BEROERING (n. f.)
TERM USED IN EARLY TRANSLATIONS
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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.
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[Suggested translation, Marije Osnabrugge:] A complete and ably done Invention has to spring forth from a large and deeply rooted wisdom; no studies should be unknown to us; we have to know all about the whole antiquity together with the countless number of Poetic and Historical tales; yet it is most necessary that we thoroughly understand the manifold movements of the human mind as well as all the special characteristics of it, seen that the great and admired power of these Arts lays most in the lively expression of such commotion. So we understand how the Artists were once judged with a special insight as wise men; seen that one can hardly find one in all the other free Arts, who has to deal more with the help of a high and well-evoked wisdom.
This section is not included in the first Latin edition (1637). [MO]
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Ghelijck dan de oude Konstenaers een seer treffelicke maniere van wercken ghehadt hebben, soo hadden sy mede een sonderlinghe gaeve om sich de waere verbeeldinghe van allerley beweghinghen onses ghemoeds op ’t aller levendighste voor te stellen; ja wy moghen ’t oock vrijelick daer voor houden, dat sy haere wercken nimmermeer met sulcke bequaeme uytdruckinghen van de verscheydene herts-tochten souden vervult hebben, ’t en waer saecke dat sy met pijne waerd gheacht hadden alle die naturelicke beroerten wijslick nae te speuren door de welcke ons ghemoed verruckt ende den gewoonlicken schijn onses wesens verscheydenlick verandert wordt. Zeuxis heeft de schilderije van Penelope gemaeckt, so dat hy de sedigheyd haeres eerbaeren wesens daer in konstighlick schijnt uytghedruckt te hebben. Plin. XXXV.9. Timomachus heeft den raesenden Aiax afghemaelt, en hoe hy sich in dese uytsinnighe dolligheyd al aenstelde Philostr. Lib. II. de vita Apollonii. Cap. 10. Silanion heeft den wrevelmoedighen Konstenaer Apollodorus ghemaeckt; ende overmids desen Apollodorus eenen rechten korselkop was, soo ist dat Silanion niet alleen den Konstenaer selver, maer sijn koppighe krijghelheydt met eenen oock in ’t koper heeft ghegoten Plin. XXXIV.8. Protogenes heeft Philiscus geschildert, als wesende met eenighe diepe bedenckinghen opghenomen Plin. XXXV.10. Praxiteles heeft Phryne ghemackt, als of men haer weelderigh herte in een volle Zee van vreughd en wellust sach swemmen, Plin. XXXIV.8. Parrhasius maeckten eenen jonghelingh die in sijne wapenrustinge om strijd loopt, Plin. XXXV.10. Den Anapanomenos van Aristides sterft uyt liefde van sijnen broeder, Plin. ibidem. Philostratus {Iconoum Lib. I. in Ariadne} beschrijft ons de schilderije van eenen Bacchus die maer alleen bekent wordt by de minne-stuypen die hem quellen. Dese exempelen gheven ons ghenoegh te verstaen, hoe grooten ervaerenheyd d’oude Meesters in’t uytdrucken van allerley beroerten ende beweghinghen ghehad hebben;
[Suggested translation, Marije Osnabrugge:] Just like the old Artists had a very striking manner of working, as such they had a special gift to imagine the true representation of all sorts of movements of our mind in the most lively way; yes we may also interpret freely, that they would never have filled their works again with such able expressions of the different passions, if they had not have thought it painfully worthful to wisely trace all those natural commotions by which our mind delights and the common appearance of our being is changed varyingly. Zeuxis has made a painting of Penelope, in a way that he appears to have artfully depicted the modesty of her being. Plin. XXXV.9. Timomachus has depicted the raging Aiax, and how he behaved in this outrageous madness Philostr. Lib. II. de vita Apollonii.Cap. 10. Silanion has made the resentful Artist Apollodorus; and as this Apollodorus was a grumpy guy, Silanion did not only cast the Artist himself, but also his stubborn touchiness Plin. XXXIV.8. Protogenes has painted Philiscus, being taken by deep reflections Plin. XXXV.10. Praxiteles has made Phyrne, as if one saw her luxuriant heart bathe in a great see of happiness and lust, Plin. XXXIV.8. Parrhasius made a young man who is walking around in his armour looking for a fight, Plin. ibidem. Philostratus {…} describes a painting to us of a Bacchus who can only be recognized by the heartaches that torture him. These examples illustrate clearly enough, how big a skill the old Masters have had in expressing all sorts of commotions and movements;
PARRHASIUS (Parrhasios)
PHILOSTRATOS
PLINIUS, L'Ancien
PRAXITELES
PROTOGENES
SILANION
TIMOMACHOS
ZEUXIS
Only the citations are mentioned in the Latin edition, but there is no commentary, like in the Dutch and English edition. [MO]
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Ghelijck dan de voornaemste kracht der Schilderyen gheleghen is in de bequaeme naeboetsinghe der eyghenschappen diemen in d’onroerende dinghen verneemt, als oock in de levendighe afbeeldinghe der beroeringhen diemen in de roerende dinghen speurt; soo moeten wy het mede daer voor houden, dat de welstandigheyd des gantschen wercks gheoordeelt wordt allermeest in ’t ghebaer ende in ’t roersel der figuren te bestaen, wanneer deselvighe yet merckelicks doen of lijden. Dies plaght oock het levendighe roersel, nae d’eene of d’andere gheleghenheyd der figuren, somtijds Actie somtijds de Passie ghenaemt te worden: Want de Beelden die de kracht van eenig ernstigh bedrijf in haer uyterlick ghebaer uyt-wijsen, worden geseyt een goede Actie te hebben; d’andere daerenteghen die d’inwendige beroeringhen haeres ghemoeds door d’uytwendighe ontseltheyd te kennen geven, worden gheseyt vol van Passie te sijn. Dit vervult de wercken met eenen levendighen gheest, ’t is de rechte ziele der Konste.
[Suggested translation, Marije Osnabrugge:] Just like the main power of Paintings lies in the capable imitation of the characteristics that one perceives in the unmoving things, as well as in the lively depiction of the movements that one detects in the moving things; as such we have to consider as well, that the harmony of the whole work is thought to exist most of all in the gesture and the movement of the figures, when they do something remarkable or suffer. As such the living movement also tends to be called after one or the other situation of the figures, sometimes Action and sometimes Passion: Because the Images that show the power of a serious occupation in their outward gesture, are said to have a good Action; the other on the other hand who demonstrate the internal movements of their mind by means of an outward dismay, are said to be full of Passion. This fills the works with a lively spirit, it is the true soul of the Art.
Junius explains that there are different types of movement (beroering) in an art work, which he also calls movement (roersel) and gesture (gebaar). On the one hand, he uses the term action (actie), which refers to the outer movement of the figures. On the other hand, there is the passion (passie), which reflects the inner movements. The correct depiction of the different movements should lead to a well-composed whole (welstand). The rest of paragraph IV.2 describes the different emotions, not necessarily in direct relation to art. The phrasing of this paragraph is different in the Latin and English edition. [MO]
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De bequaeme uytdruckinghe van d’allerstercte herts-tochten en d’aller beweghelickste beroeringhen plaght maer allenlick uyt een verruckt ende ontroert herte, als uyt eenen levendighen rijcken springh-ader, overvloedighlick uyt te borrelen, en sich over ’t gantsche werck soo krachtighlick uyt te storten, dat d’aenschouwers door ’t soete gheweld van eenen aenghenaemen dwangh even de selvighe beweghinghen in haere herten ghevoelen die den werckende Konstenaer ghevoelt heeft.
[Suggested translation, Marije Osnabrugge:] The adequate expression of the strongest passions and the most moving stirrings tend to only spring forth abundantly from an excited and moved heart, as from a lively rich source, and spread itself so powerful over the whole work, that because of the sweet violence of a pleasing force the spectators briefly feel in their hearts the same movements that the working Artist has felt.
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Seker een Schilder die niet anders en weet dan de bloote omtrekken der schoone leden, en de muskelen der Statue-beelden in haar teykeningh en gedaante na te volgen, sal sich seer verlegen vinden wanneer hy eenige beelden na seker gegeven voornemen moet schicken, op datmen waarlijck de vereyste werckingh, en geen andere in zou zien. Ja hy sal sich genoegsaam onbedreven in de Menschkunde vinden, wanneer hy slegts in de Collegien Akademie beelden sal Teyckenen; als niet wel konnende waarnemen door welke meester spelende Muskelen, en Partyen, sijn voorgesteld beeld in ’t leven werkt; op dat hy die nauwkeurig in agt nemende, en wel navolgende, die ook aan sijn Beeld sou konnen geven, en maken dat de actie van sijn Teykening met die van sijn Model, welwerkende over eenstemd. Want nadien de muskelen volgens d’ontelbare verscheydentheden der werckingen, oneyndig verschillige gedaantes konnen hebben; die onmogelijck uyt geen Statuen of Pronkbeelden konnen geleerd werden, om dat in yder voorbeeld slegts een enkel en bepaald geval vertoond werd: soo volgd van selfs, datmen in de algemeene Schilderkonst, niet alleen en moet verstaan wat yder Muskel in dusdanigen Actie doet, maar in wat trap en gedaante en onderschikking sy sulx doet; en wanneerse min en wanneerse meer, geweldig of stemmingh sulx doet: want men moet vast stellen dat yder bysondere doening of beroerlijkheyd niet alleen sijn eygen muskel, of muskelen heeft, om dit of dat lit te buygen, te regten, op te trekken, na binnen, na buyten en elders heen te drayen en op te houden, maar dat sulx ook door veelerhande toevallige trappen geschied.[continues…]
[suggested translation, Marije Osnabrugge:] Certainly, a painter who knows nothing but how to imitate the naked contours of beautiful parts and the muscles of the sculpted figures in their design and appearance, will feel very embarrassed when he has to arrange some figures after a certain concept, in order to see the required function and not some other. Yes he will find himself completely incapable in the Anatomy, if he would only draw Academy figures in the Colleges; as he is unable to perceive by which master moving muscles and parts his imagined figure does in real life; so that he could observe this carefully, and imitating it well, to give it to his figure as well, to ascertain that the action of his drawing coincides well with that of his model. Because since the muscles can have an endless amount of different shapes, following the countless differences of actions; which can impossibly be learned from Statues or Sculptures, because in every examples but one and a specific case is show: and it naturally follows that in the general Art of Painting, one should not only understand what every muscles does in such an action, but to what extent and shape and subordination he does it; and when it does it more or less great or enjoyable: because one has to note that every specific action or movement does not only have its own muscle or muscles, to make this or that limb bend, straighten, pull up, turn in or out or in another direction and keep it up, but that this happens through manifold coincidental steps.
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In de Schilder-Konst dan sullense beter voegen, wanneerse min of meer gedrayd vertoonen: De Reden is om datse vlak op zijde, een juyst afgepaste stand en oogenblik van Beschouwing uytleverende, genoegsaam laten blijken datse soodanig niet toevallig uyt de oorsprong van haar eygen vrywillige beweging, maar met voordagt verkosen zijn; {De Beelden moeten in een ordinantie altijd een toevallige stand hebben.} ’t geen de Losse beroerlijkheyd, dieder altijd in de Beelden behoord gesien te werden, t’eenemaal tegen is, ja de selve wech neemd.
[suggested translation, Marije Osnabrugge:] In the Art of Painting they would fit better, when they are shown more or less twisted: The Reason is that from the side, offering a well-chosen posture and moment of Observation, they properly show that they were not selected at random, originating in their own free movement, but with consideration; {The Figures should always have a coincidental posture in a composition.} which is contradicting the loose movement, which should always be seen in Figures, yes it even eliminates it.
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Die dese vermogens te gelijk bedenkt, en overweegt door wat Middel en Werkingen de Mensch-Schepselen gewoon zijn hun Actien, en hun Passien uyt te voeren, sal ligtelijk toestaan, dat ook de beschouwige Kennis van de Natuure des Menschen Dierige en Redelijke Ziel, ten minsten van ter zijden een plaatsje in de verhandeling der Mensch-kunde behoorde ingeruymd te werden. Te meer om dat de Schilder-Konst, niet alleen de Lichamen noch de beroerlijkheyd der Leden, soo als die door de invloeyende Geesten door de Muskelen verrigt werden, moeten vertoond werden; Maar dat ook den ernst en de gedagte die de denkende Ziel, of inwendige Geest en ’t mede- weten des Menschen van de dingen heeft, daarse mede besig is, noodwendigh moet uytgedrukt werden, door eenige kennelijke Merk-teekenen, die dat vermogen hebben. Gelijk ook den Maker gewild heeft, dat om vele Reden, vooren by ons aangewesen, de gesteldheyd van ’t Gemoed en de Passien, met den yver der Doening in ’t Aangesigt des Menschen niet en souden verborgen blijven: Alle welke dingen in een Tafereel wel waar genomen, wy gewoon zijn, de Ziel der Konst te noemen. ’t Is dan niet buyten den Haak, maar betamelijk, de Ziel des Menschen in de Mensch-kunde tot nut der Schilder-Konst te ondersoeken.
[suggested translation, Marije Osnabrugge:] He who thinks about these abilities simultaneously and considers by what Means and Movements the Human Creatures are used to conduct their Actions and Passions, will easily allow that the contemplative Knowledge of the Nature of the Animal and Logical Soul of man, at least deserves a small place on the side in a description of the Anatomy. More so because the Art of Painting should not only show the Bodies or the movement of the Limbs, as they are performed by means of the flowing Minds through the Muscles; But that the Seriousness and the thought that the thinking Soul, or internal Mind and the Consciousness of Man has of the things that he is doing, should necessarily be expressed by some specific signs, which hold that power. Like the Creator has willed, that for many aforementioned Reasons, the state of Mind and the Passions should not remain hidden from the Faces of Men with the diligence of the Action: If all these things are observed in a Painting, we generally call this the Soul of Art. It is not out of line, but rather fitting, to investigate the Soul of Man within the Anatomy for the use of the Art of Painting.