TERM USED AS TRANSLATIONS IN QUOTATIONLICENCE (fra.)
TERM USED IN EARLY TRANSLATIONSLICENCE (fra.)
BROWNE, Alexander, Ars Pictoria : or an Academy Treating of Drawing, Painting, Limning, Etching. To which are Added XXXI. Copper Plates, Expressing the Choicest, Nearest, and Most Exact Grounds and Rules of Symmetry. Collected out of the most Eminent Italian, German, and Netherland Authors. By Alexander Browne, Practitioner in the Art of Limning. The Second Edition, Corrected and Enlarged by the Author, London, Arthur Tooker - William Battersby, 1675.1 quotations
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719.1 quotations
‘Tis observable that tho’ Tasso says only Erminia cuts off her hair, Poussin was forc’d to explain what she cut it off withal, and he has given her her Lover’s Sword [ndr : Poussin, Herminie et Tancrède]. We don’t at all question but there will be those who will fancy they have here discover’d a notorious Absurdity in Poussin, it being impossible to cut Hair with a Sword ; but though it be, a Pair of Scissars instead of it, though much the sitter for the purpose, had spoil’d the Picture ; Painting, and Poetry equally disdain such low, and common things. This is a Lycence much of the same kind with that of Raffael in the Carton of the Draught of Fishes, where the Boat is by much too little for the Figures that are in it ; or with the Laacon, who is naked, whereas being a Priest in his Sacerdotal Office, he must have been suppos’d to have been clad : But we need not tell you, Sir [ndr : ce passage est la retranscription d’une lettre de Richardson, père et fils, à un « gentleman at Rotterdam »], why those Noble pieces of Painting, and Sculpture were so managed.
AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
POUSSIN, Nicolas, Tancrède et Herminie, v. 1634, huile sur toile, 75,5 X 99,7 , Birmingham, The Barber Institute of Fine Arts, No.38.9.
RAFFAELLO (Raffaello Sanzio) , La pêche miraculeuse, 1515 - 1516, gouache et huile sur carton, 320 x 390, London, Victoria & Albert Museum, ROYAL LOANS.2.
Pourquoi donc reprendre Rubens de les avoir introduits dans le tableau qui représente l'arrivée de Marie de Médicis à Marseille. […]
Je réponds que cette licence donnée aux Peintres & aux Poëtes, doit s'entendre, comme Horace l'explique lui-même, sed non ut placidis coeant immitia. C'est-à-dire, que cette licence ne s'étend point à rassembler en un même tableau des choses incompatibles, comme sont l'arrivée de Marie de Médicis à Marseille, & des Tritons qui sonnent de leurs conques dans le port. […] Ces divinités ne doivent avoir part à l'action dans les compositions historiques […]. Elles ne peuvent être introduites dans ces dernières compositions que comme des figures allégoriques & des symboles.