe der selvigher de rechte schoonheydt, die nae 't segghen van Lucianus {In Hermetino} noodtsaeckelijck maer een wesen kan, moght ghevinden
[Suggested translation, Marije Osnabrugge:] …in regard to this, as this great Master had resolved to bequeath the inhabitants of Crotona an outstandingly beautiful female Image, he then did not find it wise to search for the complete perfection of the most graceful beauty in one body, but he has selected five of the most beautiful virgins, so that through earnest observation he would be able to find true beauty, which according to Lucianus {…} by necessity can only be one.
Junius place art above nature, as one ‘beeldt’ (image) made by an artist can contain a collection of beautiful aspects from several natural things. It is not entirely clear whether the term should be translated as ‘image’ or as ‘sculpture’, the former would appear more appropriate, seen that Zeuxis was a painter. Indeed, the terms used in the Latin (forma) and English (choice patterne) edition are unambiguously pointing to ‘image’ as the best translation. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …in regard to this, as this great Master had resolved to bequeath the inhabitants of Crotona an outstandingly beautiful female Image, he then did not find it wise to search for the complete perfection of the most graceful beauty in one body, but he has selected five of the most beautiful virgins, so that through earnest observation he would be able to find true beauty, which according to Lucianus {…} by necessity can only be one.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …in regard to this, as this great Master had resolved to bequeath the inhabitants of Crotona an outstandingly beautiful female Image, he then did not find it wise to search for the complete perfection of the most graceful beauty in one body, but he has selected five of the most beautiful virgins, so that through earnest observation he would be able to find true beauty, which according to Lucianus {…} by necessity can only be one.
Junius connects the concept of ‘volmaaktheid’ (perfection) to that of beauty. He cites Lucianus, who stated that there exists only one perfect beauty. Zeuxis was aware of this and therefore did not seek perfection in one natural body, but combined beautiful elements from various bodies to come to perfection. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …in regard to this, as this great Master had resolved to bequeath the inhabitants of Crotona an outstandingly beautiful female Image, he then did not find it wise to search for the complete perfection of the most graceful beauty in one body, but he has selected five of the most beautiful virgins, so that through earnest observation he would be able to find true beauty, which according to Lucianus {…} by necessity can only be one.
Junius connects the concept of ‘volmaaktheid’ (perfection) to that of beauty. He cites Lucianus, who stated that there exists only one perfect beauty. Zeuxis was aware of this and therefore did not seek perfection in one natural body, but combined beautiful elements from various bodies to come to perfection. [MO]
Conceptual field(s)
Dit is dan dese naeboetsinghe, die men ghemeyndelick d'Imitatie noemt, uyt welcke de Teycken-Konst, de Schilder-Konst, de Giet-Konst en al 'andere Konsten van desen aerd voord-spruyten. Oock so is 't dat dese Imitatie van Philostratus {in proaemio Iconum} genaemt wordt een seer oude vont ende met de Nature selver wonderlick wel overeen komende. […]Oock soo en moghen wy in 't minste niet eens twijfelen of 't grootste deel der Konsten, ghelijck den selvighen Quintilianus elders {orat. Instit. Lib. X. cap. 2} steunt op d'imitatie, jae dat noch meer is, 't gantsche belydt onses levens bestaet daerin dat wy altijdt vaerdighlick naetrachten, 't ghene wy in andere hoogh achten.
[Suggested translation, Marije Osnabrugge:] This is than that imitation, which one commonly calls imitation, from which the Art of Drawing, the Art of Painting, the Art of Casting and all the other Arts of this earth spring forth. Just as this Imitation is called by Philostratus {…} a very old source and wonderfully similar to Nature itself. […]Just like that we cannot doubt in the least or 'the larger part of the Art, like the same Quintilianus [says] elsewhere {…}, leans on Imitation, yes even more so, the whole ruling of our lives consists therein that we always capably aim to that which we esteem highly in others.
For the translation, I could not find a suitable synonym for Imitation, that would reflect the sense of the Dutch term 'nabootsing'/'imitatie'. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is than that imitation, which one commonly calls imitation, from which the Art of Drawing, the Art of Painting, the Art of Casting and all the other Arts of this earth spring forth. Just as this Imitation is called by Philostratus {…} a very old source and wonderfully similar to Nature itself. […]Just like that we cannot doubt in the least or 'the larger part of the Art, like the same Quintilianus [says] elsewhere {…}, leans on Imitation, yes even more so, the whole ruling of our lives consists therein that we always capably aim to that which we esteem highly in others.
For the translation, I could not find a suitable synonym for Imitation, that would reflect the sense of the Dutch term 'nabootsing'/'imitatie'. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is than that imitation, which one commonly calls imitation, from which the Art of Drawing, the Art of Painting, the Art of Casting and all the other Arts of this earth spring forth. Just as this Imitation is called by Philostratus {…} a very old source and wonderfully similar to Nature itself. […]Just like that we cannot doubt in the least or 'the larger part of the Art, like the same Quintilianus [says] elsewhere {…}, leans on Imitation, yes even more so, the whole ruling of our lives consists therein that we always capably aim to that which we esteem highly in others.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is than that imitation, which one commonly calls imitation, from which the Art of Drawing, the Art of Painting, the Art of Casting and all the other Arts of this earth spring forth. Just as this Imitation is called by Philostratus {…} a very old source and wonderfully similar to Nature itself. […]Just like that we cannot doubt in the least or 'the larger part of the Art, like the same Quintilianus [says] elsewhere {…}, leans on Imitation, yes even more so, the whole ruling of our lives consists therein that we always capably aim to that which we esteem highly in others.
For the translation, I could not find a suitable synonym for Imitation, that would reflect the sense of the Dutch term 'nabootsing'/'imitatie'. [MO]
Conceptual field(s)
Nu soo en behoeft sich hier niemandt van dese Konst af-keerigh te houden, ten aensien van d'ontallicke menichte der naturelicker dingen die af-ghebeeldt worden; ghemerckt daer nerghens een Konst is in welcke alles wat de Konst betreft van den Leer-Meester moet voor ghehouden worden. Ghewisselick, de wijds en sijds verspreyde nature der dinghen kan 't niet verdraeghen dat een Leer-Meester in dese Konst sijnen Leerlinghen elcke bysondere ghedaente soude gaen voorstellen: ende indien erghens yemant sulcks aenvanght, deselvighe sal, nae 't seggen van Quintilianus {orat. Instit. Lib. 5. cap.10}, dese twee onghemacken ondergaan, dat hy sijne Leer-jonghens altijds te vele sal voorhouden, en nimmermeer ghenoeg.
[Suggested translation, Marije Osnabrugge:] As such now no one has to stand aloof from this Art, regarding the countless mass of natural things that are depicted; considering there is no Art anywhere in which everything regarding the Art has to be demonstrated by the Master. Certainly, the far and wide spread nature of things cannot bear it that a Master in this Art would be showing every specific shape to his Pupils: and if someone somewhere initiates something like that, he will, as is said by Quintilianus {…}, undergo these two discomforts, that he will always show his apprentice too much, and never enough.
Conceptual field(s)
Dit selvighe wordt mede bevestight met dese woorden van den gheleerden Quintilianus; t staet eenen Leer-Meester toe, seght hy {Orat. Institut. Lib. 7. cap. 10.}, daghelicks aen te wijsen hoedanigh 't vervolge der dinghen sy, als oock hoe de selvighe aen elck-ander hanghen: want het onmoghelick is, al 't ghene de Konst aen-gaet, in 't bysonder voor te schrijven. Waer vindt men doch erghens een Schilder, die al 't ghene in de nature voor-valt, heeft leeren naetrecken? Nochtans sal hy, de rechte maniere der imitatie maer eens gevat hebbende, al wat hem voor-komt lichtelick af-beelden.
[Suggested translation, Marije Osnabrugge:] The same is also confirmed with these words by the learned Quintilianus; it is allowed to a Master, he says {…}, to designate daily how the continuation of the things will be, as well as how things are connected to each other: as it is impossible to lay out all that concerns Art in its specificity. Where then does one find a Painter, who has learned to trace all that happens in nature? Nonetheless he will, once he has grasped the right manner of imitation, easily depict all that occurs to him.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The same is also confirmed with these words by the learned Quintilianus; it is allowed to a Master, he says {…}, to designate daily how the continuation of the things will be, as well as how things are connected to each other: as it is impossible to lay out all that concerns Art in its specificity. Where then does one find a Painter, who has learned to trace all that happens in nature? Nonetheless he will, once he has grasped the right manner of imitation, easily depict all that occurs to him.
Conceptual field(s)
De beginselen dan deser konsten die sich met de Imitatie bemoeyen, vereyschen geenen on-eyndelicken arbeydt- maer bieden haer selven in 't teghendeel vaerdighlick aen, tevreden sijnde met seer gemaetighde ende niet al te swaere voor-schriften der behoorlicker proportie.
[Suggested translation, Marije Osnabrugge:] The principles of these arts that concern themselves with Imitation, do not demand endless effort, but by contrast offer themselves readily, content with very moderate and not too heavy instructions of adequate proportion.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The principles of these arts that concern themselves with Imitation, do not demand endless effort, but by contrast offer themselves readily, content with very moderate and not too heavy instructions of adequate proportion.
Conceptual field(s)
Ende in der waerheydt, de gantsche Schilder-Konst wordt in dapper weynighe leerstucken begrepen; de welcke, gelyck se heel en d'al nodigh sijn den ghenen die niet te vergeefsch willen arbeyden, so moeten se nochtans den aenkomelinghen op 't aller kortste ende op t'aller eenvoudichste voorghestelt worden. Wanneer men in 't teghendeel een groot ghebaer maeckt omtrent de grondslaeghen deser Konste, so ghebeurt het menigh werven dat de nieuwelinghen t'eenemael van de Konst vervreemden, afgheschrickt sijnde door de verdrietsaemheydt van sulck een veelvoudigh ende inghewickelt onderwijs: ook soo wordt altemts haer verstandt, 't welck in 't eerste op 't aller lieffelickste gekoestert moet worden, verduft ghemaeckt door de schraelheydt van allerley opghesochte voorslaeghen:
[Suggested translation, Marije Osnabrugge:] And in truth, the whole Art of Painting is understood in very few precepts; which, as they are totally necessary for those who do not want to work in vain, then they should be introduced to the beginners in the briefest and most simple [NDR: way]. When one, to the contrary, makes a grand gesture regarding the precepts of this Art, then it happens many times that the newcomers immediately alienate from the Art, frightened by the sadness of such a manifold and complicated education: similarly often their mind, which should first and most kindly be cherished, is sedated by the scarcity of all sorts of far-fetched advices:
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] And in truth, the whole Art of Painting is understood in very few precepts; which, as they are totally necessary for those who do not want to work in vain, then they should be introduced to the beginners in the briefest and most simple [NDR: way]. When one, to the contrary, makes a grand gesture regarding the precepts of this Art, then it happens many times that the newcomers immediately alienate from the Art, frightened by the sadness of such a manifold and complicated education: similarly often their mind, which should first and most kindly be cherished, is sedated by the scarcity of all sorts of far-fetched advices:
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] And in truth, the whole Art of Painting is understood in very few precepts; which, as they are totally necessary for those who do not want to work in vain, then they should be introduced to the beginners in the briefest and most simple [NDR: way]. When one, to the contrary, makes a grand gesture regarding the precepts of this Art, then it happens many times that the newcomers immediately alienate from the Art, frightened by the sadness of such a manifold and complicated education: similarly often their mind, which should first and most kindly be cherished, is sedated by the scarcity of all sorts of far-fetched advices:
Conceptual field(s)
De Schilder-Konst, seght Plato {lib. 6 de Legibus}, schijnt geen eynde te nemen in 't afmaelen der ghedierten, maer sy is altijdt besigh om 't ghene sy eens ter handt ghetrocken heeft meer en meer te vercieren.
[Suggested translation, Marije Osnabrugge:] The Art of Painting, says Plato {…}, appears not to stop with the reproduction of animals, but she is always busy to embellish that which she has once traced by hand further and further.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The Art of Painting, says Plato {…}, appears not to stop with the reproduction of animals, but she is always busy to embellish that which she has once traced by hand further and further.
Conceptual field(s)
Dies worden oock d'eerste beginselen deser Konsten seer lichtelick an dieghene ghevat, dewelcke haeren wille ongheveynsdelick daer toe gheneyght vinden: ende soo wanneer yemant langhsaemlick daer in voordtvaert, deselvighe magh het sijn eyghene weder-strevigheydt danck weten: want wy sullen het eerste onderwijs kort ghenoeg vinden, indien wy maer alleen ons selven en andere niet en soecken moedt-willighlick wijs te maecken dat het eenen verdrietiglick langhen wegh is: Behalven dat oock een bequame maniere van onderwijsinghe alle dinghen noch al korter sal maecken. Nu daerenteghen soo is de eerste ende de meeste schuld in de Leer-Meesters, die 't fuselboeck soeckende haere Leer-jonghers wonderlick geerne ophouden,…
[Suggested translation, Marije Osnabrugge:] The first principles of these Arts are also easily grasped by those, who sincerely put themselves to it: and when someone slowly advances in it, he may thank his own opposition: because we will find the first education short enough, if we only try not to consciously deceive ourselves and others that it is a sad long road: Besides that, an adequate way of education will also make all things much shorter. By contrast, the first and most blame is then on the Masters, who strangely enjoy detaining their apprentices by causing delay,…
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The first principles of these Arts are also easily grasped by those, who sincerely put themselves to it: and when someone slowly advances in it, he may thank his own opposition: because we will find the first education short enough, if we only try not to consciously deceive ourselves and others that it is a sad long road: Besides that, an adequate way of education will also make all things much shorter. By contrast, the first and most blame is then on the Masters, who strangely enjoy detaining their apprentices by causing delay,…
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The first principles of these Arts are also easily grasped by those, who sincerely put themselves to it: and when someone slowly advances in it, he may thank his own opposition: because we will find the first education short enough, if we only try not to consciously deceive ourselves and others that it is a sad long road: Besides that, an adequate way of education will also make all things much shorter. By contrast, the first and most blame is then on the Masters, who strangely enjoy detaining their apprentices by causing delay,…
Conceptual field(s)
Ondertusschen moeten wy dit altoos met Quintilianus {orat. Instit. Lib. 12 cap. 11} bekennen, dat ons d'oude soo vele Meesters en soo vele exempelen hebben nae-ghelaeten, dat dese onse eene met recht voor d'alder gheluckighste ghehouden mach worden, als de welcke uyt den suyver arbeydt der voorigher Meesters volkomen onderrichtinghe haelen kan.
[Suggested translation, Marije Osnabrugge:] In the mean time we always have to agree this with Quintilianus {…}, that to us the old have bequeathed us so many Masters and so many examples, that these can rightly be taken for the most fortunate, who can take his complete education from the pure labor of the previous Masters.
Conceptual field(s)
[...] soo en behoeft dan niemant te suylooren en den moedt verlooren te geven, die beneffens de goede toe-gheneghenheyd tot dese Konsten, niet alleen ghelegehnheydt des tijds, maer oock de bequaemheydt sijnes verstandts, de ghesontheydt des lichaems, d'onderwijsinghe van een trouwen Leer-meester tot hulpe heeft,
[Suggested translation, Marije Osnabrugge:] …as such nobody has to be sad and give up hope, who next to the good inclination for these Arts, is not only aided by the opportunity of time, but also by the capacity of his mind, the health of the body, the education of a loyal Master,…
Conceptual field(s)
Beneffens dese voornoemde Imitatie der naturelicker lichaemen door welcke de Konstenaers aengeleyd worden om allerley sienelicke dingen nae 't leven uyt te drucken, so staet ons alhier noch een andere soorte van Imitatie aen te mercken, door welcke den Konstenaer sich verstoutet oock soodaenighe dinghen af te beelden die van 's menschen ghesicht verde sijn afgescheyden. Ende al hoewel de voornaemste kracht van dese imitatie in de fantasije bestaet, soo is het nochtans dat wy d'eerste beginselen deser imaginatie onsen ooghen moeten danck weten; want d'inwendighe verbeeldinghen die in onse ghedachten spelen, konnen daer in noyt ghefatsoenert worden 't en sy dat wy eerst de ghedaente der dinghen ergens in 't rouwe met onse ooghen hebben aenschouwet, of ten minsten met d'een of d'ander onser vijf sinnen hebben ghevoelt.
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. The near-synonym ‘uitdrukken’, which he also uses in this extract, indicates the ability to work ‘after life’ rather than from the imagination.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius identifies to types or levels of imitation. The first type occupies itself with expressing the natural world directly. The second type of imitation starts by this direct observation of nature, but subsequently processes this observation in the mind, by means of fantasy.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius identifies to types or levels of imitation. The first type occupies itself with expressing the natural world directly. The second type of imitation starts by this direct observation of nature, but subsequently processes this observation in the mind, by means of fantasy.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius identifies to types or levels of imitation. The first type occupies itself with expressing the natural world directly. The second type of imitation starts by this direct observation of nature, but subsequently processes this observation in the mind, by means of fantasy.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius identifies to types or levels of imitation. The first type occupies itself with expressing the natural world directly. The second type of imitation starts by this direct observation of nature, but subsequently processes this observation in the mind, by means of fantasy.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. The near-synonym ‘uitdrukken’, which he also uses in this extract, indicates the ability to work ‘after life’ rather than from the imagination.[MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.
Junius identifies to types or levels of imitation. The first type occupies itself with expressing the natural world directly. The second type of imitation starts by this direct observation of nature, but subsequently processes this observation in the mind, by means of fantasy.[MO]
Conceptual field(s)
Themistius heeft dit alles wonderlick wel uyt gedruct. De fantasije, seght hy {Lib II. Geograph.}, is een Printe ende eenen voetstap der dinghen die wy sien en voelen. Want ghelijck den handtboom door onse handen bewoghen sijnde, den steen beweeght: ghelijck oock de Zee door den windt bewoghen zijnde, het Schip beweeght: soo en is 't gheen wonder dat het selvighe mede voorvalt in die dinghen dewelck wy sien ende ghevoelen, want ons ghevoelen door d'uytwendighlick ghevoelicke dinghen gaende ghemaeckt sijnde, ende alsoo een ghedaente aenghenomen hebbende van 't ghene daer door het sich selven bewoghen vindt, beweeght oock in de volmaeckte schepselen een andere kracht haeres ghemoedts, die men de fantasije naemt; welckers aerdt is de Printen die haer door 't ghevoelen worden over ghelevert ende in ghedruckt binnen in haer selven op te legghen, ende alsoo daer in te verseghelen dat se voor een goede wijle tijdts, nae dat nu de ghevoelicke dinghen uyt d'ooghen wech ghenomen sijn, de Voet-Printen der selvigher dinghen behouden.
[Suggested translation, Marije Osnabrugge:] Themistius has expressed all of this remarkably well. The fantasy, he says {…}, is a print and a footstep of the things we see and feel. Because like the lever [NDR: which is] moved by our hands, moves the rocks: and like the sea [NDR: which is] moved by the wind, moves the Ship: so it is no wonder that the same happens as well in those things which we see and feel, as our feelings have been put into motion by externally felt things, and as such have taken a shape of that which is moved by it, a different power of mind moves in the perfect creatures, which one calls fantasy; whose nature it is to enforce the Prints that are transferred to it by feeling and imprinted in itself, and also insure therein that for a considerable time, after that the tangible things have been taken away from the eyes, the foot-print of these things are kept.
Conceptual field(s)
Soo is dan dese gantsch vruchtbaere kracht onses ghemoedts, nae 't oordeel van Plato {in Sophista.}, tweederley: d’eerste soeckt maer alleen soodaenighe dinghen uyt te drucken die d'ooghe teghenwoordighlick aenschouwet; d'andere bestaet daer en boven oock die dinghen af te beelden welcker voorbeeldt maer alleen in de fantasije voor ghestelt wordt.
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. ‘Uitdrukken’ (express) indicates the ability to work after that which is seen with one’s eyes at that moment, rather than from the imagination. He connects this to Plato’s theory of the duality of the mind. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
In reference to Plato, Junius defines two characteristics of the (power of) the mind of an artist. In this extract, the mind functions as a tool which allows the artist to depict that which he sees with his eyes, as well as that which he constructs in his fantasy. Junius describes the faculty of the imagination more elaborately in the Latin edition (1694), also providing the Greek terms from Plato, cfr. Nativel 1996, p. 176 n.1.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
In reference to Plato, Junius defines two characteristics of the (power of) the mind of an artist. In this extract, the mind functions as a tool which allows the artist to depict that which he sees with his eyes, as well as that which he constructs in his fantasy. Junius describes the faculty of the imagination more elaborately in the Latin edition (1694), also providing the Greek terms from Plato, cfr. Nativel 1996, p. 176 n.1.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
Junius makes a distinction between two types of imitation. Junius describes the first type as imitation of that which the artist can see right before his eyes (‘tegenwoordig’). As such, the concept ‘tegenwoordig’ (presently) is a key word in this definition of imitation. In the Latin and English edition, he does not use a word, but describes the situation instead: ‘vivas rerum formas coram intuens’ (LA) and ‘…whilest they are set before our eyes’(EN). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. ‘Uitdrukken’ (express) indicates the ability to work after that which is seen with one’s eyes at that moment, rather than from the imagination. He connects this to Plato’s theory of the duality of the mind. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
Conceptual field(s)
Eenighe werck-meesters, seght Proclius {lib. II in Timeaum Platonis}, connen de wercken van andere nauw puntighlick naevolghen; andere daer en teghen hebben in sich een sekere bequaemheydt om wonderlicke dinghen te versinnen.
[Suggested translation, Marije Osnabrugge:] Some masters, says Proclius {…}, can imitate the works of others painstakingly neat; others by contrast have a certain ability in them to invent marvelous things.
Conceptual field(s)
Al wat nae 't verdachte wordt ghemaeckt, is schoon. Wat daer en teghen nae 't ghene van de Nature voordt ghebracht is gemaeckt wordt, is niet schoon. Want wanneer yemant yet nae 't verdachte maeckt, soo moet hy noodtsaeckelick een van beyde doen; ofte hy druckt het verdachte voorbeeldt wel ende bequaemelicke uyt, ofte niet, indien hy 't wel afbeeldt soo sal 't uyt ghedruckte beeldt schoon wesen; aenghesien d'eerste en meeste schoonheydt in 't verdacht voorbeeldt te vinden is. Indien hy daer en teghen 't verdachte voorbeeldt niet wel uyt en druckt; soo en is sijn maecksel nae 't verdachte niet ghewrocht, maer 't valt in 't teghendeel verder af van de volcomen schoonheydt deses voorbeeldts. 't Is dan blijckelick dat die ghene de welcke yet maeckt nae 't gheene van de nature voordt ghebracht is, het selvichge niet recht schoon maecken can: overmidts 't ghene hy sich voorstelt vol ghebreckelickheydts is, en dat d' eerste en meeste schoonheydt daer niet in te vinden is; soo dat oock 't ghene daer nae ghemaeckt wordt, noch al meer van de rechte schoonheydt af dwaelen moet.
[Suggested translation, Marije Osnabrugge:] All that is produced after the thought, is beautiful. That which on the other hand is produced and made by Nature, is not beautiful. Because when someone makes something after the thought, he necessary has to do one of both [NDR: i.e. make a choice]: or he expresses the thought example well and capably, or not, if he does depict it well, then the expressed image will be beautiful; seen that the first and most beauty is to be found in the thought example. If by contrast he does not express the thought example well; then his fabrication after the thought is not worked, but to the contrary it diverges further from the complete beauty of the example. It is then clear that he who makes something after that which has been produced by nature, cannot really make it beautiful: as that which he imagines himself is full of imperfection, and that the first and most beauty cannot be found in there; thus also that which is made after it, necessarily diverges somewhat more from straight beauty.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] All that is produced after the thought, is beautiful. That which on the other hand is produced and made by Nature, is not beautiful. Because when someone makes something after the thought, he necessary has to do one of both [NDR: i.e. make a choice]: or he expresses the thought example well and capably, or not, if he does depict it well, then the expressed image will be beautiful; seen that the first and most beauty is to be found in the thought example. If by contrast he does not express the thought example well; then his fabrication after the thought is not worked, but to the contrary it diverges further from the complete beauty of the example. It is then clear that he who makes something after that which has been produced by nature, cannot really make it beautiful: as that which he imagines himself is full of imperfection, and that the first and most beauty cannot be found in there; thus also that which is made after it, necessarily diverges somewhat more from straight beauty.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] All that is produced after the thought, is beautiful. That which on the other hand is produced and made by Nature, is not beautiful. Because when someone makes something after the thought, he necessary has to do one of both [NDR: i.e. make a choice]: or he expresses the thought example well and capably, or not, if he does depict it well, then the expressed image will be beautiful; seen that the first and most beauty is to be found in the thought example. If by contrast he does not express the thought example well; then his fabrication after the thought is not worked, but to the contrary it diverges further from the complete beauty of the example. It is then clear that he who makes something after that which has been produced by nature, cannot really make it beautiful: as that which he imagines himself is full of imperfection, and that the first and most beauty cannot be found in there; thus also that which is made after it, necessarily diverges somewhat more from straight beauty.
The term ‘verdachte’, used as a noun as well as an adjective (in combination with ‘voorbeeld’) in this extract, is closely related to Junius’ ideas on how an image of beauty comes into existence. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] All that is produced after the thought, is beautiful. That which on the other hand is produced and made by Nature, is not beautiful. Because when someone makes something after the thought, he necessary has to do one of both [NDR: i.e. make a choice]: or he expresses the thought example well and capably, or not, if he does depict it well, then the expressed image will be beautiful; seen that the first and most beauty is to be found in the thought example. If by contrast he does not express the thought example well; then his fabrication after the thought is not worked, but to the contrary it diverges further from the complete beauty of the example. It is then clear that he who makes something after that which has been produced by nature, cannot really make it beautiful: as that which he imagines himself is full of imperfection, and that the first and most beauty cannot be found in there; thus also that which is made after it, necessarily diverges somewhat more from straight beauty.
The term ‘verdachte’, used as a noun as well as an adjective (in combination with ‘voorbeeld’) in this extract, is closely related to Junius’ ideas on how an image of beauty comes into existence. [MO]
Conceptual field(s)
Op dese verbeeldenskracht die daer in Phidias wordt aan ghemerckt, dringhen oock andere vermaerde Schrijvers dapper aen, om te betoonen op wat voet eenen rechten Konstenaer moet aengaen. Ich houde het daer voor, seght Tullius {de perfecto oratore}, dat daer nerghens yet soo schoon ghevonden can worden, of noch is dat al vele schoonder waer nae 't selvighe, niet anders als een beeldt nae de tronie uyt ghedruckt is; aenghesien sulcks noch met d'ooghen, noch met d'ooren, noch met eenighe onser sinnen doorgrondet kan worden; wy begrijpen 't maer alleen met onse ghedachten ende met ons ghemoedt. Soo is 't oock dat wy ons selven noch altijdt eenighe verbeeldinghen connen voorstellen die de schoonheydt der Beelden van Phydias ghemaeckt verde te boven gaen, alhoewel de selvighe onder alle andere wercken van dien slagh d'aller volmaeckste waeren. Oock soo en heeft dien grooten Konstenaer, als hy 't Beelt van Jupiter ende Minerva maecte, sijne ooghen niet gheslaeghen op yemant daer hy dese ghelijckenisse uyt trock, maer hy heeft in sijn ghemoedt het voorbeeldt van een seer uyt ghelesen schoonheydt gehadt, op 't welcke hy sijne ooghen standtvastighlick houdende, beyde sijne Konst ende sijn handt nae de ghelijckenisse des selvighen voorbeeldts bestierde. Daer is dan in de ghestalte der dinghen yet-wat 't welck in volmaecktheyt uytsteket, soo dat nae 't verdachte voorbeeldt deser volmaecktheydt alle d'onsienelicke dinghen door een Konstighe imitatie worden afghebeeldet.
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Other Authors likewise insist firmly on this imagination that is recognized in Phidias, to show on what foot a good Artist should continue. I consider it as such, says Tullius {…}, that nothing so beautiful can be found anywhere, or it is already much more beautiful than itself, nothing different from an image reproduced after a face; seeing that such cannot be understood neither with the eyes, nor with the ears, nor with any of our senses; we only understand it with our thoughts and with our mind. This is also why we can always imagine some representations that far surpass the beauty of the Sculptures by Phidias, although these were the most perfect amongst all works of this kind. Similarly, while he made the Sculpture of Jupiter and Minerva, this great Artist has not cast his eyes on someone from which he took this similitude, but in his mind he had the example of a very outstanding beauty, on which he steadily kept his eyes, both governing his Art and his hand after the similitude of this example. In the shape of things is something which stands out in perfection, such that all invisible things are reproduced by an artful imitation after the imagined example of this perfection.
PHIDIAS, Athena Parthenos, c. 447 BC, chryselephantine statue, lost; or : Phidias, Athena Lemnia, c. 450-440 BC, bronze statue, lost
PHIDIAS, Zeus, c. 435 BC, chryselephantine statue, lost (5th century AD)
Conceptual field(s)
Dit selvighe wordt ons noch duydelicker voor ghestelt in die treffelicke saemen-sprekinghe die nae 't verhael van Philostratus ghehouden is gheweest tusschen Thespesion den voornaemsten der Gymnosophisten ende Apollonius Tyaneus. De woorden van Philostratus {Lib VI de vita Apollonii, cap. 9} sijn aenmerkenswaerd, Hebben Phidias en Praxiteles seght Thespesion, den Hemel bekommen ende vandaer e ghedaente der Goden tot de Konst neder ghebracht; of is het wat anders, 't welck hun de ghestaltenisse der Goden heeft leeren af-vormen? Vry wat anders, seght Apollonius, en dat vol van allerley wijsheydt. Wat is doch dat? Seght Thespesion, want du en wetest behalven d'Imitatie anders niet voordt te brenghen. De fantasije, seght Apollonius, heeft dese dinghen voltrocken, als wesende een Konstenaer vele wijser dan d'Imitatie. Want d'Imitatie werkt maer alleen wat sy ghesien heeft; de fantasije werckt oock wat sy niet ghesien en heeft s'haer selven 't ghene sy noyt gheseien heeft voorstellende met een opsicht op 't ghene in de nature is, noch soo wordt d'Imitatie menighmael door een verbaesde dusyelinghe verhindert; de fantasije daer en teghen wil sich niet laeten stutten, maer sy vaere koenelick voordt in 't ghene sy voor heeft.
[Suggested translation, Marije Osnabrugge:] The same is explained to us even clearer in the striking dialogue which according to Philostratus was held between Thespesion the most prominent amongst the Gymnosophists and Apollonius Tyaneus. The words of Philostratus {…} are remarkable, Have Phidias and Praxiteles says Thespeison, climbed the Heavens and from there brought down the shape of the Gods to the Art; or is it something else, that has taught them to reproduce the shape of the Gods? Truly something else, says Apollonius, filled with all sorts of wisdom. What then is this? Says Thespesion, because you do not know to produce anything besides Imitation. Fantasy, says Apollonius, has developed these things, being an Artist much wiser than Imitation. Because Imitation only makes what it has seen; fantasy also makes what she has not seen and she has by imagining to hetself that which she has never seen by looking towards that which is in nature, similarly Imitation is often obstructed by an unexpected dizziness; fantasy by contrast does not let herself be stopped, but she boldly sails on in that which she intends.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The same is explained to us even clearer in the striking dialogue which according to Philostratus was held between Thespesion the most prominent amongst the Gymnosophists and Apollonius Tyaneus. The words of Philostratus {…} are remarkable, Have Phidias and Praxiteles says Thespeison, climbed the Heavens and from there brought down the shape of the Gods to the Art; or is it something else, that has taught them to reproduce the shape of the Gods? Truly something else, says Apollonius, filled with all sorts of wisdom. What then is this? Says Thespesion, because you do not know to produce anything besides Imitation. Fantasy, says Apollonius, has developed these things, being an Artist much wiser than Imitation. Because Imitation only makes what it has seen; fantasy also makes what she has not seen and she has by imagining to hetself that which she has never seen by looking towards that which is in nature, similarly Imitation is often obstructed by an unexpected dizziness; fantasy by contrast does not let herself be stopped, but she boldly sails on in that which she intends.
Conceptual field(s)
Blijckt dan uyt dese beurt-spraecke ghehouden tusschen Apollonius and Thespesion, als oock uyt het gene wy tot noch toe bewesen hebben, dat de verbeeldenskracht den konstenaeren op 't hoochtste van noode is; niet soo seer den genen die de ghelijckenis der sienelicker dinghen af-beelden manneken nae manneken maeckende, als wel diengenen dewelcke nae de volmaecktheydt deser Konsten trachten. Want het staet de soodaenighte toe door 't oeffenen haerer fantasije de verbeeldinghen van afwesighe ofte oock onsienelicke dinghen sich soo ghemeyn te maecken, dat sy de selvighte altijdt by de handt hadden, om nae 't verdachte voorbeeldt der selvigher wat volmaeckts voordt te brenghen.
[Suggested translation, Marije Osnabrugge:] From this dialogue between Apollonius and Thespesion it thus becomes clear, as well as from that which we have proved until now, that the imagination is highly necessary to artists; not so much those who depict the similitude of visible things by producing little man after little man, but rather those who aspire to the perfection of these Arts. As it allows such persons, by appropriating the representations of absent as well as invisible things by training one's fantasy, to always have this on hand to produce something perfect after the imagined example.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] From this dialogue between Apollonius and Thespesion it thus becomes clear, as well as from that which we have proved until now, that the imagination is highly necessary to artists; not so much those who depict the similitude of visible things by producing little man after little man, but rather those who aspire to the perfection of these Arts. As it allows such persons, by appropriating the representations of absent as well as invisible things by training one's fantasy, to always have this on hand to produce something perfect after the imagined example.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] From this dialogue between Apollonius and Thespesion it thus becomes clear, as well as from that which we have proved until now, that the imagination is highly necessary to artists; not so much those who depict the similitude of visible things by producing little man after little man, but rather those who aspire to the perfection of these Arts. As it allows such persons, by appropriating the representations of absent as well as invisible things by training one's fantasy, to always have this on hand to produce something perfect after the imagined example.
Conceptual field(s)
Soo is het dan met de nature seer wel over een komende, dat wy d'aengheboren Beeldt-lust door 't oeffenen onser imaginatie meer en meer soecken op te wecken; 't welck van ons best ghepleghet kan worden, wanneer wy ons selven nu en dan in heymelicke ende onverhinderde vertreck-plaetsen tot oeffeninghe deser verbeeldinghen begeven.
[Suggested translation, Marije Osnabrugge:] As such it is very consistent with nature, that we try to stir the innate 'image-desire' more and more by training our imagination; which can be fed best by us, when now and again we set ourselves to secret and unimpeded points of departure to train these representations.
Conceptual field(s)
Soo blijckt het dan dat daer oock tot dese Konsten een behoorlicke voor-bereydinghe moet worden toe ghebracht; ende al hoewel wy niet altijdt ende overal de Teycken-Konst in 't werck konnen stellen, soo en kan het nochtans onse ghedachten aen tijdt en plaetse niet ontbreken.
[Suggested translation, Marije Osnabrugge:] As such it becomes clear that an appropriate preparation should also be applied to this Art; and although we cannot always and anywhere use the Art of Drawing, thus our thoughts cannot yet lack time and place.
Conceptual field(s)
Alhoewel het nu den ghewillighen licht valt dese beeldt-bevormingh op te wecken, soo en mach nochtans niemant verhopen dat hy daer toe strecks met der vlucht gheracken sal ; want wy moeten voor 't eerste maer alleen de ghewoonte deser betrachtinghe door een daeghelicksche oeffeninghe aennemen; 't naeste is dat wy dese rouwe ende ongheschaefde verbeeldinghen nae ons vermoghen afteyckenden; volgt daer op dat wy t'elcken meer en meer, sonder nochtans ons ghemoedt te overlaeden, onse fantasye daer toe brochten dat sy d'onvervalschte voorbeelden der dinghen die wy eens ghevaetet hebben vaerdighlick voorstelle, ten eynde dat wy de selvighe op een behoorlicke wijse mochten uytdrucken; want sonder dese vaerdigheydt van 't voorstellen en 't uyt-drucken deser voornaemder verbeeldinghen, soo waer het veel beter een losse inbeeldinghe, even als de selvighe eerst voor valt, uyt de vuyst nae te volghen, dan langhe te dutten ontrent verbeeldinghen die beswaerlick tevoorschijn komen.
[Suggested translation, Marije Osnabrugge:] Although it is easy on the willing [NDR: people] to stimulate this ‘image-formation’, no one may hope that he will get there then by chance, because for the first we only have to adopt this practice through a daily exercise; because firstly we only have to adopt this practice through a daily exercise; next we draw after these crude and unpolished representations to our own ability; it then follows that everyone one of us more and more, although without overloading our mind, applies our fantasy to skillfully depict the uncorrupted examples of things that we have once caught, in order for us to express this in an acceptable way; because without this ability of representing and expressing these aforementioned representations, it would be much better to follow a loose illusion off the cuff, just as it first happens, then linger for a long time on representations that appear with difficulty.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Although it is easy on the willing [NDR: people] to stimulate this ‘image-formation’, no one may hope that he will get there then by chance, because for the first we only have to adopt this practice through a daily exercise; because firstly we only have to adopt this practice through a daily exercise; next we draw after these crude and unpolished representations to our own ability; it then follows that everyone one of us more and more, although without overloading our mind, applies our fantasy to skillfully depict the uncorrupted examples of things that we have once caught, in order for us to express this in an acceptable way; because without this ability of representing and expressing these aforementioned representations, it would be much better to follow a loose illusion off the cuff, just as it first happens, then linger for a long time on representations that appear with difficulty.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Although it is easy on the willing [NDR: people] to stimulate this ‘image-formation’, no one may hope that he will get there then by chance, because for the first we only have to adopt this practice through a daily exercise; because firstly we only have to adopt this practice through a daily exercise; next we draw after these crude and unpolished representations to our own ability; it then follows that everyone one of us more and more, although without overloading our mind, applies our fantasy to skillfully depict the uncorrupted examples of things that we have once caught, in order for us to express this in an acceptable way; because without this ability of representing and expressing these aforementioned representations, it would be much better to follow a loose illusion off the cuff, just as it first happens, then linger for a long time on representations that appear with difficulty.
The term ‘voorbeeld’ (example or model) plays an important role in the artistic process, as Junius describes it here. First the artist collects images he has seen in nature in his mind, subsequently he forms a ‘voorbeeld’ in his mind and uses it in his art. If, by contrast, the artist forms the example in a haphazard manner, it is a loose illusion. Moreover, the artist needs a certain skill to be able to express the example in an acceptable manner. The phrasing of this section is rather different in the Latin edition. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Although it is easy on the willing [NDR: people] to stimulate this ‘image-formation’, no one may hope that he will get there then by chance, because for the first we only have to adopt this practice through a daily exercise; because firstly we only have to adopt this practice through a daily exercise; next we draw after these crude and unpolished representations to our own ability; it then follows that everyone one of us more and more, although without overloading our mind, applies our fantasy to skillfully depict the uncorrupted examples of things that we have once caught, in order for us to express this in an acceptable way; because without this ability of representing and expressing these aforementioned representations, it would be much better to follow a loose illusion off the cuff, just as it first happens, then linger for a long time on representations that appear with difficulty.
Junius explains that the whole process of storing and working after examples in the mind only makes sense if the artist is capable to represent (‘voorstellen’) the examples he has formed in his imagination. This is one of the rare occurrences of the term. The phrasing of this section is rather different in the Latin edition.[MO]
Conceptual field(s)
Theo Samius heeft eertijdts, nae 't segghen van Quintil.{orat.instit. Lib. 12 cap. 10} boven andere Konstenaers in de verbeeldenskracht uyt-ghemuytet.
[Suggested translation, Marije Osnabrugge:] Theo Samius has in former times, according to Quintil. {…} exalted above other Artists in the imagination.
In the Latin edition, Junius choses the description ‘concipiendis visionibus’ and adds the Greek term φαντασιας (phantasias). The citation from Quintilian is not used in the English edition. [MO]
Conceptual field(s)
Hoe gantsh grof ende on-volmaeckt de beginselen der Schilder-Konst wel eer gheweest sijn, geeft ons Aelianus te verstaen, als hy {var. Hist. Lib. X. cap. 10.} ghetuyght dat d'aller Oudste Schilders de waere gelijckenisse der naturelicker dinghen soo gantsch erbarmelick plachten af te maelen, dat sy ghedwonghen waeren by elck bysonder Beeldt haerer Schilderyen by te schrijven.
[Suggested translation, Marije Osnabrugge:] How very crude and imperfect the beginnings of the Art of Painting used to be, is explained to us by Aelianus, when he {…} attests that the Oldest Painters used to reproduce the true similitude of the natural things so completely abominably, that they were forced to add writing to every special image in her paintings.
ÆLIANUS, Claudius
Anciens (les)
Conceptual field(s)
Staet ons dan alhier naeuw te letten op dese woorden van Quintilianus, daer en is nerghens yet, seght hy {orat. Instit. Lib. 10, cap. 2}, welcke door enckele imitatie toe neemt: ende indien het ongheoorloft waere gheweest tot hetgene ghevonden was yet-wat toe te voeghen, wy en souden als noch anders gheen Schilder-konst hebben dan die d'uytersterste linien van de schaduwe der lichaemen nae-treckt. Slaat uwe ooghen waer-waerd ghy wilt, nochtans houdt ick my selven daervan ver-sekert, dat ghy nerghens eenighe konsten sult ontmoeten die sich binnen d'enge palen haere eerster beginselen ghehouden hebben.
[Suggested translation, Marije Osnabrugge:] We should then pay close attention to these words by Quintilianus, there is nowhere something, he says {…}, which augments through simple imitation: and if it were improper to add something to that which had been found, we still would not have any other Art of Painting than one which draws after the outer lines of the shadow of bodies. Shed your eyes wherever you want, I am sure that you will nowhere meet any arts that have remained inside the narrow poles of her first principles.
In this extract, basing himself on Quintilianus, Junius explains that the first paintings consisted of the simplest form of imitation : the tracing of shadows by means of lines. He calls this ‘the first principles of art’ and adds that art has developed far beyond it now. On page 22, Junius has already discussed this topos, in that case by citing Pliny the Elder. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We should then pay close attention to these words by Quintilianus, there is nowhere something, he says {…}, which augments through simple imitation: and if it were improper to add something to that which had been found, we still would not have any other Art of Painting than one which draws after the outer lines of the shadow of bodies. Shed your eyes wherever you want, I am sure that you will nowhere meet any arts that have remained inside the narrow poles of her first principles.
In this extract, basing himself on Quintilianus, Junius explains that the first paintings consisted of the simplest form of imitation : the tracing of shadows by means of lines. He calls this ‘the first principles of art’ and adds that art has developed far beyond it now. On page 22, Junius has already discussed this topos, in that case by citing Pliny the Elder. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We should then pay close attention to these words by Quintilianus, there is nowhere something, he says {…}, which augments through simple imitation: and if it were improper to add something to that which had been found, we still would not have any other Art of Painting than one which draws after the outer lines of the shadow of bodies. Shed your eyes wherever you want, I am sure that you will nowhere meet any arts that have remained inside the narrow poles of her first principles.
In this extract, basing himself on Quintilianus, Junius explains that the first paintings consisted of the simplest form of imitation : the tracing of shadows by means of lines. He calls this ‘the first principles of art’ and adds that art has developed far beyond it now. On page 22, Junius has already discussed this topos, in that case by citing Pliny the Elder. [MO]
Conceptual field(s)
Ghelijk wy dan wt dese duydelicke woorden des aller ver-standighsten schrijvers ver-nemen, dat de quade ghowoonte van soo een slaafsche imitatie de leerlinghen gantsch gantsch niet voord-helpen kan, soo geeft ons den selvighe autheur in een andere plaets noch voorder te kennen dat dese ghewoonte den aen-komelinghen niet alleen on-profijtelijck, maer oock heel schaedelick is. Vele die in dese on-ontbindelicke stricken ghevallen sijn, seght hy {orat. Instit. Lib. V, cap. 10}, verliesen met eenen oock den ernst der vrijmoedigher betrachtinghe daer zy van nature toe gheneghen waeren; ja sy verlaeten de nature selfs, den aller besten leyds-man, dewijl sy nae ick en wete niet wat voor een leer-meester om-sien.
[Suggested translation, Marije Osnabrugge:] Like we then infer from these clear words of the wisest authors, that the bad habit of such a slavish imitation cannot help the pupils further at all, as such the same author informs us elsewhere that this habit is not only unprofitable for the beginners, but also very harmful. Many who have fallen into this indissoluble trap, he says {…}, simultaneously also lose the seriousness of the candid practice to which they were naturally inclined; yes they even leave nature, that very best guide, while they look towards I do not know what kind of Master.
Conceptual field(s)
Jae maer, seggen sy, daer is een sekere maniere van Schilderen die by d'oude noyt ghebruyckt en wiert. 't Schijnt alhier vry wat slots te hebben, dat sy 't exempel der oudheyt vorwenden; maer wat voor een oudtheyt is het doch daer op sy haer selven beroepen? 't is immers ongheloovelick dat sy haer selven 't exempel van d'aller uyterste oudtheydt voorstellen overmidts het hun niet onbekent is, dat Phidias ende Apelles vele dingen in 't werck te passe ghebrocht hebben die de voorighe Meesters noch niet en verstonden; oock soo en konnen die gene de Konst van Praxiteles ende Protogenes niet prijs-waerdich achten, dewelcke meynen dat men sich aen de wercken van Calamis ende Polygnotus, sonder yet daerin te veranderen, hadde behooren te verbinden. Iae maer, segghen sy wederom, daer heeft voor den tijdt van dese groote Meesters een veel een-voudigher maniere van doen den hooghsten prijs ghevoert.
[Suggested translation, Marije Osnabrugge:] Yes but, they say, there is a certain manner of Painting which was never used by the old. It seems here to have quite some weight, that they feign the example of antiquity; but what kind of antiquity is it then which they appeal to? It is after all unbelievable that they hold up the example of the latest antiquity to themselves when it is not unknown to them, that Phidias and Apelles have made use of many things in their work which previous Masters did not yet understand; similarly those cannot consider the art of Praxiteles and Protogenes praiseworthy, who believe that one is to relate to the works of Calamis and Polygnotus, without changing anything in them. Yes but, they say again, before the period of these great Masters a much more simple manner received the highest praise.
Junius touches upon the difficulty of ascribing a certain way of painting, or manner (‘manier’) to ancient painters (or to a group of painters in general). He argues that the manner of the masters of late antiquity is very different from the previous masters. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Yes but, they say, there is a certain manner of Painting which was never used by the old. It seems here to have quite some weight, that they feign the example of antiquity; but what kind of antiquity is it then which they appeal to? It is after all unbelievable that they hold up the example of the latest antiquity to themselves when it is not unknown to them, that Phidias and Apelles have made use of many things in their work which previous Masters did not yet understand; similarly those cannot consider the art of Praxiteles and Protogenes praiseworthy, who believe that one is to relate to the works of Calamis and Polygnotus, without changing anything in them. Yes but, they say again, before the period of these great Masters a much more simple manner received the highest praise.
Junius touches upon the difficulty of ascribing a certain way of painting, or manner (‘manier’) to ancient painters (or to a group of painters in general). He argues that the manner of the masters of late antiquity is very different from the previous masters. [MO]
Conceptual field(s)
Ende ghelijck de Lichaemen dewelcke overal met ooghen beset syn, de schoonheydt van d'andere leden verdonckeren, soo verdooven oock de huydens-daeghsche Konstenaers den luster haerer Schilderyen met al te vele oppronckens.
[Suggested translation, Marije Osnabrugge:] And like Bodies which are covered everywhere with eyes, darken the beauty of the other members, as such the contemporary Artists weaken the splendor of their paintings with too much ostentation.
Conceptual field(s)
Ten eynde dan dat onse imitatie alsoo gerichtet wierdt, dat wy de voornaemste deughden der ghener, die wy nae volghen behoorelicker wijse mochten uytdrucken, soo en is het niet ghenoegh haere wercken met een loopend ooghe te besichtighen, maer wy moeten de selvighe wederom en wederom in de handt nemen, om alsoo nae een veel-voudighe opmerckinghe de rechte kracht haerer Konste met t'samen oock den Geest waer door sy ghedreven sijn gheweest ons selven ghemeynsaem te maecken,
[Suggested translation, Marije Osnabrugge:] In order that our imitation is then directed as such, that we can express the principal virtues of those whom we imitate in an acceptable way, then it is not enough to behold their images with a fleeting eye, but we should take it in our hands again and again, and thus after a frequent observation make ourselves familiar with the true power of their Art together with the spirit by which it has been driven.
Conceptual field(s)
Wy moeten oock voor een langhe wijle d'allerbeste maer alleen naevolghen: ende dat met een sonderlinghe naerstigheydt: overmidts d'aller treffelickste menighmael haere deughden met voorraedt bedeckt houden. Nochtans is het dan ghenen die sich d'imitatie van de allerbeste voorstellen niet gheraedtsaem te dencken, dat het al goedt ende volmaeckt is wat van groote Meesters komt,
[Suggested translation, Marije Osnabrugge:] We should also only follow the very best for a long time: and this with exceptional diligence: as the most striking often keeps its virtue covered intentionally. Nevertheless it is not advisable to those who conceive the imitation of the very best, to think that that which comes from the great Masters is all good and perfect,
Conceptual field(s)
Hier toe souden wy seer vele te segghen hebben, 't en waer sacke dat wy het meer hooghnoodigh achten op 't ghene wy van te vooren aangheroert hebben wat meer aen te dringhen; dat naemelick die dinghen de welcke in d'uytnemenste Konstenaers voor de beste worden ghekeurt, bynae on-nae-volghelick sijn; 't verstandt, d'uytvindenskracht, die men d'inventie noemt, d'onbedwonghen ghemackelickheydt in 't wercken, en al wat ons door de regelen der Konste niet en kan worden ingheplant.{Quint. X.2} Soo is ons oock dese moeyelickheydt alhier meest van allen dienstigh; overmidts ons de bedenckinghe deser moeyelickheydt tot meerder aendacht verweckt; soo dat wy nu d'uytnemende Konstenaers vry wat naerder beginnen te verstaen, niet meer over haere wercken gaene met een achteloose opmerckinghe, maer wy slaen onse ooghen aendachtighlick op elck bysondere deel haerer wercken, ende wy begrijpen d'over-groote kracht haerer deughden voornaemelick daeruyt, dat het ons onmoghelick is de selvighe nae te volghen.{Quint. X. 5}
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] We would have a lot to say to this, but [NDR: it is the case that] we deem it more urgent to insist some more on that which we touched upon before; namely that the things which are judged the best in the most excellent Artists, are almost inimitable; the mind, the inventiveness, that one calls invention, the untamed ease in working, and all that which cannot be implanted by the rules of Art.{…} As such this difficulty is here most useful of all; as the thought of this difficulty stimulates us to more attention; so that we then begin to understand the most excellent Artists a bit better, no longer scrolling over their works with careless observation, but we focus our eyes carefully on every specific part of their works, and we mainly understand the immense power of her virtues from that which makes it impossible to imitate it. {…}
Conceptual field(s)
Wy moeten in 't eerste daer op letten, wat voor Konstenaers wy bestaen nae te volghen; in die ghene dewelcke wy ons selven aldus voorstellen; want wy ontmoeten selfs in d'alder volmaeckste Konstenaers eenighe dinghen die laeckenswaerdt sijn: en 't waere wel te wenschen dat ghelijck wy 't quaede 't welck in de Konstenaers ghevonden wordt ergher maecken, dat wy even alsoo 't goede beter uytdruckten. Even wel nochtans soo en is het den ghenen die oordeels ghenoegh hebben om de fouten groote Meesters te vermijden niet ghenoegh dat sy maer alleenlick een ydele schaduwe haere deughden nae volghen, overmidts d'Imitatie dan eerst prijswaerdigh schijnt te wesen als sy de volle kracht der Konst in de voornaemste dinghen heeft ghetroffen. Dies worden oock die ghene voor onvroedt ende onbesint gehouden, de welcke de deugheden van groote Meesters niet wel-doorgrondet hebbende op 't eerste ghesicht te werck gaen, meynende dat hun d'Imitatie wonderlick wel gheluckt is als sy d'uytgelesen wercken der ouder Konstenaeren eenigher wijse in 't nae-trecken van Linien en 't opsmeeren van Coleuren hebben afghebeeldet, daer sy nochtans verde van de rechte kracht der selvigher verscheyden sijn.
[Suggested translation, Marije Osnabrugge:] Firstly we should pay attention to what kind of Artists we had best imitate; in those which we then imagine ourselves; as we even meet some things that are condemnable in the most perfect Artists: and it is good to wish that, like we make the bad that is found in Artists worse, that we also express the good better. Similarly it is currently not enough to those who have enough judgement to avoid the mistakes of great Masters to only imitate the idle shadow of their virtues, as the imitation only appears to be praiseworthy when she strikes the full power of Art in the principal things. This is also held as unwise and thoughtless in those who, not having penetrated the virtues of the great Masters well, work from first sight, thinking that their Imitation has succeeded wonderfully well when they have depicted the exquisite works of the old Artists in some way by the tracing of lines and the smearing of colours, although they are still further from the true power of it.
Junius explains the importance of selecting which artists and which aspects to imitate (‘navolgen’). He goes on to explain that, in imitation, it is necessary to avoid mistakes that were made and portray only the aspects that convey the true power of an artwork. Junius uses ‘imitatie’ and ‘navolgen’ as equivalents. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Firstly we should pay attention to what kind of Artists we had best imitate; in those which we then imagine ourselves; as we even meet some things that are condemnable in the most perfect Artists: and it is good to wish that, like we make the bad that is found in Artists worse, that we also express the good better. Similarly it is currently not enough to those who have enough judgement to avoid the mistakes of great Masters to only imitate the idle shadow of their virtues, as the imitation only appears to be praiseworthy when she strikes the full power of Art in the principal things. This is also held as unwise and thoughtless in those who, not having penetrated the virtues of the great Masters well, work from first sight, thinking that their Imitation has succeeded wonderfully well when they have depicted the exquisite works of the old Artists in some way by the tracing of lines and the smearing of colours, although they are still further from the true power of it.
Junius explains the importance of selecting which artists and which aspects to imitate (‘navolgen’). He goes on to explain that, in imitation, it is necessary to avoid mistakes that were made and portray only the aspects that convey the true power of an artwork. Junius uses ‘imitatie’ and ‘navolgen’ as equivalents. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Firstly we should pay attention to what kind of Artists we had best imitate; in those which we then imagine ourselves; as we even meet some things that are condemnable in the most perfect Artists: and it is good to wish that, like we make the bad that is found in Artists worse, that we also express the good better. Similarly it is currently not enough to those who have enough judgement to avoid the mistakes of great Masters to only imitate the idle shadow of their virtues, as the imitation only appears to be praiseworthy when she strikes the full power of Art in the principal things. This is also held as unwise and thoughtless in those who, not having penetrated the virtues of the great Masters well, work from first sight, thinking that their Imitation has succeeded wonderfully well when they have depicted the exquisite works of the old Artists in some way by the tracing of lines and the smearing of colours, although they are still further from the true power of it.
Junius explains the importance of selecting which artists and which aspects to imitate (‘navolgen’). He goes on to explain that, in imitation, it is necessary to avoid mistakes that were made and portray only the aspects that convey the true power of an artwork. Junius uses ‘imitatie’ and ‘navolgen’ as equivalents. [MO]
Conceptual field(s)
Den verwaenden roem der ghener de welcke d'eenvoudigheydt der oudtster Schilderyen door een gantsch harde ende dorre maniere van doen soecken uyt te drucken dient ons alhier tot een exempel; want dese schicken sich maer alleen tot d'Imitatie van 't ghene hun eerst in d'oogh komt, sonder eens te bevroeden wat een sonderlinghe kracht en hoe groote Schatten der Konste onder dese eenvoudigheydt schuylen. Quint. X.2.
[Suggested translation, Marije Osnabrugge:] The conceited fame of those who try to express the simplicity of the oldest paintings by a rather hard and barren manner are an example here; because these only turn to Imitation of that which they see first, without considering which kind of extraordinary power and great Treasures of Art that hide underneath this simplicity.(…)
Anciens (les)
QUINTILIANUS
From this extract, it is apparent that Junius associates a certain hard and dry manner with the earliest paintings. He praises these works for their simplicity (‘eenvoud’), which one should try to understand. As such, he acknowledges the negative association one can have with the ‘hard’ manner, but he then states that there is more quality in it than meets the eye. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The conceited fame of those who try to express the simplicity of the oldest paintings by a rather hard and barren manner are an example here; because these only turn to Imitation of that which they see first, without considering which kind of extraordinary power and great Treasures of Art that hide underneath this simplicity.(…)
Anciens (les)
QUINTILIANUS
From this extract, it is apparent that Junius associates a certain hard and dry manner with the earliest paintings. He praises these works for their simplicity (‘eenvoud’), which one should try to understand. As such, he acknowledges the negative association one can have with the ‘hard’ manner, but he then states that there is more quality in it than meets the eye. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The conceited fame of those who try to express the simplicity of the oldest paintings by a rather hard and barren manner are an example here; because these only turn to Imitation of that which they see first, without considering which kind of extraordinary power and great Treasures of Art that hide underneath this simplicity.(…)
Anciens (les)
QUINTILIANUS
From this extract, it is apparent that Junius associates a certain hard and dry manner with the earliest paintings. He praises these works for their simplicity (‘eenvoud’), which one should try to understand. As such, he acknowledges the negative association one can have with the ‘hard’ manner, but he then states that there is more quality in it than meets the eye. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The conceited fame of those who try to express the simplicity of the oldest paintings by a rather hard and barren manner are an example here; because these only turn to Imitation of that which they see first, without considering which kind of extraordinary power and great Treasures of Art that hide underneath this simplicity.(…)
Anciens (les)
QUINTILIANUS
From this extract, it is apparent that Junius associates a certain hard and dry manner with the earliest paintings. He praises these works for their simplicity (‘eenvoud’), which one should try to understand. As such, he acknowledges the negative association one can have with the ‘hard’ manner, but he then states that there is more quality in it than meets the eye. [MO]
Conceptual field(s)
Het voornaemste werck van eenen goeden Nae-boetser is voornaemelick daer in gheleghen, dat hy ervaerene ende wel gheoffende ooghen soecke te bekomen; niet alleen om dat wy de verborgene deuchden der ouder Konstenaeren in 't minste niet en konnen begrijpen, 't en sy saecke dat wijse eerst wt vinden; maer oock om dat de schijnbaere deughden selver menighmael soo konstighlick door 't geheele werck in een ghevlochten ende ghewickelt sijn, dat d'alder scherpsichtichste Konstenaers en d'aller ervaerenste Leermeesters de selvighe maer alleen nae den aendacht van een ghestaedighe opmerckinghe konnen beseffen.
[Suggested translation, Marije Osnabrugge:] The primary task of a good Imitator mostly consists therein, that he tries to obtain experienced and well-trained eyes; not only because we cannot understand the hidden virtues of the old Artists in the least, it is necessary that we invent them first; but also because their apparent virtues have often been braided and winded so artfully throughout the whole work, that the most discerning Artists and the most experienced Masters can only be aware of it after the attention of a steady observation.
Junius argues for the importance for an artist to train the observation or eye (‘oog’) in order to understand the intrinsic value of the things he tries to imitate. In the Latin edition, the term oculis is accompanied by the adjective ‘eruditis’, in the English edition Junius added ‘learnd and well exercised’ to translate the Dutch ‘wel geoffende’. This section does not exist in the first Latin edition of 1637, but is available in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The primary task of a good Imitator mostly consists therein, that he tries to obtain experienced and well-trained eyes; not only because we cannot understand the hidden virtues of the old Artists in the least, it is necessary that we invent them first; but also because their apparent virtues have often been braided and winded so artfully throughout the whole work, that the most discerning Artists and the most experienced Masters can only be aware of it after the attention of a steady observation.
Junius argues for the importance for an artist to train the observation or eye (‘oog’) in order to understand the intrinsic value of the things he tries to imitate. In the Latin edition, the term oculis is accompanied by the adjective ‘eruditis’, in the English edition Junius added ‘learnd and well exercised’ to translate the Dutch ‘wel geoffende’. This section does not exist in the first Latin edition of 1637, but is available in the 1694 editions. [MO]
Conceptual field(s)
Soo is dit oock d'eenighe reden waerom dese Konsten altijdt in haeren eersten aenvangh de hulpe van een oprecht Leer-meester vereyschen, die ons ghetrouwelick voor houde all 't gene in d'oude Konst nae-volgenswaerdt is, die ons onderwijse, die onse eerste mis-grepen verbetere, die onse onervaerene sinnen ende handen sorghvuldighlick bestiere, die ons eyndelick te kennen gheve door hoedaenighen schijn van onghelijckheydt de ghelijckenisse van d'aller ghelijckste dingen behoort bedeckt ende in maniere van spreken bewimpelt te worden.
[Suggested translation, Marije Osnabrugge:] As such this is also the only reason why these Arts always demand the assistance of an honest Master, who faithfully show us all that which is worth imitating in the old Art, who teaches us, who improves our first blunders, who carefully governs our inexperienced senses and hands, who finally lets us know by which appearance of inequality the similitude of the most similar things needs to be covered and in a manner of speaking hidden.
Conceptual field(s)
Want een recht-sinnigh Nae-boetser moet immers doch een goedt verheler sijner Konste wesen: soo wordt het oock voor enckel kinderwerck ghehouden, wanneer enigh Schilder sich selven meynt wel ghequeten te hebben, als hij slechts de selvighe trecken en linien in 't Copyeren van d'oude Stucken redelicker wijse kan waernemen. Alhoewel eenighe over sulcks uyt der maeten wel daer mede ghepast sijn, dat een Konstenaer de Venus van Apelles ofte den Satyr van Protogenes bequaemlick uyt drucke; alhoewel het oock in haer oordeel een gantsch prijs-waerdighe saecke schijnt te sijn, dat hy d'on-onderscheydenlicke ghelijckenisse van soodaenighe edele Patronen suyverlick treffe;
[Suggested translation, Marije Osnabrugge:] Because a frank Imitator then needs to be a good concealer of his Art: thus it is taken for simple child's work, when any Painter thinks himself discharged, when in Copying of the old Pieces he can barely observe those strokes and lines in an acceptable way. Although it suits some extraordinarily well that an Artist capably expresses the Venus by Apelles or the Satyr by Protogenes; while it also appears to be very praiseworthy in their eyes, if he perfectly hits the indistinguishable similitude of such noble Patterns; (…)
APELLES, Venus
PROTOGENES, Satyr
This section does not occur in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because a frank Imitator then needs to be a good concealer of his Art: thus it is taken for simple child's work, when any Painter thinks himself discharged, when in Copying of the old Pieces he can barely observe those strokes and lines in an acceptable way. Although it suits some extraordinarily well that an Artist capably expresses the Venus by Apelles or the Satyr by Protogenes; while it also appears to be very praiseworthy in their eyes, if he perfectly hits the indistinguishable similitude of such noble Patterns; (…)
APELLES, Venus
PROTOGENES, Satyr
This section does not occur in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because a frank Imitator then needs to be a good concealer of his Art: thus it is taken for simple child's work, when any Painter thinks himself discharged, when in Copying of the old Pieces he can barely observe those strokes and lines in an acceptable way. Although it suits some extraordinarily well that an Artist capably expresses the Venus by Apelles or the Satyr by Protogenes; while it also appears to be very praiseworthy in their eyes, if he perfectly hits the indistinguishable similitude of such noble Patterns; (…)
APELLES, Venus
PROTOGENES, Satyr
This section does not occur in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because a frank Imitator then needs to be a good concealer of his Art: thus it is taken for simple child's work, when any Painter thinks himself discharged, when in Copying of the old Pieces he can barely observe those strokes and lines in an acceptable way. Although it suits some extraordinarily well that an Artist capably expresses the Venus by Apelles or the Satyr by Protogenes; while it also appears to be very praiseworthy in their eyes, if he perfectly hits the indistinguishable similitude of such noble Patterns; (…)
APELLES, Venus
PROTOGENES, Satyr
This section does not occur in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because a frank Imitator then needs to be a good concealer of his Art: thus it is taken for simple child's work, when any Painter thinks himself discharged, when in Copying of the old Pieces he can barely observe those strokes and lines in an acceptable way. Although it suits some extraordinarily well that an Artist capably expresses the Venus by Apelles or the Satyr by Protogenes; while it also appears to be very praiseworthy in their eyes, if he perfectly hits the indistinguishable similitude of such noble Patterns; (…)
APELLES, Venus
PROTOGENES, Satyr
This section does not occur in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
Dies behoort een goed Konstenaar voor ’t eerste daer nae te trachten, dat sijn werck niet en schijne in alles met de Tafereelen van andere vermaerde Meesters over een te komen; ghebeurt het onder en tusschen dat de gantsche gheleghenheydt sijnes wercks een sekere ghelijckheydt met de voorighe stucken van andere Konstenaers uyt wijst; soo moet hij in de tweede plaetse besorghen dat hy dese gelijckheydt niet by gevalle, maer met opset schijne ghetroffen te hebben, ’t Staet yder een vry den eenen ofte den anderen Konstenaer, van weghen dese of ghene deuchdt, hooghe te verheffen: wat my belanght, die Konstenaers spannen, mijnes dunckens, de kroone boven d’andere, de welcke d’oude Konst ontrent een nieuw argument naerstighlick oeffenen, om haere Schilderyen door dit middel met het aengename vermaeck van een ongelijcke gelijckheyt behendighlick te vervullen. Soo staet ons oock alhier aen te mercken, dat dit aldermeest by hun in 't werck gestelt moet worden, wanneer sy door eenen loffelicken naer-yver worden aen ghedreven, om dese bevalligheydt van een ongelijcke ghelijckheydt in soodaenighe wercken uyt te drucken die met de treffelicke Stucken der voorigher Meesters maer alleen in de bequaeme handelinge souden over een komen.
[Suggested translation, Marije Osnabrugge:] This is the first that a good Artist should aim for, that his work does not seem to resemble the scenes of other famous Masters in everything; if it happens nonetheless that the whole occurrence of his work shows a certain similarity to the previous pieces of other artists; then he should secondly take care that he appears to have made this similarity not by accident but on purpose, It is open to everyone to highly esteem some Artist or another because some virtue: what is important to me, those artists, in my opinion, beat the lot, who practice the old Art diligently regarding a new subject, to fill their Paintings by this means with the pleasant entertainment of an uneven similarity. As such we can remark here as well, that this should be done by them the most when they are driven by a praiseworthy envy to express this gracefulness of a uneven evenness in such works that only resemble the striking Pieces of previous Master in the able treatment.
Junius discusses the complexities of the concept of ‘gelijkheid’ (similarity) in art. He is not opposed to the idea that one can point out elements that are taken from the work of another artist, it is however important for the artist to make clear the resemblance is made on purpose. As such, it is necessary to practice producing ‘ongelijcke ghelijckheydt’(uneven similarity), that is to make the resemblance evident but not overall. This text fragment is much more elaborate in the Dutch edition than in the English and Latin (1694) editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is the first that a good Artist should aim for, that his work does not seem to resemble the scenes of other famous Masters in everything; if it happens nonetheless that the whole occurrence of his work shows a certain similarity to the previous pieces of other artists; then he should secondly take care that he appears to have made this similarity not by accident but on purpose, It is open to everyone to highly esteem some Artist or another because some virtue: what is important to me, those artists, in my opinion, beat the lot, who practice the old Art diligently regarding a new subject, to fill their Paintings by this means with the pleasant entertainment of an uneven similarity. As such we can remark here as well, that this should be done by them the most when they are driven by a praiseworthy envy to express this gracefulness of a uneven evenness in such works that only resemble the striking Pieces of previous Master in the able treatment.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is the first that a good Artist should aim for, that his work does not seem to resemble the scenes of other famous Masters in everything; if it happens nonetheless that the whole occurrence of his work shows a certain similarity to the previous pieces of other artists; then he should secondly take care that he appears to have made this similarity not by accident but on purpose, It is open to everyone to highly esteem some Artist or another because some virtue: what is important to me, those artists, in my opinion, beat the lot, who practice the old Art diligently regarding a new subject, to fill their Paintings by this means with the pleasant entertainment of an uneven similarity. As such we can remark here as well, that this should be done by them the most when they are driven by a praiseworthy envy to express this gracefulness of a uneven evenness in such works that only resemble the striking Pieces of previous Master in the able treatment.
Conceptual field(s)
[...] soo en kan 't niet schaeden dat men tot de bevalligheydt van Apelles toe voeght de gheluckighe stoudt-moedigheydt van Zeuxis, d'onvermoeyde naersticheydt van Protogenes, de kloecke diepsinnigheydt van Timanthes, als oock de hooghstaetelicke grootsheydt van Nicophanes.
[Suggested translation, Marije Osnabrugge:] …it then cannot be harmful that one adds to the gracefulness of Apelles the lucky audacity of Zeuxis, the tireless diligence of Protogenes, the keen profoundness of Timanthes, as well as the stately magnificence of Nicophanes.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it then cannot be harmful that one adds to the gracefulness of Apelles the lucky audacity of Zeuxis, the tireless diligence of Protogenes, the keen profoundness of Timanthes, as well as the stately magnificence of Nicophanes.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it then cannot be harmful that one adds to the gracefulness of Apelles the lucky audacity of Zeuxis, the tireless diligence of Protogenes, the keen profoundness of Timanthes, as well as the stately magnificence of Nicophanes.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it then cannot be harmful that one adds to the gracefulness of Apelles the lucky audacity of Zeuxis, the tireless diligence of Protogenes, the keen profoundness of Timanthes, as well as the stately magnificence of Nicophanes.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …it then cannot be harmful that one adds to the gracefulness of Apelles the lucky audacity of Zeuxis, the tireless diligence of Protogenes, the keen profoundness of Timanthes, as well as the stately magnificence of Nicophanes.
Conceptual field(s)
't Ghene wy voor desen alreede voor ghehouden hebben, moet hier en elders al wederom verhaelt worden; dat wy naemlick de kracht der oprechter imitatie niet behooren te stellen in 't nae-aepen van uytwendighe verciersels, maer dat wy meest van allen d'inwendighe kracht des wercks moeten uyt drucken. Laet ons dan altijdt nieuwe achtinghe daer op nemen, wat een sonderlinghe bevalligheydt d'oude Meesters in 't wercken ghehadt hebben; hoedaenigh haer voornemen gheweest is; wat maniere van stellinghe sy hebben ghebruyckt, als oock hoe dat hun selfs die dinghen, dewelcke maer alleen tot vermaeck scheenen te dienen, den wegh tot eenen eeuwigen naem hebben ghebaent. Voor end'alleer wy dese dinghen grondighlick begrijpen, soo en is het ons niet moghelick d'oude wel nae te volghen.
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] That which we have already proposed, has to be retold here and elsewhere; namely that we should not place the power of honest imitation in aping external embellishments, but that we most of all have to express the internal force of the work. Let us then always reconsider this anew, what a remarkable gracefulness the old Master have had in working; what has been her aim; which manner of composition they have used, as well as how those things which appeared to have only served entertainment, have paved the way to eternal fame. Not before we understand these things thoroughly, it is impossible to us to imitate the old well.
Anciens (les)
This section is not present in the first Latin edition (1637), but is included in the later Latin editions (1694). [MO]
Conceptual field(s)
Want als dese groote Meesters bevonden dat hun haere fantasije volmaeckt ter verbeeldingen sonder eenigh exempel voor droegh, soo en konde het niet gheschieden dat sulcken puyck der menschen de rechte reden soo verde van sich soude verbannen, als dat sy de liefde van een mis-prijselicke ghewoonte hoogher souden achten dan 't ghene sy verstonden de Konst dienstigher te sijn. Dus blijckt het hoe gantsch grooten goedt dese fantasije te weghe brenght; wanneer sy naemelick de wackere verstanden der Konstenaeren van den onvruchtbaeren arbeydt der ghewoonelicker imitatie tot een groot-moedigher stoutigheydt overbrenght, soo dat sy haer selven nu niet meer aen soo een slaefachtighe maniere van doen verbinden, maer bestaen met eenen vryen Gheest verder te gaen dan haere voorganghers wel oyt hebben gedaen.
[Suggested translation, Marije Osnabrugge:] Because if these great Masters thought that their fantasy presented them representations completely without any example, then it could not happen that such splendid men would ban the true reason so far, that they would consider the love of a disdainful habit better than that which they understood to be more useful for the Art. So it becomes clear how much good this fantasy brings forth; namely when she conducts the alert minds of Artists from the unprofitable labour of the usual imitation to generous boldness, such that they no longer relate to such a slavish manner, but manage with a free mind manage to go further than their predecessors ever did.
In this excerpt, Junius calls imitation a ‘slavish manner’, which can be improved by means of fantasy. As such, imitation is placed in a negative light. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because if these great Masters thought that their fantasy presented them representations completely without any example, then it could not happen that such splendid men would ban the true reason so far, that they would consider the love of a disdainful habit better than that which they understood to be more useful for the Art. So it becomes clear how much good this fantasy brings forth; namely when she conducts the alert minds of Artists from the unprofitable labour of the usual imitation to generous boldness, such that they no longer relate to such a slavish manner, but manage with a free mind manage to go further than their predecessors ever did.
In this excerpt, Junius calls imitation a ‘slavish manner’, which can be improved by means of fantasy. As such, imitation is placed in a negative light. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because if these great Masters thought that their fantasy presented them representations completely without any example, then it could not happen that such splendid men would ban the true reason so far, that they would consider the love of a disdainful habit better than that which they understood to be more useful for the Art. So it becomes clear how much good this fantasy brings forth; namely when she conducts the alert minds of Artists from the unprofitable labour of the usual imitation to generous boldness, such that they no longer relate to such a slavish manner, but manage with a free mind manage to go further than their predecessors ever did.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Because if these great Masters thought that their fantasy presented them representations completely without any example, then it could not happen that such splendid men would ban the true reason so far, that they would consider the love of a disdainful habit better than that which they understood to be more useful for the Art. So it becomes clear how much good this fantasy brings forth; namely when she conducts the alert minds of Artists from the unprofitable labour of the usual imitation to generous boldness, such that they no longer relate to such a slavish manner, but manage with a free mind manage to go further than their predecessors ever did.
In this excerpt, Junius calls imitation a ‘slavish manner’, which can be improved by means of fantasy. As such, imitation is placed in a negative light. [MO]
Conceptual field(s)
Laat de Schilderye een Beeldt wesen, seght hy {Vitruvius, Lib. VII, cap. 3}, van sulcken dingh, als is, of ten minsten kan sijn; van een mensche naemelick, een Huys, een Schip, en soodaenighe dinghen uyt welcker bepaelden omtreck d'Imitatie haer selven een exempel voorstellen kan. Soo plachten dan d'oude haere Binnen-kamers, haere Gaelderyen, haere Eet-Saelen met soodaenighen Konst op te proncken, die uyt sekere naturelicke dinghen ghenomen was.
[Suggested translation, Marije Osnabrugge:] Let the Painting be an Image, he says {…}, of such a thing that is, or at least could be; namely of a man, a house, a ship and such things from which contour the Imitation can provide itself an example. As such the old then tend to embellish their rooms, their Galleries, their dining rooms with such Art, which is taken from certain natural things.
Junius uses the word ‘schilderij’ (painting) for the physical object, whereas he uses ‘beeld’ (image) for the subject matter within the painting. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Let the Painting be an Image, he says {…}, of such a thing that is, or at least could be; namely of a man, a house, a ship and such things from which contour the Imitation can provide itself an example. As such the old then tend to embellish their rooms, their Galleries, their dining rooms with such Art, which is taken from certain natural things.
Junius uses the word ‘schilderij’ (painting) for the physical object, whereas he uses ‘beeld’ (image) for the subject matter within the painting. [MO]
Conceptual field(s)
[...] en noch berispen de menschen soodaenighe vervalschte Schilderyen niet, maer sy scheppen daer int tegendeel een groot vermaeck in, sonder eens daer op te letten of sulcks gheschieden kan, ofte niet.
[Suggested translation, Marije Osnabrugge:] …and yet people do not reprove such forged Paintings, but to the contrary they take a great entertainment from it, without ever paying attention whether something like that can happen, or not.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] …and yet people do not reprove such forged Paintings, but to the contrary they take a great entertainment from it, without ever paying attention whether something like that can happen, or not.
Conceptual field(s)
Dus ghebeurt het dat ons ghemoedt door de kranckheydt des oordeels verdonckert sijnde, niet en kan onderscheyden wat daer met de autoriteyt en rechte reden der bevalligheydt over een komt.
[Suggested translation, Marije Osnabrugge:] And so it happens that our mind, darkened by the illness of judgement, cannot discern what coincides with the authority and true reason of gracefulness.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] And so it happens that our mind, darkened by the illness of judgement, cannot discern what coincides with the authority and true reason of gracefulness.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] And so it happens that our mind, darkened by the illness of judgement, cannot discern what coincides with the authority and true reason of gracefulness.
Conceptual field(s)
Gelijck wy nu ghesien hebben dat den Konstenaer de vryigheydt sijner fantasijen al soo behoort te maetighen dat de selvighe noyt bevonden worden teghen de nature te strijden, soo moet oock den Lief-hebber deser Konsten een recht ende slecht werck het welck met de eenvoudigheydt der nature overeen komt hoogher achten dan eenighe vreemde op ghesochte beelden uyt verscheyden lichaemen van bysondere ghedierten by een gheraept.
[Suggested translation, Marije Osnabrugge:] Just like we have now seen that the Artist should temper the freedom of his fantasy as such that it is never found to be competing against nature, as such the Amateur of these Arts should appreciate a straight-forward and bad work which corresponds to the simplicity of nature higher than any strange far-fetched images that are collected from different bodies of specific animals.
This section does not occur in the first Latin edition (1637).
Conceptual field(s)
Doch soo is onder alle d'andere ghemeynschappen dit wel een van de voornaemste, dat soo wel de Schilders als de Poëten tot de liefde deser Konsten niet soo seer door een voor-bedachten raedt, als wel door ick en wete niet wat voor een voordtvaerende toegheneyghtheyd haerer nature worden aenghevoert, van de Poëten geeft den uytnemenden Poete Ovidius dit ghetuyghenis. Daer is een sekere Goddelicke kracht in ons, ende wy worden gaende ghemaeckt, seght hy {Fastor. Lib. VI}, als ons de selvighe begint t'ontroeren. Dese voordt vaerenheydt heeft in sich 't saedt van eenen Goddelicken Geest. Van de Schilders segt Plinius {nat.hist. Xxxv.10}, Nicophanes had eenen voorde vaerenden Geest, soo dat weynighe hem daer in ghelijck sijn. En wederom in de selvighe plaetse, een sekere voordt-vaerenheydt sijnes ghemoedts, ende eene sekeren lust der Konste heeft Protogenes tot dese dinghen aen ghedreven.
[Suggested translation, Marije Osnabrugge:] Yet as such it is the most prominent amongst all other similarities that both the Painters and the Poets are lead to the love for these Arts not so much intentionally, but rather by I do not know what kind of expeditious inclination of their nature, for the Poets the excellent Poet Ovid bears witness of this. There is a certain divine power in us, and we are made to move, he says {…}, when it begins to move us. This drive bears the seed of a Divine Spirit. About the Painters Pliny says {…}, Nicophanes had an energetic Spirit, such that few are his equals in this. And again in the same place, a certain energy of his mind, and a certain desire for Art has driven Protogenes to these things.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Yet as such it is the most prominent amongst all other similarities that both the Painters and the Poets are lead to the love for these Arts not so much intentionally, but rather by I do not know what kind of expeditious inclination of their nature, for the Poets the excellent Poet Ovid bears witness of this. There is a certain divine power in us, and we are made to move, he says {…}, when it begins to move us. This drive bears the seed of a Divine Spirit. About the Painters Pliny says {…}, Nicophanes had an energetic Spirit, such that few are his equals in this. And again in the same place, a certain energy of his mind, and a certain desire for Art has driven Protogenes to these things.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Yet as such it is the most prominent amongst all other similarities that both the Painters and the Poets are lead to the love for these Arts not so much intentionally, but rather by I do not know what kind of expeditious inclination of their nature, for the Poets the excellent Poet Ovid bears witness of this. There is a certain divine power in us, and we are made to move, he says {…}, when it begins to move us. This drive bears the seed of a Divine Spirit. About the Painters Pliny says {…}, Nicophanes had an energetic Spirit, such that few are his equals in this. And again in the same place, a certain energy of his mind, and a certain desire for Art has driven Protogenes to these things.
Conceptual field(s)
Soo en behoeft oock niemant alhier te dencken dat de eerste beginselen deser Konst uyt de Konst voordt komen, want het een gift der nature is datmen dese bequaemheydt in sich ghevoelt: dies staet het oock met onse saecken heel wel, dat die eerste saedt door de Konst kan worden op ghequeeckt ende vermeerdert; want dat het ons door de Konst in ghestort soude worden, is t’eenemael onmoghelick.
[Suggested translation, Marije Osnabrugge:] Also no one here has to think that the first principles of this Art originate in the Art, because it is a gift of nature one feels the ability in himself: this is also good for our case, that the first seed can be cultured and augmented by Art; because if it were deposited into us by Art, that is at once impossible.
This section is not present in the first Latin edition (1637). Junius relates that the artist receives ‘bekwaamheid’ (ability) from nature (and not from art itself). Furthermore, it is connected foremost to the first principles of art.
Conceptual field(s)
Dit selvighe wordt noch uyt druckelicker van Quintilianus voorghestelt ende beantwoordt, Ick wete dat daer gevraeght wordt, seght hy {lib.II. Cap. 19.}, of de Konst grooter baet van de nature of van de leeringe heeft te verwachten. 't Welck al hoewel het tot ons voornemen seer weynigh dient, aenghesien wy het daer voor houden dat een volmaeckt Konstenaer gheen van beyden derven kan, soo achten wy nochtans dat daer seer vele aen gheleghen is hoe men dit vraegh-stuck voorstelt. Want indien men het eene van het andere t'eenenmael wil gaen aftrecken, soo salmen bevinden dat de nature sonder de leeringhe vele vermagh, en dat in het teghendeel sonder het toedoen der nature gheen leeringhe ter wereldt helpen kan: wanneer men wederom in een middelbaer verstandt en wetenschap beyde de Konst en de nature te saemen voegt, soo schijnt het dat in soodaenighe de nature meest geldt: als daer en teghen dese middelmatighe ofte oock uytmuytende verstanden tot de volmaecktheydt gheraecken, soo schijnt het darin hun de Konst meer uyt ghericht heeft dan de nature. […] De nature magh met de materie worden vergheleken; even als de Konst met de leeringhe seer wel over een komt, d' Eene werckt; d'andere wordt ghewrocht. De Konst en vermagh sonder de Materie niet met allen; de materie heeft oock sonder de Konst haer eyghene waerdigheydt. Soo is dan de hooghste Konst in gaeder met de beste Materie alder meest te wenschen.
[Suggested translation, Marije Osnabrugge:] This is proposed and answered even more explicitly by Quintilianus, I know it is being questioned, he says {…}, whether the Art should expect greater advantage from nature or from instruction. Which, although it does not serve our purpose much, seen that we presume that a perfect Artist cannot be deprived of either one, yet we believe that it is very much dependent on how the question is posed. Because if one wants to deduct one from the other, then one will find that nature is capable of much without instruction, and that to the contrary no instruction in the world can do without the doing of nature: again when one combines both Art and nature in a mediocre mind and knowledge, then it appears that nature counts the most in this: if by contrast these mediocre or also excellent minds reach perfection, then it appears that Art has done more for them than nature. […]Nature can be compared to matter; just like the Art coincides very well with the instruction, the one works, the other is worked. The Art is not capable of anything without the matter; the matter also has its own dignity without the Art. As such the highest Art is to be wished together with the best Matter.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is proposed and answered even more explicitly by Quintilianus, I know it is being questioned, he says {…}, whether the Art should expect greater advantage from nature or from instruction. Which, although it does not serve our purpose much, seen that we presume that a perfect Artist cannot be deprived of either one, yet we believe that it is very much dependent on how the question is posed. Because if one wants to deduct one from the other, then one will find that nature is capable of much without instruction, and that to the contrary no instruction in the world can do without the doing of nature: again when one combines both Art and nature in a mediocre mind and knowledge, then it appears that nature counts the most in this: if by contrast these mediocre or also excellent minds reach perfection, then it appears that Art has done more for them than nature. […]Nature can be compared to matter; just like the Art coincides very well with the instruction, the one works, the other is worked. The Art is not capable of anything without the matter; the matter also has its own dignity without the Art. As such the highest Art is to be wished together with the best Matter.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] This is proposed and answered even more explicitly by Quintilianus, I know it is being questioned, he says {…}, whether the Art should expect greater advantage from nature or from instruction. Which, although it does not serve our purpose much, seen that we presume that a perfect Artist cannot be deprived of either one, yet we believe that it is very much dependent on how the question is posed. Because if one wants to deduct one from the other, then one will find that nature is capable of much without instruction, and that to the contrary no instruction in the world can do without the doing of nature: again when one combines both Art and nature in a mediocre mind and knowledge, then it appears that nature counts the most in this: if by contrast these mediocre or also excellent minds reach perfection, then it appears that Art has done more for them than nature. […]Nature can be compared to matter; just like the Art coincides very well with the instruction, the one works, the other is worked. The Art is not capable of anything without the matter; the matter also has its own dignity without the Art. As such the highest Art is to be wished together with the best Matter.
Conceptual field(s)
Daer is maer eene Konst ende maniere van Schilderen, in welcke Zeuxis, Aglaophon, Apelles een verscheyden handelinghe volghden; ende nochtans en was daer onder dese groote Meesters niet eenen dien yet tot de Konst scheene te ontbreken.
[Suggested translation, Marije Osnabrugge:] There is but one Art and manner of Painting, in which Zeuxis, Aglaophon, Apelles followed diverse treatments; and yet there none of these great Master seems to lack something with regard to the Art.
Junius distinguishes between the term ‘manier’ (manner) and ‘handeling’ (treatment). He states that there is only one manner, but that different ancient masters all had a different treatment. He adds that the work of all these masters is agreable and as such makes clear that differences in treatment are not undesirable. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] There is but one Art and manner of Painting, in which Zeuxis, Aglaophon, Apelles followed diverse treatments; and yet there none of these great Master seems to lack something with regard to the Art.
Junius distinguishes between the term ‘manier’ (manner) and ‘handeling’ (treatment). He states that there is only one manner, but that different ancient masters all had a different treatment. He adds that the work of all these masters is agreable and as such makes clear that differences in treatment are not undesirable. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] There is but one Art and manner of Painting, in which Zeuxis, Aglaophon, Apelles followed diverse treatments; and yet there none of these great Master seems to lack something with regard to the Art.
Junius distinguishes between the term ‘manier’ (manner) and ‘handeling’ (treatment). He states that there is only one manner, but that different ancient masters all had a different treatment. He adds that the work of all these masters is agreable and as such makes clear that differences in treatment are not undesirable. [MO]
Conceptual field(s)
Doch aenghesien yemant althier lichtelick dencken magh dat hun dese gheluckighe voordt-vaerenheydt tot de Konste te ghelijck met de minnestuypen aenghekomen is, en dat sy door haere gulsigheydt ofte onkuyscheydt krachtigher tot de Konst aenghedruckt wirden dan door een aengheboren Konst-liefde, soo is het dat wy in andere Konstenaers haere naturelicke toegheneychtheydt tot de eene of de andere bysondere maniere van wercken sullen voorstellen; te meer, om dat wy in dese haere eygenschappen een sekere kracht der nature konnen bespeuren die d'andere Konstenaers niet wel en konden naevolghen.
[Suggested translation, Marije Osnabrugge:] Yet, seen that someone might think here lightly that this fortunate drive towards the Art has arrived together with the 'convulsions of love', and that they are pressed more forcefully to the Art through their greediness or indecency than through an innate Love of Art, as such we will portray in other Artists their natural inclination for one or the other specific manner of working; more so, because we can detect a certain power of nature in their characteristics that other Artists cannot imitate well.
A list of artists with specific specialities follows. ]MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Yet, seen that someone might think here lightly that this fortunate drive towards the Art has arrived together with the 'convulsions of love', and that they are pressed more forcefully to the Art through their greediness or indecency than through an innate Love of Art, as such we will portray in other Artists their natural inclination for one or the other specific manner of working; more so, because we can detect a certain power of nature in their characteristics that other Artists cannot imitate well.
A list of artists with specific specialities follows. ]MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Yet, seen that someone might think here lightly that this fortunate drive towards the Art has arrived together with the 'convulsions of love', and that they are pressed more forcefully to the Art through their greediness or indecency than through an innate Love of Art, as such we will portray in other Artists their natural inclination for one or the other specific manner of working; more so, because we can detect a certain power of nature in their characteristics that other Artists cannot imitate well.
A list of artists with specific specialities follows. ]MO]
Conceptual field(s)
Lysippus heeft in alle sijne wercken een sekere biesaerdigheydt uytghedruckt, iae hy heeft de selvighe in d'alderminste dinghen waer ghenomen. Plin. XXXIV.8.
[Suggested translation, Marije Osnabrugge:] Lysippus has expressed a certain bizarreness in all his works, yes he has seen it in the smallest things. (…)
From this brief extract, it becomes clear that Junius, basing himself on Plinius, associates the hellenistic sculptor Lysippos with the characteristic of ‘bizarheid’ (bizarreness). He does not explain the reason for this association or what the term means to him. It might be related to the idea of a certain specificity or characteristic style. The phrase about Lysippos is quite different in the English edition: ‘Lysippos is most of all to be commended for fine and queint workmanship ; seeing hee observed in the least things a certain kind of subtiltie.’ [MO]
Conceptual field(s)
Ludio heeft ten tijden des Keysers Augusto eerst van allen in ghestelt de vermaeckelicke Schilderye der Muyren met Landt-huysen, Galeryen, Prieel-werck, gheheylighde Bosschen, Lust-wouden, Heuvelkens, Vijvers, Waterleydinghen, lopende Rivieren; oock soo plaght hy op de kant der selvigher soodanighe dinghen te schilderen, die 's Menschen hert tot sijn vermaeck aldaer wenschen mocht;
[Suggested translation, Marije Osnabrugge:] During the time of the emperor August, Ludio produced entertaining Wall Painting with Villas, Galleries, Summer houses, sacred woods, Pleasure gardens, little hills, ponds, aqueducts, flowing rivers as the first of all; similarly he tended to paint beside it all such things that Man could desire for his entertainment;
Conceptual field(s)
De Poesije ende de Schilder-Konst sijn oock daer in malkanderen gelijck datse haer selven allebeyde meest met d'imitatie besigh houden. Wy sien 't daghelicks hoe niet alleen de Poeten maer oock de Schilders door eenen onderlinghen naer-yver ofte aemulatie de ghedaente der Goden met een stoute handt af-beelden, oock soo besteden sy haeren arbeydt om den mensche met t'saemen 't menschelick bedrijf uyt te drucken.
[Suggested translation, Marije Osnabrugge:] Poetry and Painting are also equal to each other, in that they occupy themselves mostly with imitation. We see daily how not only the Poets but the Painters as well because of a mutual envy or emulation portray the shape of Gods with a bold hand, just as they use their labor to express together the human activity.
In this citation, Junius connects emulation to ‘naer-yver’ (envy), but makes a difference. Emulation is used in the practical sense of ‘emulating’ colleagues and is seen as an aspect of the work of painters. Junius refers to the aemulation between Painters (and Poets) amongst themselves. Junius remarks on the similarity between painters and poets : both compete amongst eachother while depicting the Gods, so he sees no difference between painting and poetry here. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Poetry and Painting are also equal to each other, in that they occupy themselves mostly with imitation. We see daily how not only the Poets but the Painters as well because of a mutual envy or emulation portray the shape of Gods with a bold hand, just as they use their labor to express together the human activity.
In this citation, Junius connects emulation to ‘naer-yver’ (envy), but makes a difference. Emulation is used in the practical sense of ‘emulating’ colleagues and is seen as an aspect of the work of painters. Junius refers to the aemulation between Painters (and Poets) amongst themselves. Junius remarks on the similarity between painters and poets : both compete amongst eachother while depicting the Gods, so he sees no difference between painting and poetry here. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Poetry and Painting are also equal to each other, in that they occupy themselves mostly with imitation. We see daily how not only the Poets but the Painters as well because of a mutual envy or emulation portray the shape of Gods with a bold hand, just as they use their labor to express together the human activity.
In this citation, Junius connects emulation to ‘naer-yver’ (envy), but makes a difference. Emulation is used in the practical sense of ‘emulating’ colleagues and is seen as an aspect of the work of painters. Junius refers to the aemulation between Painters (and Poets) amongst themselves. Junius remarks on the similarity between painters and poets : both compete amongst eachother while depicting the Gods, so he sees no difference between painting and poetry here. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Poetry and Painting are also equal to each other, in that they occupy themselves mostly with imitation. We see daily how not only the Poets but the Painters as well because of a mutual envy or emulation portray the shape of Gods with a bold hand, just as they use their labor to express together the human activity.
In this citation, Junius connects emulation to ‘naer-yver’ (envy), but makes a difference. Emulation is used in the practical sense of ‘emulating’ colleagues and is seen as an aspect of the work of painters. Junius refers to the aemulation between Painters (and Poets) amongst themselves. Junius remarks on the similarity between painters and poets : both compete amongst eachother while depicting the Gods, so he sees no difference between painting and poetry here. [MO]
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Oversulcks hebben sy [Schilders] 't niet raedtsaem gheacht door een ontijdelicke vernieuwinghe haer selven den ghemeynen man op den hals te halen; maer sy hebben liever in 't maecken haerer beelden de Poeten nae ghevolght;
[Suggested translation, Marije Osnabrugge:] As such they [NDR: painters] did not think it wise to get themselves into trouble with the common man over an untimely innovation; but in the production of their images they have rather imitated the Poets;
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…de Schilderye is een swijghende Poesye; de Poesye daer en teghen is een sprekende Schilderye. Op welck segghen Plutarchus dese woorden toe past, die dinghen, seght hy {Bellone an pace clariores fuerent Athenienses}, dewelcke de Schilder-Konst vertoont als offe teghenwoordighlick gedaen wierden, de selvighe stelt ons de spraeck-konst voor ooghen als offe langhe te vooren gheschiedt waeren, ende ghelijck de Schilders dat met verwen afbeelden, 't gene de Schrijvers met woorden uytdrucken, soo is 't dat sy maer alleen verschillen in de materie en maniere van imitatie; want sy hebben alle beyde 't selvige oogenmerck.
[Suggested translation, Marije Osnabrugge:] … the Painting is a silent Poem, the Poem on the other hand is a speaking Painting. On this saying Plutarchus applies these words, those things, he says {…}, which Painting shows as if they are currently being done, rhetoric offers us the same [NDR: things] as if they have happened long before, and like the Painters depict that with paint, which Writers express with words, it is thus that they only differ in the matter and manner of imitation; since they both have the same aim.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] … the Painting is a silent Poem, the Poem on the other hand is a speaking Painting. On this saying Plutarchus applies these words, those things, he says {…}, which Painting shows as if they are currently being done, rhetoric offers us the same [NDR: things] as if they have happened long before, and like the Painters depict that with paint, which Writers express with words, it is thus that they only differ in the matter and manner of imitation; since they both have the same aim.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] … the Painting is a silent Poem, the Poem on the other hand is a speaking Painting. On this saying Plutarchus applies these words, those things, he says {…}, which Painting shows as if they are currently being done, rhetoric offers us the same [NDR: things] as if they have happened long before, and like the Painters depict that with paint, which Writers express with words, it is thus that they only differ in the matter and manner of imitation; since they both have the same aim.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] … the Painting is a silent Poem, the Poem on the other hand is a speaking Painting. On this saying Plutarchus applies these words, those things, he says {…}, which Painting shows as if they are currently being done, rhetoric offers us the same [NDR: things] as if they have happened long before, and like the Painters depict that with paint, which Writers express with words, it is thus that they only differ in the matter and manner of imitation; since they both have the same aim.
Conceptual field(s)
Noch soo wordt de Schilder-Konst seer wel met de Poesye daer in vergheleken, dat soo wel d'eene als d'andere met een dapper vermaeckelicke beweginghe in onse herten insluypen, alwaer sy ons verslaegen ghemoedt door d'aenlockelickheydt van een aenghenaeme verwonderingh soo gheweldigh beroeren ende ontstellen, dat wy 't ghene naegeboetst is voor 't waere aennemen.
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Similarly the Art of Painting compares very well with Poetry, as the one as well as the other sneaks into our hearts with a brave entertaining movement, where it moves and startles our defeated mind by the attraction of a pleasant astonishment in which we accept that which has been imitated for real.
Conceptual field(s)
Van de lieffelicke aenlockinge der Schilderyen, en hoe wy ons selven door de bedrieghelickheydt der selvigher willens en wetens laeten vervoeren, souden alhier duysendt exempelen by ghebracht konnen worden; 't welck wy onnodigh achten; overmidts het ghenoeg bekent is, dat goede Schilderyen maer een enckel ooghenspoocksel sijn.
[Suggested translation, Marije Osnabrugge:] Of the lovely temptation of Paintings, and how we let ourselves knowingly be carried away by the deception of it, a thousand examples could be raised here; which we deem unnecessary; since it is well-known, that good paintings are but a 'phantom of the eye'.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Of the lovely temptation of Paintings, and how we let ourselves knowingly be carried away by the deception of it, a thousand examples could be raised here; which we deem unnecessary; since it is well-known, that good paintings are but a 'phantom of the eye'.
Conceptual field(s)
Aengesien dan de Schilderye met t'saemen oock de Poesye door een aenghenaem doch voor-bemerckt bedrogh ons verstandt als het waere beguychelen, soo neyghense noch voorder door kracht deser bedrieghelickheydt de beweginghen onses ghemoedts herwaerts en derwaerdts nae haeren eyghenen lust.
[Suggested translation, Marije Osnabrugge:] As the Painting, together with the Poem in a way delude our reason by a pleasant yet intentional deceit, it then even further inclines the movements of our mind hither and thether at its own desire by the force of this deception.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] As the Painting, together with the Poem in a way delude our reason by a pleasant yet intentional deceit, it then even further inclines the movements of our mind hither and thether at its own desire by the force of this deception.
Conceptual field(s)
De Schilderye een stille-swyghende werck, ende altijds den selvighen schijn houdende, seght hy {Lib. XI. Cap.3}, dringht soo diep in de binnenste beweginghen onses ghemoedts, dat se menighmael de kracht der wel sprekenheydt selver schijnt te boven te gaen.
[Suggested translation, Marije Osnabrugge:] The Painting is a silent work, and always keeping up the same appearance, he says {…}, pierces so deep into the inner most movements of our mind, that she often appears to exceed the power of eloquence itself.
Junius repeats the comparison between Painting and Poetry as on page 42, this time citing Quintilian. [MO]
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't Is mede verwonderens ende aenmerckens waerdt dat St Basilius de kracht der Schilder-konst verde boven 't vermoghen sijner wel-sprekenheydt verheft, Staet op nu seght hy {Homil. In Barlaam martyrem}, O ghy doorluchtighe Schilders, die d'over-treffelicke daeden der Kampvechters af beeldet; verheerlickt nu door uwe Konst 't verminckte Beeldt des Opper-Heers; verlicht door de Coleuren uwer wijsheydt de vroome daeden des ghekroonden Kampioenes, die ick al te duysterlick af gheschildert hebbe; ick gae mijnes weghs van u lieden over-wonnen sijnde in de Schilderye van de kloecke daeden des Martelaers; jae ick verheughe my selven daer in dat ick dus ben overwonnen.
[Suggested translation, Marije Osnabrugge:] It is also surprising and remarkable that St Basilius elevates the power of the Art of Painting further above the ability of his eloquence, Stand up now, he says {…}, O you illustrious Painters, who depict the excellent deeds of fighters; now glorify by your Art the mutilated image of the All-highest; relieve by the colors of your wisdom the noble deeds of the crowned Champion, whom I have portrayed all too somber; I go my way being defeated by you guys in the Painting of the brave deeds of the Martyr; yes I rejoice myself that I have been defeated thus.
Junius cites Saint Basil the Great, who praises the Art of Painting over Rhetorics. ‘Kleur’ (colour) is what elevates painting over words, as it allows painters to depict the deeds of man and martyrs with more lustre. In the quote from Saint Basil, the term colour is used both figuratively and literally. N.B. The citation from Saint Basil is somewhat different in the English and Latin edition. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is also surprising and remarkable that St Basilius elevates the power of the Art of Painting further above the ability of his eloquence, Stand up now, he says {…}, O you illustrious Painters, who depict the excellent deeds of fighters; now glorify by your Art the mutilated image of the All-highest; relieve by the colors of your wisdom the noble deeds of the crowned Champion, whom I have portrayed all too somber; I go my way being defeated by you guys in the Painting of the brave deeds of the Martyr; yes I rejoice myself that I have been defeated thus.
Junius cites Saint Basil the Great, who praises the Art of Painting over Rhetorics. ‘Kleur’ (colour) is what elevates painting over words, as it allows painters to depict the deeds of man and martyrs with more lustre. In the quote from Saint Basil, the term colour is used both figuratively and literally. N.B. The citation from Saint Basil is somewhat different in the English and Latin edition. [MO]
Conceptual field(s)
Brenght herwaerdts, brenght herwaerdts, O vroome Dichters, seght hy {Panegyr. Theod. Aug. Dicto}, den gantschen arbeydt van uwe gheleerde nachten: ghy Konstenaers mede, verwerpt de ghewoonelicke beuselinghen der versufter fabulen, ende laet uwe vernuftighe handen dese dinghen liever afmaelen; laet de ghemeyne mercktplaetsen als oock de Kercken met d'afbeeldinghe deser gheschiedenissen verciert worden; latese in de Coleuren verlevendighen ende in 't Koper sich verroeren;
[Suggested translation, Marije Osnabrugge:] Bring hither, bring hither, O pious Poets, he says {…}, all the labor of your learned nights: you Artists as well, reject the common twaddle of dazed fables, and let your ingenious hands rather paint these things; let the common market places as well as the Churches with the depiction of these histories be embellished; let them be brought to life in Color and be moved in Copper.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Bring hither, bring hither, O pious Poets, he says {…}, all the labor of your learned nights: you Artists as well, reject the common twaddle of dazed fables, and let your ingenious hands rather paint these things; let the common market places as well as the Churches with the depiction of these histories be embellished; let them be brought to life in Color and be moved in Copper.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Bring hither, bring hither, O pious Poets, he says {…}, all the labor of your learned nights: you Artists as well, reject the common twaddle of dazed fables, and let your ingenious hands rather paint these things; let the common market places as well as the Churches with the depiction of these histories be embellished; let them be brought to life in Color and be moved in Copper.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Bring hither, bring hither, O pious Poets, he says {…}, all the labor of your learned nights: you Artists as well, reject the common twaddle of dazed fables, and let your ingenious hands rather paint these things; let the common market places as well as the Churches with the depiction of these histories be embellished; let them be brought to life in Color and be moved in Copper.
Conceptual field(s)
Nu komen wy eyndelick tot de voornaemste 't welck ons bewoghen heeft dese verghelijckinghe der Poesije met de Schilder-Konste dus verde te vervolghen. De Schilder-Konst, seght den jonghen Philostratus {in proemio iconum}, wordt bevonden met de Poesije nae vermaaghschape te sijn; soo schenense oock beyde een sekere fantasije ofte verbeeldenskracht ghemeyn te hebben. De Poeten brenghen de teghenwoordigheydt der Goden in haere wercken te passe, en al wat met groten staet, deftigheyddt, ende vermackelickheydt vermenght is. De Schilder-Konst maelt insghelijkcks af op een Tafereel al 't ghene de Poeten konnen verhalen. Soo steunt dan de Schilder-Konst soo wel als de Poesije op een sekere kracht der fantasije die haer selven veeltijdts iets nieuws placht t'onderwinden.
[Suggested translation, Marije Osnabrugge:] Now we finally reach the principal [NDR: reason] which has urged us to continue this comparison between Poetry and the Art of Painting further. The Art of Painting, says the young Philostratus {…}, is found to be closely related to Poetry; as such both appear to have a certain fantasy or imagination in common. The Poets let the presence of the Gods appear in their works, and everything that is mixed with great standing, stateliness and entertainment. The Art of Painting likewise paints in a scene all that the Poets can narrate. This is why the Art of Painting as well as the Poetry lean on a certain force of fantasy which often tends to take on something new.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Now we finally reach the principal [NDR: reason] which has urged us to continue this comparison between Poetry and the Art of Painting further. The Art of Painting, says the young Philostratus {…}, is found to be closely related to Poetry; as such both appear to have a certain fantasy or imagination in common. The Poets let the presence of the Gods appear in their works, and everything that is mixed with great standing, stateliness and entertainment. The Art of Painting likewise paints in a scene all that the Poets can narrate. This is why the Art of Painting as well as the Poetry lean on a certain force of fantasy which often tends to take on something new.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Now we finally reach the principal [NDR: reason] which has urged us to continue this comparison between Poetry and the Art of Painting further. The Art of Painting, says the young Philostratus {…}, is found to be closely related to Poetry; as such both appear to have a certain fantasy or imagination in common. The Poets let the presence of the Gods appear in their works, and everything that is mixed with great standing, stateliness and entertainment. The Art of Painting likewise paints in a scene all that the Poets can narrate. This is why the Art of Painting as well as the Poetry lean on a certain force of fantasy which often tends to take on something new.
Conceptual field(s)
Waer uyt het dan blijckt dat den Konstenaer maer alleen duydelick ende uytdruckelick wercken kan, de welcke de dinghen die hy ter handt treckt als teghenwoordigh aenschouwt. 't Welck meest van allen in de herts-tochten of te in de inwendighe beweginghen onses ghemoedts plaetse heeft;
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind;
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind;
Junius comments on the initial part of the artistic working method. He states that an artist can only draw those things that he directly sees in front of him (‘tegenwoordig’), explaining that the workings of the mind play an important part in this process. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind;
Conceptual field(s)
Waer uyt het dan blijckt dat den Konstenaer maer alleen duydelick ende uytdruckelick wercken kan, de welcke de dinghen die hy ter handt treckt als teghenwoordigh aenschouwt. 't Welck meest van allen in de herts-tochten of te in de inwendighe beweginghen onses ghemoedts plaetse heeft; want overmidts de selvighe al te mets in de waerheyd bestaen, seght Quintilianus {lib. Xi cap. 3}, ende al te mets in de imitatie; soo is 't dat de waere beroeringhen naturelick uytbersten, maer ’t ontbreeckt hun aen de Konst; dies moetense oock door de leeringhe soo wat ghefatsoeneert worden. De gheimiteerde beroeringhen daer en teghen, ghelijckse de Konst hebben, soo ontbreeckt het hun aen de nature; en daerom is dit alhier 't voornaemste, dat men sich 't echt wel bewoghen vindt om de verbeeldinghen niet anders te vatten, als of het waerachtighe dinghen waeren daer mede wy ons selver besich houden.
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind; because although it exists coincidentally in the truth, says Quintilianus {…}, and coincidentally in the imitation; it is as such that the true stirrings burst out naturally, but they lack art, this has to somehow be shaped through learning. The imitated stirrings on the other hand, although they have Art, they then lack in nature; and therefore it is here the most significant that one is truly moved to not understand the representations differently, as if it were real things that we occupy ourselves with.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind; because although it exists coincidentally in the truth, says Quintilianus {…}, and coincidentally in the imitation; it is as such that the true stirrings burst out naturally, but they lack art, this has to somehow be shaped through learning. The imitated stirrings on the other hand, although they have Art, they then lack in nature; and therefore it is here the most significant that one is truly moved to not understand the representations differently, as if it were real things that we occupy ourselves with.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind; because although it exists coincidentally in the truth, says Quintilianus {…}, and coincidentally in the imitation; it is as such that the true stirrings burst out naturally, but they lack art, this has to somehow be shaped through learning. The imitated stirrings on the other hand, although they have Art, they then lack in nature; and therefore it is here the most significant that one is truly moved to not understand the representations differently, as if it were real things that we occupy ourselves with.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Which then makes it evident that the Artist can only clearly and expressively work out those things which he traces by hand when he beholds them presently. Which most of all takes place in the passions or the inner movements of our mind; because although it exists coincidentally in the truth, says Quintilianus {…}, and coincidentally in the imitation; it is as such that the true stirrings burst out naturally, but they lack art, this has to somehow be shaped through learning. The imitated stirrings on the other hand, although they have Art, they then lack in nature; and therefore it is here the most significant that one is truly moved to not understand the representations differently, as if it were real things that we occupy ourselves with.
Conceptual field(s)
Staet de Konstenaers maer alleen daer op te letten, dat sy haer selven in dit stuck niet al te vele toe geven, met Dionysius Longynus {de sublimi oratione par. 2} wat onderscheydt maeckende tusschen de verbeeldenskracht die de Poeten gaerne maeckt; en d'andere die de Schilders te werck stelt. De Poetische fantasije en heeft anders gheen ooghenmerck, als een onsinnigheyds der verwonderinghe te verwecken: De Konstenaers daer en teghen sijn maer allen op de uytdruckelickheydt uyt. Soo soecken 't oock de Poeten alsso te maecken, seght den selvighen Autheur {par. 13}, dat haere ghedichten fabelachtigh en de waerheydt onghelick souden schijnen te sijn; 't fraeyste daer en teghen 't welck in de fantasije der Schilders aen ghemerckt moet worden, bestaet daerin, dat haere verbeeldinghen krachtigh sijn en de waerheydt over-een komen. Aenghesien wy dan uyt het ghene tot noch toe gheseyt is ten volsten overtuyght sijn dat de fantasije de Schilders soo wel als de Poeten treffelicke verbeeldinghen voordraeght, soo en mach oock niemant daer aen twijffelen of 't staet hun beyde toe dese milde Beelden-voetster in grooter waerdt te houden, ten eynde dat de selvighe door een daghelicksche oeffeninghe vast en seker ginghe, sonder in 't minste te wanckelen of sich yet van 't ghene sy eens ghevat heeft te laeten ontvallen. […] Soo verstaen wy dan oock uyt het gene voor desen gheseyt is de reden waerom Dionysius Longinus {par. 13} betuyght dat het voornaemste eynde der fantasije in de uytdruckelickheyt ofte duydelickheyt bestaet: als oock dat de Konst door 't behulp der fantasije gheholpen sijnde ghemackelick van de menschen schijnt te verwerven het ghene sy hun afdringht,
[Suggested translation, Marije Osnabrugge:] It is only necessary for the Artists to pay attention that they do not show themselves too much in this part, discerning somewhat, together with Dionysius Longynus {…}, between the imagination that makes the Poets; and the other that puts the Painters to work. The Poetic fantasy has no other aim than to stir a senselessness of astonishment: The Artists by contrast only aim at perspicuity. The Poets also try to make it such, says the same Author {…}, that her poems would appear to be fabulous and different from the truth; by contrast the most splendid [NDR: element] which has to be noticed in the fantasy of Painters, consists of this, that her representations are powerful and consistent with the truth. Seeing that we are then completely convinced, from that which has been said up until now, that the fantasy offers striking representations, as such nobody can doubt that both place high value on this mild 'Image-nurse', with the result that it surely goes through daily exercise, without ever staggering or letting go of anything they once comprehended. […]From that which has been said before we thus we understand the reason why Dionysius Longinus {…} declares that the principal aim of fantasy exists in the perspicuitys or the clarity: as well that the Art, helped by the assistance of fantasy, appears to easily obtain of man that which she exacts of him.
In the Latin edition (1637), Junius only uses the Greek term, εκπληξις. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is only necessary for the Artists to pay attention that they do not show themselves too much in this part, discerning somewhat, together with Dionysius Longynus {…}, between the imagination that makes the Poets; and the other that puts the Painters to work. The Poetic fantasy has no other aim than to stir a senselessness of astonishment: The Artists by contrast only aim at perspicuity. The Poets also try to make it such, says the same Author {…}, that her poems would appear to be fabulous and different from the truth; by contrast the most splendid [NDR: element] which has to be noticed in the fantasy of Painters, consists of this, that her representations are powerful and consistent with the truth. Seeing that we are then completely convinced, from that which has been said up until now, that the fantasy offers striking representations, as such nobody can doubt that both place high value on this mild 'Image-nurse', with the result that it surely goes through daily exercise, without ever staggering or letting go of anything they once comprehended. […]From that which has been said before we thus we understand the reason why Dionysius Longinus {…} declares that the principal aim of fantasy exists in the perspicuitys or the clarity: as well that the Art, helped by the assistance of fantasy, appears to easily obtain of man that which she exacts of him.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is only necessary for the Artists to pay attention that they do not show themselves too much in this part, discerning somewhat, together with Dionysius Longynus {…}, between the imagination that makes the Poets; and the other that puts the Painters to work. The Poetic fantasy has no other aim than to stir a senselessness of astonishment: The Artists by contrast only aim at perspicuity. The Poets also try to make it such, says the same Author {…}, that her poems would appear to be fabulous and different from the truth; by contrast the most splendid [NDR: element] which has to be noticed in the fantasy of Painters, consists of this, that her representations are powerful and consistent with the truth. Seeing that we are then completely convinced, from that which has been said up until now, that the fantasy offers striking representations, as such nobody can doubt that both place high value on this mild 'Image-nurse', with the result that it surely goes through daily exercise, without ever staggering or letting go of anything they once comprehended. […]From that which has been said before we thus we understand the reason why Dionysius Longinus {…} declares that the principal aim of fantasy exists in the perspicuitys or the clarity: as well that the Art, helped by the assistance of fantasy, appears to easily obtain of man that which she exacts of him.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is only necessary for the Artists to pay attention that they do not show themselves too much in this part, discerning somewhat, together with Dionysius Longynus {…}, between the imagination that makes the Poets; and the other that puts the Painters to work. The Poetic fantasy has no other aim than to stir a senselessness of astonishment: The Artists by contrast only aim at perspicuity. The Poets also try to make it such, says the same Author {…}, that her poems would appear to be fabulous and different from the truth; by contrast the most splendid [NDR: element] which has to be noticed in the fantasy of Painters, consists of this, that her representations are powerful and consistent with the truth. Seeing that we are then completely convinced, from that which has been said up until now, that the fantasy offers striking representations, as such nobody can doubt that both place high value on this mild 'Image-nurse', with the result that it surely goes through daily exercise, without ever staggering or letting go of anything they once comprehended. […]From that which has been said before we thus we understand the reason why Dionysius Longinus {…} declares that the principal aim of fantasy exists in the perspicuitys or the clarity: as well that the Art, helped by the assistance of fantasy, appears to easily obtain of man that which she exacts of him.
In the Latin edition (1637), Junius only uses the Greek term, εναρϒεια. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is only necessary for the Artists to pay attention that they do not show themselves too much in this part, discerning somewhat, together with Dionysius Longynus {…}, between the imagination that makes the Poets; and the other that puts the Painters to work. The Poetic fantasy has no other aim than to stir a senselessness of astonishment: The Artists by contrast only aim at perspicuity. The Poets also try to make it such, says the same Author {…}, that her poems would appear to be fabulous and different from the truth; by contrast the most splendid [NDR: element] which has to be noticed in the fantasy of Painters, consists of this, that her representations are powerful and consistent with the truth. Seeing that we are then completely convinced, from that which has been said up until now, that the fantasy offers striking representations, as such nobody can doubt that both place high value on this mild 'Image-nurse', with the result that it surely goes through daily exercise, without ever staggering or letting go of anything they once comprehended. […]From that which has been said before we thus we understand the reason why Dionysius Longinus {…} declares that the principal aim of fantasy exists in the perspicuitys or the clarity: as well that the Art, helped by the assistance of fantasy, appears to easily obtain of man that which she exacts of him.
Conceptual field(s)
[...], want ghelijck d’oprechte Konstenaers tot het werck worden aenghedreven door een krachtighe verbeeldinghe der dinghen die sy als teghenwoordigh aenschouwen, soo vindt men altijdt in haere wercken een klaer afdrucksel van dese verbeelde teghenwoordigheydt, daer vertoont sich selven allenthalven eenen levendighen Gheest die sich in de herten der beschouwers soo vaerdighlick uyt stort dat sy in 't beschouwen der Konste den selvighen inval deser teghenwoordigheydt gewaer worden die den werck-meester in 't wercken ghevoeldt.
[Suggested translation, Marije Osnabrugge:] …, because like the honest Artists are driven to work by a powerful imagining of the things which they view as present, thus one always finds a clear print of this imagined presence in their works, there a lively Spirit shows itself everywhere, which pours itself out so skillfully in the hearts of the beholders that they become aware of the same idea of presence which the master felt while working,
This section is not included in the first Latin edition (1637).
Conceptual field(s)
Blijckt dan dat de rechte Konst-minne haer selven niet en kan onthouden in een ghemoedt 't welck met de sorghvuldigheydt van daghelickschen noodt-druft beslet ende belemmert is. De reden hier van behoeft niet verde gesocht te worden; dewijl het blijckelick is dat onse fantasije ofte verbeeldenskracht, die in dit werck seer vele vermagh, door een sorghledighe ende onverhinderde eensaemheydt dapper op gescherpt ende verweckt wordt. Want aenghesien het een oprecht Lief-hebber toe-staet de levendighe verbeeldinghen van allerley naturelicke dinghen in sijn ghemoedt op te leggen, ten eynde dat hy de selvighe te sijner tijdt met de wercken der Konstenaeren mocht verghelijcken; soo is 't klaer dat men sulcks niet en kan te weghe brenghen sonder het toe-doen van een stercke imaginatie, en dat de imaginatie gantsch en gaer krachteloos wesen sal soo langhe als wy alle daegh van den morghen tot den avond het loopen en draeven van de woelende menichte onder-hevigh blijven: oversulcks plachten oock vele treffelicke Konst-lievende mannen haeren ledigen tijdt somwijlen door te brenghen met het oeffenen ende verrijcken haerer fantasije. De fantasije, seght Michael Ephesius {in Aristot. De Memoria & reminiscentia}, is in ons gemoedt ghestelt als een Register ofte aenwijser van 't gunt wy oyt met onse ooghen gesien ofte met ons verstands begrepen hebben. Daerom houdt oock Apollonius Tyaneus staende, dat daer een sonderlinghe verbeeldenskracht vereyst wordt in dieghene welcke de wercken der Schilder-Konste recht wel meynen te besichtighen. Want het onmoghelick is, seght hy {apud Philostr. De vita apollonii lib. II. cap. 10. vide quo que Platonem lib. 2 de Legib}, dat yemant een bequaem oordeel strijcken sal van een geschildert Paerdt ofte Stier, tensy dat hem sijn gemoedt een waere verbeeldinghe der nae-gheboetster dinghen vaerdighlick voordraeghe.
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Rather than focusing on the fantasy of the artist, in this extract Junius explains that it is important for the connoisseur to have quiet moments in which he can train his imagination. He also states that a well-developed imagination is very necessary to form a good judgement on art. In order to make his point, he cites remarks by Michael Ephesius and Apollonius Tyaneus that were written down by Aristototels and Philostratus respectively. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Rather than focusing on the fantasy of the artist, in this extract Junius explains that it is important for the connoisseur to have quiet moments in which he can train his imagination. He also states that a well-developed imagination is very necessary to form a good judgement on art. In order to make his point, he cites remarks by Michael Ephesius and Apollonius Tyaneus that were written down by Aristototels and Philostratus respectively. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It then appears that the true Love of Art cannot forbear in a mind which is tainted and obstructed with the precision of the daily lack of diligence. It is unnecessary to search far for the reason of this; while it is obvious that our fantasy or imagination, which can do a lot in this profession, is readily sharpened and incited by a carefree and unimpeded loneliness. Because, seen that it is possible for an honest Amateur to impose the living representations of all sorts of natural things in his mind, in order for him to compare these in his own time with the works of Artists; as such it is clear that one cannot bring forth such a thing without the doing of a strong imagination and that the imagination will be completely powerless as long as we remain subject every day, from morning until evening, to the hustle and bustle of the madding crowd: as such many respectable Art-loving men should aim to pass their free time with the practice and enrichment of their fantasy. The fantasy, says Michael Ephesius {…}, has been placed in our mind as an Index or pointer of that which we have ever seen with our eyes or understood with our mind. Because of this Apollonius Tyaneus also argues that, a remarkable imagination is necessary in those who want to study the works of the Art of Painting really well. As it is impossible, he says {…}, that someone will pass a competent judgement of a painted Horse or Bull, unless his mind readily proposes him a true representation of the imitated things.
Rather than focusing on the fantasy of the artist, in this extract Junius explains that it is important for the connoisseur to have quiet moments in which he can train his imagination. He also states that a well-developed imagination is very necessary to form a good judgement on art. In order to make his point, he cites remarks by Michael Ephesius and Apollonius Tyaneus that were written down by Aristototels and Philostratus respectively. [MO]
Conceptual field(s)
Alhoewel nu dese reden ons volkomen berecht gheeft van 't voordeel 't welck d'eensaemheydt der heymelicker vertreck-plaetsen den Lief-hebber toebrenght: soo biedt sich alhier noch een andere niet min bondighe reden aen, die ons hetselvighe afvoordert. Want ghelijck een goedt Medicijn sijne ooghe niet allen gheslaegen houdt op de sienelicke ende openbaere ghebreken, maer hy moet insgelijcks oock met een gaeuwe opmerkinghe nae-speuren wat daer ergens inwendighlick verswackt ende onstelt is, ghemerckt de krancke selver haere quaelen menighmael soecken te bewimpelen; even alsoo wordt het in een oprecht Lief-hebber vereyscht dat hy sich selven ghewenne de wercken der Konstenaeren met een dieper insicht in sijn eenigheydt te beschouwen 't overmatigh lof-tuyten der gonstigher, en 't bitterlecken der misgonstigher omstanders verbreken de kracht onses ghesonden oordeels door een ontijdighe en gantsch verkeerde schaemte. Yeder een kan by sich selven alleen bequaemer oordeelen, dan in 't midden van sulcken onbesinden gheschreeuw:
[Suggested translation, Marije Osnabrugge:] Although this speech has now completely informed us of the advantage that the loneliness of secret places of departure brings the Amateur: as such another not less succinct reason [NDR: reasoning?] offers itself, which brings us the same. Because like a good Doctor does not only keep his eye on visible and public ailments, but he should also with a swift observation search what is weakened and confounded somewhere internally, seen that the sick often try to hide their illnesses; just like that it is demanded from a sincere Amateur that he gets used to behold the works of Artists with a deeper insight in its unity [NDR: as?] the excessive praise of the favorable [NDR: bystanders] and the bitterness of the unfavorable bystanders breaks the power of our sane judgement by an untimely and completely wrongful shame. Everyone can judge better by himself alone, than in the middle of such thoughtless shouting:
The Dutch term Liefhebber is described in the Latin edition as ‘inspiciendas picturas’ and in the English edition as ‘he that is to judge paintings’. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Although this speech has now completely informed us of the advantage that the loneliness of secret places of departure brings the Amateur: as such another not less succinct reason [NDR: reasoning?] offers itself, which brings us the same. Because like a good Doctor does not only keep his eye on visible and public ailments, but he should also with a swift observation search what is weakened and confounded somewhere internally, seen that the sick often try to hide their illnesses; just like that it is demanded from a sincere Amateur that he gets used to behold the works of Artists with a deeper insight in its unity [NDR: as?] the excessive praise of the favorable [NDR: bystanders] and the bitterness of the unfavorable bystanders breaks the power of our sane judgement by an untimely and completely wrongful shame. Everyone can judge better by himself alone, than in the middle of such thoughtless shouting:
Conceptual field(s)
't Gaet vast en seker dat d'alderbeste Meesters die hare Konst in Koper, Yvoor, Marmer, ofte oock in verscheydene verwen oeffenen, uyt de naturelicke dinghen selver eenigh grondt-leeringhen trecken om haere imitatie nae 't voorschrift der selvigher te richten, om niet alleen den gantschen omtreck der voorghestelder lichaemen recht wel te treffen, maer oock om 't licht ende de schaduwe, de verhooginghen ende de verdiepingen nae 't leven uyt te drucken.
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is certain that the very best Masters who practice their Art in Copper, Ivory, Marble, or also in different paints, extract some precepts from the natural things themselves to direct their imitation after the precepts of this, to not only strike the entire contour of the depicted bodies well, but also to express the light and shadow, the highlights and depths after life.
This section is not present in the first Latin edition of 1637, but is included in the 1694 editions. [MO]
Conceptual field(s)
Het is dan blijckelick hoo grooten arbeyd d'oprechte liefhebbers aenwenden ontrent het oeffenen ende voorbereyden haerer fantasije wanneer sy naemelick de volmaeckte verbeeldinghen aller dinghen door een nau-puntighe imaginatie in haere eyghene herssenen afschilderen. Dies ghebeurt het oock menigh werven dat die gene dewelcke d'uytghelesen wercken van groote Meesters nae een behoorlicke voorbereydinghe in de hand nemen, bequamer daer van plaghten te oordelen dan de allerbeste Konstenaer, wiens oordeel door de liefde die hy sijne eygene wercken toedraegt veeltijds benevelt is, behalven dat hem 't heymelicke misnoeghen 't welck hy in de wercken van andere Meesters neemt, menighmael in sijn oordeel verswackt.
[Suggested translation, Marije Osnabrugge:] It is then clear how great a toil the true Amateurs apply regarding the practice and preparation of their fantasy when they paint in their own brains the perfect representations of things by means of a pointed imagination. It then happens many times that he who takes the exquisite works of great Masters in his hand after an acceptable preparation, tends to judges these more capably than the very best Artist, whose judgement is often clouded by the love that he bears for his own works, apart from the fact that the secret discontent which he has for the works of other Masters, oftentimes weakens his judgement.
Junius describes how an amateur can train his fantasy, which will allow him to pass better judgement on the quality of works of art. He compares the judgement of amateurs with that of artists, stating that a skilled amateur is often less prejudiced than an artist when judging the works of others. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] It is then clear how great a toil the true Amateurs apply regarding the practice and preparation of their fantasy when they paint in their own brains the perfect representations of things by means of a pointed imagination. It then happens many times that he who takes the exquisite works of great Masters in his hand after an acceptable preparation, tends to judges these more capably than the very best Artist, whose judgement is often clouded by the love that he bears for his own works, apart from the fact that the secret discontent which he has for the works of other Masters, oftentimes weakens his judgement.
Junius describes how an amateur can train his fantasy, which will allow him to pass better judgement on the quality of works of art. He compares the judgement of amateurs with that of artists, stating that a skilled amateur is often less prejudiced than an artist when judging the works of others. [MO]
Conceptual field(s)
Aller menschen ghesicht en is niet begaeft met de selvighe oordeelenskracht; seght Plutarchus {apud Stobaeum ser de Venere & amore}, 't eene ghesicht is meer volmaeckt door de Nature en beter geoffenet door de konst als het ander om het gene schoon is te onderkennen. Hier uyt ontstaet het dat de Schilders met een vaerdighe gauwigheyd van de ghedaenten ende ghestaltenissen der dingen weten te oordeelen. Als een onwetend mensche, eenen rechten Idioot, volmondelick bekendt dat hy de Venus die Zeuxis gheschildert hadde niet schoon en vond; Neem mijne ogen seyde Nicomachus, en sy sall een Godinne schijnen te sijn.
[Suggested translation, Marije Osnabrugge:] Not everyone's sight is gifted with the same power of judgement; says Plutarchus {…}, one sight is more perfect by Nature and better trained by art than the other to recognize that which is beautiful. From this it results that Painters know how to judge the shapes and figures with a capable quickness. When an ignorant man, a true idiot, whole-heartedly confessed that he did not consider the Venus painted by Zeuxis beautiful; Nicomachus said: Take my eyes, and she will appear to be a goddess.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Not everyone's sight is gifted with the same power of judgement; says Plutarchus {…}, one sight is more perfect by Nature and better trained by art than the other to recognize that which is beautiful. From this it results that Painters know how to judge the shapes and figures with a capable quickness. When an ignorant man, a true idiot, whole-heartedly confessed that he did not consider the Venus painted by Zeuxis beautiful; Nicomachus said: Take my eyes, and she will appear to be a goddess.
Conceptual field(s)
Daer is dan eenen sekeren slag van oogen die men met Aelianus {var. Hist. Lib. XIV. Cap. 47.} konstighe of Konst-gheleerde ooghen mag noemen. So en is het oock niet genoegh dat wy ooghen in ons hoofdt heben als andere menschen, maer het is voorder van noode dat wy sulcke oogen sochten te bekomen die nae de maniere van spreken by Cicero {parad. 5} gebruckt eruditi oculi, dat is geleerde ooghen verdienden te worden ghenaemt.
[Suggested translation, Marije Osnabrugge:] There is one particular type of eyes that following Aelianus {…} one may call artful or Art-knowledgable eyes. As such it is not enough that we have eyes in our head like other people, but it is furthermore necessary that we obtain such eyes that deserve to be named eruditi oculi, that is learned eyes, after the manner of speech by Cicero {…}.
Junius introduces the concept of ‘artful’ and ‘learned’ eyes (‘oog’), taken from Aelianus and Cicero respectively. The extract is longer in the English edition than the Dutch text, it is worth citing here completely : ‘Aelianus doth tribute this same apopthegme to Nicostratus : it doth then appeare that it is not enough wee should have eyes in our head as other men have, but it is also required here that we should brin to these curiosities « eruditos oculos, » that is, « learned eyes, » as Tullie termeth them.’ [MO]
Conceptual field(s)
Staet ons onder en tusschen in dese woorden aen te mercken dat Plinius en andere oude autheuren den naem konstenaer niet alleen den genen toeschrijven die de hand selver aen 't werk slaen, maer dat sy onder dien naem ook sodaenighe Konstlievende mannen vervatten die met een seldsame en welgheoffende verbeeldenskracht d'uytnemende wercken van groote Meesters beschouwen, en met een onbedrieghelicke gauwigheyd den gheest die in dese wercken speelt uyt haere maniere van doen vaerdiglick onderscheyden.
[Suggested translation, Marije Osnabrugge:] By now we can remark that Plinius and other old authors do not only ascribe the name Artist to those who put their own hand to work, but that they include under that name such Art-loving men who behold the extraordinary works of the great Masters with rare and well-trained imagination, and with an unmistakable quickness skillfully recognize the spirit that plays in these works from their manner.
Junius explains that the antique authors – he gives Plinius as an example – defined both the producer and the amateur of art (‘konst-lievende man’) as ‘artist’. He ascribes the same qualities to these groups, such as imagination and an eye for art. [MO]
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] By now we can remark that Plinius and other old authors do not only ascribe the name Artist to those who put their own hand to work, but that they include under that name such Art-loving men who behold the extraordinary works of the great Masters with rare and well-trained imagination, and with an unmistakable quickness skillfully recognize the spirit that plays in these works from their manner.
Junius explains that the antique authors – he gives Plinius as an example – defined both the producer and the amateur of art (‘konst-lievende man’) as ‘artist’. He ascribes the same qualities to these groups, such as imagination and an eye for art. [MO]
Conceptual field(s)
De schoonheyd des lichaems, seght Cicero {lib. I de officiis}, beweeght onse ooghen door een bequaeme t'saemenschickinghe der leden; hy vermaeckt ons daer mede voornemelick, dat alle ghedeelten door een aenghenaeme lieffelickheyd met malkanderen over-een komen. Ghelijck het dan gheen wonder en is dat wy eenen sonderlinghen lust scheppen inde schoonheyd der naturelicker lichaemen, soo is het veel min verwonderenswaerd dat ons de Konstige naboetsinge deser schoonheyd noch al beter behaeght dan de natuerelicke schoonheyd selver; niet alleen omdat wy daer in bemercken hoe gheluckighlick de Konst met de nature strijd, maer ook omdat ons ghemoed sich eenmael door dese beschouwinghe vervrolickt vindende sijne blijschap niet langer en kan binnen houden,
[Suggested translation, Marije Osnabrugge:] The beauty of the body, says Cicero {…}, moves our eyes through a competent arrangement of members; it mostly amuses us by this [NDR: the fact], that all parts correspond to each other by a pleasant charm. Like it is no wonder that we gain delight in the beauty of natural bodies, it is much less remarkable that the artful imitation of this beauty pleases us even more than the natural beauty itself; not only because we recognize how happily the Art competes with nature, but also because once our mind finds itself cheered up by this consideration it can no longer hold in its joy.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] The beauty of the body, says Cicero {…}, moves our eyes through a competent arrangement of members; it mostly amuses us by this [NDR: the fact], that all parts correspond to each other by a pleasant charm. Like it is no wonder that we gain delight in the beauty of natural bodies, it is much less remarkable that the artful imitation of this beauty pleases us even more than the natural beauty itself; not only because we recognize how happily the Art competes with nature, but also because once our mind finds itself cheered up by this consideration it can no longer hold in its joy.
Conceptual field(s)
Wanneer ons gesicht eenighe fraeye Schilderijen, Statuen ofte oock eenighe andere gheestige handt-wercken ontmoetende, seght Dionysius Halicarnass. {de comp. Nominum}, de soetigheyt en schoonheyd die daer in te vinden is ghewer word, het houdt sich dan volkomelick vergenoegt sonder iet meer te begheeren.
[Suggested translation, Marije Osnabrugge:] When our gaze [NDR: sight/view], while meeting some charming Paintings, Statues or also some other witty craftwork, says Dionysius Halicarnass. {…}, becomes aware of the sweetness and beauty that can be found in it, it is then completely satisfied without longing for anything else.
Conceptual field(s)
Ghemerckt dat ons dan in de treffelicke wercken van groote Meesters de schoonheyd der dinghen selver nerghens nae so krachtighlick beweeght; als de voorspoedighe stoutigheyd der Konste, soo ghebeurt het oock menighmael dat de levende ghelijckenisse van lellicke ende afsichtighe dinghen niet min vermaeckelick bevonden wordt als de gelijckenisse van d'aller schoonste lichamen.
[Suggested translation, Marije Osnabrugge:] Seen that nothing moves us more powerful than the beauty of things themselves in the striking works of great Masters; as the successful boldness of Art, this is how it also often happens that the living similitude of ugly or hideous things can be found just as entertaining as the similitude of the most beautiful bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Seen that nothing moves us more powerful than the beauty of things themselves in the striking works of great Masters; as the successful boldness of Art, this is how it also often happens that the living similitude of ugly or hideous things can be found just as entertaining as the similitude of the most beautiful bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Seen that nothing moves us more powerful than the beauty of things themselves in the striking works of great Masters; as the successful boldness of Art, this is how it also often happens that the living similitude of ugly or hideous things can be found just as entertaining as the similitude of the most beautiful bodies.
Conceptual field(s)
[Suggested translation, Marije Osnabrugge:] Seen that nothing moves us more powerful than the beauty of things themselves in the striking works of great Masters; as the successful boldness of Art, this is how it also often happens that the living similitude of ugly or hideous things can be found just as entertaining as the similitude of the most beautiful bodies.
Conceptual field(s)
Wy aenschouwen de Schilderije van een hagedisse, van een Simme, van Tersites tronie met lust ende verwonderingh, seght Plutarchus {de poesis aud.}, meer om de ghelijckenisse die wy daer in sien dan om de schoonheyd. Want alhoewel men het ghene in sijn eyghen nature leelick is niet en kan schoon maecken, d'imitatie van schoone of leelicke dinghen werd nochtans sonder eenigh onderscheyd gepresen.
[Suggested translation, Marije Osnabrugge:] We behold the Painting of a lizard, of an Ape, or of the face of Tersites with desire and astonishment, says Plutarchus {…}, more for the similitude that we see in it than for the beauty. Because although one cannot make beautiful that which is in his one nature ugly, the imitation of beautiful or ugly things is nevertheless praised without any distinction.