RICHTSNOER (n. n.)

CANON (eng.) · CANON (lat.) · RICHTSCHNUR (deu.)
TERM USED IN EARLY TRANSLATIONS
/ · RICHTSCHNUR (deu.)

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2 quotations

Quotation

Galenus {Lib. V. de Hippocratis & Platonis dogmatibus} ghewaeght dat Polycletus niet alleen de regulen om een volkomen stuck-wercks te maecken in ’t schrift ghestelt heeft, maer dat hy boven dien goed vond een statue nae ’t voorschrift der voornoemder regulen te maecken. Policletus maeckte een stuck wercks, seght Plinius {Lib. XXXIV. Cap. 8.} ’t welck onder de Konstenaers eenen Canon ofte richt-snoer geheeten wordt, omdat sy den rechten treck der Konste daeruyt, als uyt een sekere wet, plagten te haelen:

[Suggested translation, Marije Osnabrugge:] Galenus {…} mentions that Polycletus has not only written down the rules to make a perfect work, but that he moreover thought it good to make a statue after the instructions of the aforementioned rules. Policletus made a piece of work, says Plinius {…} which is called a Canon or directive amongst Artists, because they can extract the right shape of Art from it, as if from a certain law:

Junius describes, citing Galen and Pliny, how the sculptor Polycletus did not only write down the rules (‘regel’) to create a perfect work of art, but that he also produced a statue that followed these same rules. This statue could henceforth serve as an example for artists. Junius uses the term ‘canon’ to describe the function of this statue, adding that ‘richtsnoer’ is an equivalent term. Junius repeats this example in Book Three, page 253. [MO]

canon

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 60 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 104
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 60 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 104

Conceptual field(s)

L’ARTISTE → règles et préceptes

Quotation

[…] In dienmen andere haer oordeel ondersoecke, soo komt te vooren niet alleen den grooten Prijs ende waerde die dese dingen [antique sculpture, ndr.] altijts by de kenders in oude tijden gehadt hebben, en oock nu ter tijt noch hebben; als ’t eerste wert getuyght van Cicero, Plinius, ende andere schrijvers van geloof, door ’t verhael van dinghen by na ongheloofflijck, ende het tweede leert de daghelijckse ervarentheyt: Maer komt daer toe oock de eenparighe toestemmingh van Raphael d’Vrbijn, Michiel angelo Bonarotti, en al de treffelijcke Meesters: die als bekent is, dit niet alleen met woorden rondelijck verklaert, maer oock metter daet betoont hebben; haer heele werck stellende na desen richt-snoer: Ja soo verre, datse dickwils niet ontsiende, heele stucken in hun wercken in te voegen by na Roovers zijn geworden, in plaets van navolgers. En van geen ander verstant zijn de Liefhebbers; als die gemeenlijck voor ’t beste van hun wercken dat oordeelen, het welck meest heeft van die oude Voor-beelden. Selfs die van Venetien, die nochtans altijdt meest in ’t Coloreren ende meesterlijckheydt van het Pinceel als inde Teyckeningh hebben uytgemunt, konnen hier toe strecken voor ghetuyghen; aenghesien Mategna, Palma hier uyt geseyt werden, veel geleert en gevordert te hebben.

[suggested translation, Marije Osnabrugge:] […] When one investigates the judgement of others, not only the high Price and value that these things [ndr: antique sculpture] have also had for the connoisseurs in the ancient times, and still have nowadays; firstly it was argued by Cicero, Pliny, and other authors of standing, from the story of things almost unbelievable, and secondly the daily experience teaches it: But the unequivocal agreement of Raphael of Urbino, Michelangelo Buonarroti, and all the powerful Masters: who – as is known – have not only directly declared this with words, but also shown with action; forming their whole oeuvre after this guideline: Yes to such a degree, that they often were not stopped from incorporating complete pieces in their works, almost becoming Thiefs, instead of imitators. And the Amateurs are of the same mind; as they commonly judge those parts of their works as the best, which resemble those old Examples the most. Even those of Venice, who normally have excelled most in the Coloring and virtuosity of the Brush then in the Design, may serve as witnesses of this; as Mantegna, Palma are said to have learned and taken much from it.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...