[D'après NOLDUS 2008, p. 129:] 17 Si nous voulons montrer le Soleil jaune, nous devons lui donner une couronne de laque claire et pourpre, en fondu. {Comment peindre le Soleil, sans qu’on puisse imiter sa beauté.} Toutefois, une matière aussi brillante nous fera toujours défaut : cela nous dépasse. Notre Art, si grandiose, si magnifique, est vain ici. Nous serions tenté de vitupérer contre notre propre travail, puisque nos Flambeaux ne flamboient d’une aussi grande clarté.

[D'après NOLDUS 2008, p. 179:] 37 Pourtant, on doit faire fondre doucement toutes ses couleurs, {Du fondu subtil.} pour que l’œuvre ne soit pas dure ni pleine de taches, mais agréable, et avec un relief plein de gonflant. On doit imiter en tout et pour le mieux le modèle de la vie, qui, depuis toujours, a inspiré maint bon Peintre ; et ne restez pas attachés, comme des Sectaires malfaisants, à vos fausses opinions ; au contraire, forcez sans scrupule votre palette, ce n’est pas un péché.

[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.

PLATON

[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,

[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]

[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]

[Suggested translation, Marije Osnabrugge:] It appears that the highly famous virtues of the old Masters consisted mostly in that they imitated the quick movements of their warmed spirit audaciously; just like their trained long-practiced senses could not remark something, which their experienced hands would not know how to express capably. It’s no wonder, then, that these Arts in former times increased tremendously, when the brave spirits of great Masters went through their work with a bold hand;

This comment on the citation from Pliny does not exist in the Latin edition. The English edition is also more concisive here. [MO]

[Suggested translation, Marije Osnabrugge:] From this it follows, that the paintings that surpass the lovely sweetness of all sorts of painted works, that far surpass human understanding and Art; paintings that are said to be purely produced by an unmentionable, inimitable, supernatural, divine Artistic Act, have to contain something in them, which cannot be obtained from the diligent difficulty of the Art-rules; but that, having observed the free spirit of the brave Artists how nature tends to playfully adorn in such a wide variety of things, attemps to obtain the same in the imitation of nature.

[suggested translation, Marije Osnabrugge:] [...] about the Rabbits we only have to remark, that more different colours can be found, than with the Hares; Namely white, black, pale, reddish, yet most grayish; regarding which nothing else but applying and choosing the colours is to be observed for the Colouring, like it can be found in other Animals that have already been described: because those who have come this far, will be able to imitate the other [ndr: animals] after the life and the occasion of their Mind.

The phrasing is more succinct in the English translation. [MO]

[suggested translation, Marije Osnabrugge:] …as such the goodness of the same Creator, has given such ingenuity to Man, that he has found infallible rules for himself to imitate nature in many ways; {The Rules of Art have been found in the rules of nature.} as one notices that the things that are not done after certain rules, will appear very vain, and without power, to delight the practiced eye as something natural. Nature is inconceivably rich in bringing forth different versions of each sort, from which we take an Example for so many thousands of Men, Animals and Crops, which, although they are from one race, are not exactly similar to each other; as such it can be said that the Art possesses the same perfection in his, for as much as she can bring forth as many shapes as she wants with imitation. {In which the Art imitates.} Yes, she can bring forth things that appear impossible to nature, with regard to things that we have never seen brought into the world by nature. {Also outside the common state of nature.} Yet while the Art has taken its origin from nature and nature not from Art, but only from God in an inconceivable way, and it placed in a lasting order and kept that way, as such one should notice, that all which Art does outside of nature, is not a power but a failure; as nature naturally does not bring forth anything unnatural, this is contrary to itself; or it is also seen as a Deformity: {That which is outside the natural, is misshapen.}

[suggested translation, Marije Osnabrugge:] One could add in favour of the Art Of Painting, that she extends more generally to the imitation of all natural things than Sculpting [does], especially by means of Colors and proper colorings; so one may say that she can execute anything: {The Art of Painting would create living Images if the Soul would have been a visible thing.}

[suggested translation, Marije Osnabrugge:] But notwithstanding that we said earlier (although not without reason), that the power of the Art of Painting is general, to produce everything, except the living Souls in the Images, as such some have doubted whether one could be able to depict lifeless things in their movement: {Whether one can depict things that appear to be moving.} which (although observed by few) we would plainly like to argue with a Yes; because nobody will be able to contradict, that the Art follows nature in everything, especially in that which can be observed during a period of time with consideration:

[suggested translation, Marije Osnabrugge:] Yet as it is advisable, yes also very necessary, that one imitates other Good Masters in the beginning of his Studies, and attempts to surpass them where they have strayed, as such it should be known that one should not only apply ardor and diligence, but also behave themselves very wisely: {What should be observed in following other Masters.} Because it demands something different to intelligently imitate a great Master, than simply Copying After, which is an adequate means for young ones, to learn to treat the brush for the first time, to learn to find the colors and colorations et cetera: But in studying masterfully, and imitating, there only the judgement regarding the Virtues of the very best things should be practiced: and with a careful diligence, to find out everything, which is in it about the true nature of the Arts. Because the Virtues are often soo deeply hidden in the best Paintings, and are so artfully folded and braided into the whole work, that the most perceptive Master cannot assume to understand it but after a long observation. Such that the mistakes that remain in it are often followed the best and taken in by an incapable [artist]; {Incapable artists imitate the mistakes the best in Copying.} which is why with a wise and frank judgement one should study such things and not take at face value [ndr: literally: eat like sugar] everything that comes from this or another great Master, as such one may take the flaws as well as the perfections for a law to imitate, as if out of respect for their Mastery they could not stray: But the imitation will first become praiseworthy and useful, when she has captured the full power of Art in the principal things.

[suggested translation, Marije Osnabrugge:] Regarding the best use that one has to obtain from the imitation and study of old and learned pieces, one should learn to apply the Art and power of such a Painting to his own works, and show it as his own work, i.e. that one intelligently practices the Virtue of the Works of a famous Master regarding and in a New Invention. This is why one should never look at the Art works with a loose or moving eye; {Use from that which one has learned by Copying.} but think well about it and take up these considerations once again, taking the pieces in one’s hands and considering them closely through and through, so that one may appropriate after a multiple observation, understanding the true Virtue of Art and the spirit by which such a Master was driven. Add to this that this is why, regarding the Art of such imitation, a young man must ascertain himself, the assistance and education by a loyal Teacher, so that regarding that which has been said, he may guide his inexperienced senses and hands intelligently.

[suggested translation, Marije Osnabrugge:] It is not advisable, says Franciscus Junius, that we surrender ourselves to just one Master, to follow him in every way: Apelles doubtlessly was the most famous, yet some have surpassed him in one or another element: He may have been praised by the Old Master, but not that only he should be imitated. {How one has to choose the best of different Masters and combine it.} It would be Good to become like Apelles, but it cannot hurt if to the gracefulness of Apelles one adds the happy audacity of Zeuxis, the relentless diligence of Protogenes, the strong profoundness of Nicophanes; and the virtues of others, would be added. As such we also say, how can it hurt if we want to imitate Raphael of Urbino as a burning torch for its lovely composition, virtuous action of the figures, and great thoughts, that we attempt to obtain the good Drawing and steady contours of Carracci, Testa and the others; the gracefulness, graceful pleasance and rich Majesty of Pietro da Cortona, the wise observation of flat shadows and lights, folds and natural Coloring of Poussin, Barocci, Simon Vouet and what one judges to be worth imitating after his mood and talent, in other Masters.

APELLES
BAROCCI, Frederico
CARRACCI, Annibale
DA CORTONA, Pietro (Pietro Berrettini)
JUNIUS, Franciscus
NICOPHANES
POUSSIN, Nicolas
PROTOGENES
RAFFAELLO (Raffaello Sanzio)
TESTA, Pietro
VOUET, Simon
ZEUXIS

[suggested translation, Marije Osnabrugge:] Those, on the other hand, who imitate others and keep on imitating, are like those who keep on crawling close to the ground, and do not dare to stand on their own feet out of a fear to fall, even less push themselves to improve that where others have been negligent, or to add something. About such [artists] Da Vinci says that they are no real Sons, but may only be called Cousins of Art. {What Da Vinci said of those who were negligent in improving their action.} Why Junius also says that such imitation is a slavish imitation, more harmful than profitable for beginners;

DA VINCI, Leonardo
JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

EUPOMPUS

[suggested translation, Marije Osnabrugge:] {Pupils are advised to follow the handling of their Original.} Moreover it is advisable that the Pupils attempt to follow the same manner and handling of the Original in the drawing after Drawings, so that they may obtain a beginning of a handling that may shape itself into a manner through drawing a lot, to stick with them until the end of their days, and make their own.

[BLANC J, 2006, p. 24] {Een spiegel der natuer}. Want een volmaekte Schildery is als een spiegel van de Natuer, die de dingen, die niet en zijn, doet schijnen te zijn, en op een geoorlofde vermakelijke en prijslijke wijze bedriegt. Den Konst versmader Agrippa bekent, dat de Schilder konst een zeer zuivere navolgster der natuerlijke dingen is, die eertijts d'eerste plaets der vrye konsten in hadde.

AGRIPPA, Heinrich Cornelius

Hoogstraten fait ici référence à l'ouvrage de Heinrich Cornelius Agrippa (1486-1535), Van de onzekerheid en ijdelheid der wetenschappen en konsten, (1530) traduit du latin par J. Oudaan, Rotterdam, 1661, chapitre XXI, p.92-93.Voir BLANC J, 2006, p.104, n.115.

[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.

[suggested translation, Marije Osnabrugge:] However, this does not dismiss the feeling of those who argue that Life itself is the best Example, and the most necessary to imitate; as the great perfection of the Ancients has its source in it. And thus it is also necessary today to draw from it: But as the Ancients have chosen wisely from the wide diversity of Life, in which the Beautiful is mixed with the undesirable, often selecting that which is the most Beautiful in a Body, this may rightfully be called the best guide:

Anciens (les)

Goeree explains that Life is a good subject for artistic imitation, but that the imitation of the Ancient artists is preferable. [MO]

[D'après DE LAIRESSE 1787, vol. 2, p. 176:] Au reste, il y a deux grands avantages à imiter & à copier les ouvrages des bons maîtres, 1. parce qu’on y voit la nature corrigée [ndr : par leur esprit et leur art] des défauts qu’elle peut offrir ; quelquefois même elle y est embellie : 2. à cause que par ce moyen on apprend à faire soi-même ces corrections & ces embellissemens, quand on a la nature devant les yeux : deux points qui, sans contredit, sont de la plus grande importance. Cependant on peut dire qu’un artiste, par l’inclination qui lui est innée, ne doit être regardé que comme un enfant, qui en grandissant, suit de plus en plus l’impulsion de la nature […] Mais lorsque la raison & l’art le guident, il ne peut manquer de parvenir à la perfection ; ce qui me conduit à remarquer que l’étude & la pratique de l’art sont infiniment plus utiles que toutes les notions que nous tenons de la nature seule, qui souvent nous induit en erreur, en nous ne faisant chercher la perfection dans une seule partie, quoiqu’elle soit parfaite dans tout ce qu’elle produit ; et à cet égard l’art est obligé de suivre la nature […]