[D'après NOLDUS 2008, p. 63:] 8 Commencez d’abord à peindre dans votre imagination des éléments accessoires, pleins d’esprit, pour bien exprimer votre matière, avec grâce et beauté (comme le font les Orateurs dans leurs discours) avec splendeur, Art et habileté. {Tout exprimer avec grâce.} Pour mieux y arriver, faites quelques esquisses assez pour que cela réussisse. {Faire d’abord des esquisses}

[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]

[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.

ARISTOTELES
PHILOSTRATOS
PLATON

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]