[D'après NOLDUS 2008, p. 5-7:] On trouverait de nos jours les mêmes différences chez les peintres italiens et néérlandais, mais raconter cela prendrait trop de place ici. Par tout cela, la Jeunesse peut apprendre à persévérer dans l’Art et à saisir ce qu’offre la Nature. À défaut d’atteindre la perfection dans la peinture de figures et d’Histoires, on pourrait peindre des Animaux, des scènes de Cuisine, des Fruits ou Fleurs, des Paysages, des Architectures, des Perspectives, des Cartouches, des Grotesques, des Nocturnes, des incendies, des Portraits d’après la vie, des Marines et Bateaux, ou encore autre chose.

École flamande
École italienne
École néerlandaise

[suggested translation, Marije Osnabrugge:] Thirdly a Painter has to be firmly and profoundly experienced in perspective according to the most certain rules, and know them as good as his alphabet, so that he can shape everything that he encounters in the Art of Painting according to it. Therefore a young Painter, even from the beginning when he takes up the Art of Painting, should apply great diligence, to know what the perspective is, how it is seen in nature and how it is grounded in the Art, according to the rules that our sight has in seeing natural objects;

[suggested translation, Marije Osnabrugge:] From all this it follows that the necessary knowledge of the harmony [ndr: translation of houding], {Harmony} which may rightfully be called the perspective or proportional fading of the colors: And if it is not understood, one can never work something natural into a Painting, seen that the harmony can provide in Paintings the same feeling that our eyes get to enjoy in observing life. As such with regard to the Coloring one should also understand the nature of Reflections, {Reflections} where and how they can fall or not fall, which colors they assume or change, and more such things, as we will show in our last book.

At the end of the citation, Goeree refers to the last book which he intended to write, but never did. In the English language, there is but one word for reflection, which is why the Dutch repetition of terms (reflexie, weerschijn) is omitted in the translation. [MO]

[suggested translation, Marije Osnabrugge:] In the second period it is important to pay attention to the means that one should apply to obtain a glorious and great name: {2. Period to obtain a great name.} The Art of Painting (says Junius) is stimulated by honor as if by a real bate. As such the hope of obtaining an immortal name, has been the only objective of the old Famous Artists; knowing that if they could reach it, they would not be lacking any profit. There is no road to follow more closely to arriver there, than to make oneself Universal in the Art, and to say to be at home anywhere; {That one should try to be general in the Art.} as such one will learn to do everything. How often one sees that through the lack of this generality good Masters spoil their Paintings by adding something to it, which they do not master; As if, for example, a Painter of Figures makes Landscapes for his Histories that are not good, or composes Buildings and such against the proportional sizes and rules of perspective to it, and such, which the wise will readily understand: A Painter would not fall into these mistakes, if he understands the general sciences of all this. One could contradict this [by saying] that there are remedies to assist in this, {The counterargument of some.} and that one, as happens often, can have his pieces be drawn up by others, like for example, that a Painter of Figures has his perspectives drawn up by a Landscape Painter, or the Buildings by someone who understands Architecture and Perspective, et cetera: This is why a Landscape Painter can have his pieces be filled in by a Figure painter, as one calls it: As such there are often two, three or four Masters who have worked on a Painting. In this regard the experience has taught us, that the Figures in such works are often thrown in as if they had fallen in from the sky, or did not belong there. {Their mistake discovered.} Because oftentimes the idea of the Master nor the selection of the Day-light nor the appropriate deviation of the ground, the Perspective, yes the whole nature of the Landscape is not understood by those who fill in the picture; even less so that they would take it into consideration in their Figures: as such they arrive at making rather inappropriate Figures of a beautiful day for a gloomy Landscape and more of such mistakes, which strive against the truth of nature and the rules of the Art. I have often seen that Figures and Animals that had been made by the Landscape Painter himself, (however bad they may have been drawn) had been placed and painted much better in character with the Landscape than others that had been thrown in it by a good Master. {Contradicted by the experience of many cases.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

The second part of this section is not included in the English translation. [MO]

[suggested translation, Marije Osnabrugge:] {That manner is contradicted because of its small importance.} Yet according to my opinion with all these things it is like Lobsters, on which one nibbles rather than eats; and one may sufficiently help oneself (for those who understand the Perspective a little) with the Eye, when one pays good attention to it: because the principal thing to be observed in a Landscape, is the Natural harmony, and the perspective, that is in it, for the rest few depends on the similar elements; as such one does not need to make do with Glass, nor windows, which are all false guides that lead astray from the right way; which is why they are seldom accepted by Great Masters to make use of.

This section is not included in the English translation. [MO]

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

[BLANC J, 2006, p. 404] On apprend à déterminer les ombres par la perspective. Les ombres changent les couleurs à mesure de leur obscurité. Un peu d'ombre change proprtionnellement un peu les couleurs. Mais une obscurité intense rend toutes les choses semblables.

[suggested translation, Marije Osnabrugge:] By means of the following Examples the Skill of the fall of Folds with regard to their position of perspective, will be understood so clearly, that there will be no need for a long explanation. Without a doubt you will see very well in the following Illustration, numbered R., [ndr: reference to illustration] to what degree it depends on the position and place of two Dressed Female figures. Let us remember that regarding A. the viewpoint is in the Horizon, as such you will understand how and why the characteristics of the Folds, after they are somewhat removed from said Point, or are seen above or below the Horizon, have to undergo a great adaptation in their fall: Because like the character of the Folds near B. C. is almost straight, because they are tight near A.; as such those of D. E. F. G. H. are so much greater and wider with their Circle or Contour around its Point, or Arch-wise bent, whenever they start to diverge further from that same point A. . And, as the parts D. E. F. G. H. all come above the Horizon, they bend upwards, as such one easily understands that the Folds near the tightening of the muscles around I., necessarily have to fall downwards in their Fall, because they come below the said Horizon, and that – if one of these Limbs would change position, or if one or the other arm would be stretched differently – the Viewpoint of the Folds would also change. As such one can truly perceive a Perspective in the Folds of the Clothing and Limbs.

GOEREE, Willem et ANONYME, Toevallige Gesigtstant der Ploÿen in roerlyke Beelden, estampe, dans GOEREE, Willem, Natuurlyk en schilderkonstig Ontwerp der Menschkunde leerende niet alleen de kennis van de Gestalte, Proportie, Schoonheyd, Muskelen, Bewegingen, Actien, Passien, en Welstand der Menschbeelden : Tot de Teykenkunde, Schilderkunde, Beeldhouwery, Bootseer en Giet-Oeffening toepassen : maar ook hoe sich een Mensch na deselve Regelen, in allerhande Doeningh van Gaan, Staan, Loopen, Torssen, Dragen, Arbeyden, Spreken en andere Gebeerden : Bevallig en Verstandilijk aanstellen zal, Amsterdam, Wilhelmus Goeree, 1682, p. 336.

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: What else I need to ask, you must have certainly learned the perspective, didn’t you, and from whom? S [ndr: painter]: I know nothing about it. T: But how do you bring something in perspective, then? S: It happens automatically: You have to be really stupid, if you don’t know, that the things that are far away, become smaller, and that a square table is just as wide from the side as at the front. T: But I am talking about how much all of that is made smaller, without point of view, planum or distance.

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

École italienne
MICHELANGELO (Michelangelo Buonarroti)
RAFFAELLO (Raffaello Sanzio)

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: So young man, how are you, have you made a beginning with the perspective? S [ndr: painter]; Yes certainly, another three or four lessons and I will be through with it, I can already make my planum [ndr: surface], view point and find the distance, place all things upward as well as their foreshortening: to be clear, for as far as the non-bodily objects are concerned, without shadow. T: It is the same for all things. Frist the foundations, then the elevation follows and finally the bodies with their shadow and cast shadow, which is called the practical perspective.

Here, as in the Groot Shcilderboek, De lairesse makes a subtle distinction between the knowledge and the execution of perspective. [MO]

[suggested translation, Marije Osnabrugge:] […] I will then first start with the place to sit or distance. It is easy to understand, that much depends on the choice itself, to adequately see the model or object as a whole without obstruction. In order to execute precisely and neatly, it may be needed to sit or stand a bit closer, while always observing the view point; which can easily be done by those who are experienced in the perspective.

This paragraph is phrased differently in the German translation of 1705. [MO]

[D'après DE LAIRESSE, 1787, p.57-58:] […] ce qu’il faut observer dans la composition d’un tableau. Il doit commencer, avant tout, par remarquer dans quel endroit & à quelle hauteur le tableau qu’il va faire doit être placé, a fin d’en bien disposer en conséquence, l’horizon & le point de vue. Il observera aussi de quel côté tombe le jour, & s’il faut que la lumière soit ouverte & forte, le tableau devant être placé près du jour; ou si elle era faible & vague, à cause que l’ouvrage doit se trouver loin de la fenêtre. Il ne faut pas non plus qu’il néglige de donner aux reflets & aux ombres mêmes le degré de force qui leur convient; car il est connu que les objets de grandeur naturelle ne font pas moins un effet fort différent, suivant la lumière à laquelle ils sont exposés, que les petits tableaux de chevalet; ainsi qu’il est facile de s’en convaincre. Il doit de même fixer son attention sur la partie de la perspective; pour se mettre ensuite à exécuter, suivant la méthode de manier le pinceau que nous avons indiquée plus haut, en disposant avec intelligence & franchise les couleurs locales, & en les fondant ensemble avec la grande brosse; ce qui le conduira à produire un bon ouvrage.

[D'après DE LAIRESSE 1787, p.210:] Par la perspective, nous entendons ici l’art de mettre plus ou moins de force dans l’exécution, suivant la manière de celui qui a composé le tableau ; par le coloris, nous voulons dire la beauté des couleurs locales, soit pures soit franches, ou rompues ; & par le maniement du pinceau, il faut comprendre un accord dans le faire des deux coopérateurs. Si, par exemple, le tableau est d’une exécution finie et moëlleuse, les ornements ou les accessoires doivent l’être de même ; est-il exécuté d’une manière facile ou heurtée, que le reste suive ce même faire, afin que tout soit d’accord & dans une parfaite harmonie.

[D'après DE LAIRESSE 1787, p. 321-322:] Le contraste des attitudes ou des mouvemens des figures est fondé sur des règles certaines, dont on peut s’instruire en peu de tems, & qu’on peut même enseigner aux autres. La proportion des membres peut pareillement être démontrée d’une manière géométrique, ainsi que l’a remarqué Albert Durer ; & il en est de même du clair-obscur, dont on acquiert une connoissance fondée par les loix de la perspective.

DÜRER, Albrecht

[D'après DE LAIRESSE 1787, p. 397:] Il est vrai qu’on peut parvenir, avec du tems & du travail à imiter, d’une manière parfaite un grand nombre d’objets, comme entr’autres les ustensiles de toutes les espèces de métaux ; mais on peut, malgré cela, se tromper singulièrement dans l’emploi de ces objets dans une composition, quand on ne connoît pas parfaitement la variété des accidens de lumière, variété dont il est, pour ainsi dire, impossible de former une idée sans la connaissance de la perspective qui en rend l’étude facile.

[D'après DE LAIRESSE 1787, p. 405:] Comme ce n’est que par le moyen de la perspective qu’on apprend à connaître les véritables dimensions des corps […] il est donc nécessaire de commencer par instruire les jeunes artistes de la perspective, avant de leur permettre de composer.

[D'après DE LAIRESSE 1787, p. 457:] Il n’est donc pas surprenant qu’on commette tant de fautes dans cette partie [ndr : lumière du soleil], ce qu’il faut principalement attribuer, je pense, à une parfaite ignorance de la perspective.

[D'après DE LAIRESSE 1787, p. 485:] Je pense […] que, comme la perspective demande qu’on voie les tableaux à une certaine distance, suivant leur plus ou moins de grandeur, il faut que dans un ouvrage avec de grandes figures & d’autres objets dans le lointain, c’est-à-dire, sur le second & le troisième plans, ces objets soient exécutés avec le même soin & le même fini que ceux du premier plan ; en observant toutefois de leur donner la dégradation causée par l’interposition de l’air ambiant ; observation qui me semble fondée sur des principes sûrs & invariables.

[D'après DE LAIRESSE 1787, vol. 2, p. 594:] Qu’un peintre de fleurs doit savoir la perspective, & qu’il doit connoître les choses qui produisent un mauvais effet, afin de pouvoir les éviter.

[D'après DE LAIRESSE 1738, p. 630-631:] Fame can tell the many Wonders of Painting in it’s Absence ; but Engraving makes itself every where present […] His work must be like a clear Looking-glass, which exhibits all Objects true and without Falsity. As to the manual Operation, a fine Handling is a great Step to Grace ; and, in order to it, the Knowledge of three Things is absolutely necessary, to wit, The Art of Drawing, Persspective, and the Doctrine of Light and Shade : These, as Principals, compose the Theory of the Whole Work.