TEGENWOORDIG (adj.)
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Quotation
Soo is dan dese gantsch vruchtbaere kracht onses ghemoedts, nae 't oordeel van Plato {in Sophista.}, tweederley: d’eerste soeckt maer alleen soodaenighe dinghen uyt te drucken die d'ooghe teghenwoordighlick aenschouwet; d'andere bestaet daer en boven oock die dinghen af te beelden welcker voorbeeldt maer alleen in de fantasije voor ghestelt wordt.
[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.
Junius makes a distinction between two types of imitation. Junius describes the first type as imitation of that which the artist can see right before his eyes (‘tegenwoordig’). As such, the concept ‘tegenwoordig’ (presently) is a key word in this definition of imitation. In the Latin and English edition, he does not use a word, but describes the situation instead: ‘vivas rerum formas coram intuens’ (LA) and ‘…whilest they are set before our eyes’(EN). [MO]
Conceptual field(s)
Quotation
…de Schilderye is een swijghende Poesye; de Poesye daer en teghen is een sprekende Schilderye. Op welck segghen Plutarchus dese woorden toe past, die dinghen, seght hy {Bellone an pace clariores fuerent Athenienses}, dewelcke de Schilder-Konst vertoont als offe teghenwoordighlick gedaen wierden, de selvighe stelt ons de spraeck-konst voor ooghen als offe langhe te vooren gheschiedt waeren, ende ghelijck de Schilders dat met verwen afbeelden, 't gene de Schrijvers met woorden uytdrucken, soo is 't dat sy maer alleen verschillen in de materie en maniere van imitatie; want sy hebben alle beyde 't selvige oogenmerck.
[Suggested translation, Marije Osnabrugge:] … the Painting is a silent Poem, the Poem on the other hand is a speaking Painting. On this saying Plutarchus applies these words, those things, he says {…}, which Painting shows as if they are currently being done, rhetoric offers us the same [NDR: things] as if they have happened long before, and like the Painters depict that with paint, which Writers express with words, it is thus that they only differ in the matter and manner of imitation; since they both have the same aim.
Conceptual field(s)
Quotation
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;
[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;
Junius comments on the initial part of the artistic working method. He states that an artist can only draw those things that he directly sees in front of him (‘tegenwoordig’), explaining that the workings of the mind play an important part in this process. [MO]
Conceptual field(s)
Quotation
Alhoewel nu d’oude Meesters haere Leerlingen met een seker opsicht verscheydenlick aenghinghen, nochtans stelden sy hun daghelicks de menighvuldighe exempelen van de waere ende onvervalschte Konst sonder eenigh onderscheyd voor ooghen. Het en is niet ghenoeg dat de Schilders en Beeld-snijders met woorden uytdrucken hoedaenigh de verwen en linien moeten sijn; maer ’t meest profijt is daer uyt te raepen, datmen haere maniere van Schilderen en snijden teghenwoordighlick aanschout seght Dio Chrysost. Orat. XVIII. Allerley leerstucken worden bequaemelick ingheplant en lichtelick ghevat door ’t behulp der exempelen, seght Columella Lib. XI De re rust. Cap. I. d’Exempelen maecken ons op ’t aller gemackelickste wijs wat wy behooren nae te volghen en te vermijden, segt Seneca Rhetor. Lib. IX. Controv. 2. De leeringhe diemen uyt de regulen haelen moet, valt langh ende verdrietigh; ’t onderwijs daarenteghen ’t welck men uyt d’exempelen treckt, is kort en krachtigh seght Seneca Philosophus Epist. VI. Dan bevinden wy dat onsen arbeyd profijtelick aenghewendt is, als de proef-stucken met de regulen over een stemmen seght Quintilianus Lib. XII Cap. 6.
[Suggested translation, Marije Osnabrugge:] Although the old Masters approached their Students differently in a certain way, still they daily showed them the manifold examples of the true and uncorrupted Art without any distinction. It is not enough that the Painters and Sculptors express with words how the paints and lines should be; but the most profit is to be gathered, if one beholds their manner of Painting and carving presently says Dio Chrysost. Orat. XVIII. All sorts of principles are competently imprinted and lightly grasped by means of examples, says Columnella Lib. XI de re rust. Cap. I. The Examples make clear to us in the easiest way what we should imitate and avoid, says Seneca Rhetor. Lib. IX Controv. 2. The learning that one should extract from the rules, strikes long and sad; on the other hand the instruction that one gathers from the examples, is short and powerful says Seneca Philosphus Epist. VI. Then we feel that our labour has been put to good use, when the samples coincide with the rules says Quintilianus LIB. XII Cap. 6.