[Suggested translation, Marije Osnabrugge:] Now we finally reach the Magnificence or stateliness, which can commonly be found in a carefully considered Invention, seen that it always provides the Invention with a remarkable distinction, when the Artist is found to have carefully observed the truth, occasion and discretion in it. Because just like the whole Art of Painting does not amount to much unless it is accompanied by a remarkable modesty, moving the spectators by a pleasant appearance of an excellent grace, as such she may not lean too much on a affected amusement of an overworked neatness, as the greatest delight of the whole work is blocked and diminished by such decoration, this tends to also make the Artists themselves loose the respect of her Art, when the spectators begin to suspect the criticism of the all too careful jewel, that it is but affectation, and not real magnificence, that one finds in the work, that is, if the Art-loving spectators understand, that the Artist has tried to fill his work just with the artificial appearance of stateliness and not with stateliness itself. It happens daily that many, lacking the knowledge and experience that is demanded for this curious meticulous Art, busily build castles in the sky, so that they do not appear to crawl on the ground like other common artisans.

Junius describes the importance and characteristics of magnificence (magnificentie), also called stateliness (statigheid), in an art work. He explains that it should entail modesty (stemmigheid), grace (bevalligheid) and not too much unnecessary ornament (opghepronckte verlustinghe; optoyssel; affectatie) or extreme neatness. An artist needs knowledge (kennis) and experience (ervaring) to obtain the right level of magnificence in his work. In this citation, Junius uses the terms ‘statigheid’, and to a lesser degree ‘achtbaarheid’ and ‘aanzien’ as equivalents for magnificence. In Dutch, Junius uses a noun and adjective: 'sonderlinghe aensienlickheyd', to translate the Latin '‘gratiam auctoritatemque’, in the English edition it is also composed of a noun and adjective: ‘wonderfull great authoritie’. I would like to thank Wieneke Jansen (Leiden University) for her precious assistance with regard to the Latin and English translation of this citation. [MO]

[Suggested translation, Marije Osnabrugge:] Seen that there are to different types of beauty to be found, says Tullius {…}, where the one consists in the loveliness, the other consists in the stateliness or importance; as such the loveliness is Feminin, the importance, on the other hand, appears to be Masculin. This importance is maintained by a full colour, like the youthful liveliness of a good healthy colour is maintained by the training of our bodies. (…) What the feminine beauty is concerned, Artists tend to pay most attention to the graceful loveliness of the appearance; it is not a beautiful woman, says Seneca {…}, whose thighs or arms are praiseworthy, but whose complete appearance diminishes and sedates the miraculousness of all the other parts.

CICERO, Marcus Tullius
SENECA

[BLANC J, 2006, p. 254] Les circonstances de la partie accessoire d'une histoire lui confèrent une grande [ndr: convenance]. Et leur variété divertit le regard. / En ajoutant de la variété [à une histoire] grâce à de nombreux changements, / Et en l'agrémentant d'une partie accessoire, on lui donne du lustre.

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.