[D'après NOLDUS 2008, p. 31:] 75 Enfin, évitez de rentrer en n’ayant pas ce que vous êtes partis chercher. Rapportez donc de Rome la bonne façon de dessiner et le savoir-peindre de la ville de Venise {À Rome, on apprend à dessiner, à Venise à peindre} que moi-même j’ai dû laisser de côté par manque de temps car j’ai aussi sillonné quelques routes dont (maintenant que je termine mon exhortation)

[D'après NOLDUS 2008, p. 35-36:] 1 Le Père de la peinture, ainsi peut-on appeler {Le Dessin est le père de la bonne peinture. Autrement dit, le Dessin est le corps de la Peinture, et la Peinture l’âme du dessin.} le sublime Art du Dessin. Oui, on peut aussi le louer, comme la vraie entrée ou la porte, qui à beaucoup d’Arts, donne accès : L’orfèvrerie, l’architecture et d’autres. Non, les sept Arts libéraux ne pourraient pas exister sans lui, car l’art du Dessin embrasse toutes les choses et tient tous les Arts par ses liens modérés. 2 Il est de tous les arts le nourricier généreux, {La Peinture, qui consiste en l’art du Dessin, est la nourrice de tous les Arts et Sciences.} comme Natalis Comes l’a bien voulu narrer ; oui, même la noble Grammaire, si intelligente, alimentée par lui, en prospérité a grandi, {L’Écriture est nourrie par le Dessin.} apprenant de lui lettres, caractères et signes, qui permettent aux Hommes de différents parlers de se comprendre en bonne entente. Peu importe alors s’il sont loin ou proches les uns des autres. 3 La perfection du Dessin doit prendre sa source dans une bonne intelligence, qui peut déployer ses forces par un constant exercice et se maintenir grâce à un esprit inné noblement disposé à la consolider. Il faut aussi être rapide à la détente. Tout cela, avec un bon jugement, permet à l’artiste de former dans son esprit un projet de tout ce qu’il voudra faire jaillir de sa main. 4 Ce Père de la Peinture est un parfait moyen pour exprimer des idées qui sans lui resteraient cachées, une remarquable façon de les clarifier, oui, l’instrument de la volonté qui s’efforce de capter dans ses traits, ses contours et ses formes tout ce qui se présente à notre vision dans le Monde qui nous entoure, et en particulier la Figure humaine, cette magnifique création. 5 Et maintenant, mes Garçons, pour arriver à cette fin c’est-à-dire pour devenir un dessinateur compétent vous devez commencer par vous mettre avec dévouement à dessiner un ovale et une croix inscrite {Il est très nécessaire de maîtriser l’ovale et la croix.} afin d’apprendre à réaliser facilement une tête vue de tous les côtés : c’est indispensable. On voit beaucoup de Peintres scandaleusement rater leurs têtes. Ils ne posent pas de croix et se fatiguent en vain.

COMES, Natalis

[D'après NOLDUS 2008, p. 171:] 7 Il y en a d’autres qui, à grand-peine, laborieusement, assemblent leur composition à l’aide d’esquisses et de dessins disparates, pour en faire une unité. {Rassembler à grand peine des éléments, et ensuite les dessiner au net, est très bénéfique à la peinture.} Ensuite, ils s’en servent pour tracer avec soin, clairement, tout ce qu’ils ont en tête, sur la première couche, avec une peinture assez liquide, très diluée, ou bien à la mine de Plomb, et après, en essuyant, ils rendent leur ouvrage impeccable.

[Suggested translation, Marije Osnabrugge:] Meanwhile those who have practiced drawing long enough and with a diligent seriousness, can leave it to this and not abandon the commenced Art halfway; since the Art of Drawing (although she is thought with good reason to be a very important point and the only common road towards the Art of Painting and the other Imitation-arts) appears to only be occasion for something bigger. The colours have a remarkable power to draw our eyes towards them, says Plutarchus {…}, as the human sight is strongly excited and fed by its blooming loveliness. Just like it is therefore easy to deduct from our previous evidence, that a well-proportioned Drawing delightfully expresses the true similitude of the drawn things; as such one may nevertheless not compare the shadow of this imperfect similitude in the least with the living perfection of a Painting with many colours.

PLUTARCHOS

In the English edition, Junius refers to the collection of the earl of Arundel. This reference is missing in the Latin and Dutch edition. [MO]

[suggested translation, Marije Osnabrugge:] As the Amateur will often find the building up , shadowing, deepening and heightening discussed in the continuation of this Verlichterie-Kunde, as they are the principal actions in the practice of Watercolouring; as such it is necessary, to briefly mention something for the profound understanding of them, because one cannot acquire a perfect practice of this Art, without profound knowledge of it. We start first by explaining the building up, being the start of all that one wants to do in this Art. Building up is, when one builds up a thing, with any Colour of Paint that one choses for it, flat and uniformly as is desired and simply covers, without paying attention to any shadow or light. Built up, once the paint is dry, one continues by shadowing and deepening, as we will call it from now on; and it is done on the ground, which was build up beforehand; it is always done by means of a colour that is greasier, stronger or darker than the one with which it was build up: because of which the Parts of dark and light are discerned and framed; that is, that one can recognize the shadows and flatness of things, and see them rise, while they appeared to be flat before; [...] The third observation now is heightening, which should happen at the light spot of all things, where the light falls strongest without any shadow; and this heightening mostly occurs on high and protruding parts, such as on Humans on the Jaws, on top of the Nose, on the Forehead, Chin, Shoulders, Breast, Buttocks, Elbow, Knees, etc. . Similarly in Clothing on the folds, and flat parts of Limbs that are expressed by it; and furthermore everything that raises itself above the surface; this is done with a lighter Paint and happier Colour, as the one with which it is build up: and heighten it in a way as it is lit up more or less according to its level, towards the strongest light, to round it and make come forward, etc. [...] now the shadows that are made on the grounded Paper, also coincide with the shadows that, in Painting, one places over the first layer with a stronger Paint; the highlights also coincide; the depths accord with the touches, that are placed here and there in the Drawing; and there is no difference between Drawing and Illumination-painting, as the handling of the Brush, and that one often imagines that every applied Colour on which one has to Paint, is a kind of grounded paper on which one Draws, and that one practices the manner of Drawing beforehand, which is called washing. It may also be remarked, that one should always place the shadows, depths, highlights, after the Colour of the ground-surface, on which it is placed: because if these are not corresponding , they will be too hard – if they are too strong – or too weak and Buttermilk-like – if they are not sufficiently strong.

[suggested translation, Marije Osnabrugge:] One can read in Livy, about Philopos the Commander in Chief, that he occupied himself continuously both in Peace and War with the practice of War, so that he would obtain wisdom in stock through this diligence; so that he would not be lacking Wise Councilors if he needed it. Likewise, from the start a Young Painter should aim to fill his mind with wisdom, by means of a continuous practice of Reading, Drawing, Speculating, Copying, questioning, practicing and researching, so that afterwards he will be able to show delightful things to the world based on these developed treasures. {That one should try to form a stock of wisdom and science.}

TITUS LIVIUS

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

JUNIUS, Franciscus

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

[suggested translation, Marije Osnabrugge:] […] as one will find in Drawing (both after Drawings, Prints, Paintings and the Life), that one Head differs greatly from the other with regard to its contour, that is some are longer, others wider and rounder, these are wide at the top, narrow below, others at the other hand wide below and at the top flat, etcetera, like we have found even twelve different shapes amongst the Anatomical, of which some were more and others less Oval:

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

[suggested translation, Marije Osnabrugge:] {More information regarding drawing after prints.} In passing we should also remark that we do not believe that the Drawing after Prints is completely unadvisable, certainly not, but we say to the contrary that for those who have already obtained a good manner, and are starting to stand on their own two feet, they may certainly focus on drawing a lot after prints, yes drawing after everything that seems beautiful to them, without limitations; {Use of this.} not necessarily whole Prints (unless they are worth it) but those things that are special in them, be it beautiful Figures, nice and antique Clothing that are sensibly and convincingly folded, well-conceived and True actions and what else, taking free time for it, such as Winter evenings and early mornings, especially if one can dedicate the daytime to other studies, either Composing or Painting; and one should do all this with the objective that one might become steady and perfect through lengthily drawing after beautiful things, and imprint the Mind gradually full of beautiful thoughts, which manner of doing is still opposed (albeit undeservedly and without reason) by some.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after prints. This section is rather different in the English translation. [MO]

[suggested translation, Marije Osnabrugge:] {Drawing after round modeling and Plaster work.} As such it is highly necessary to recommend the Drawing after round work, be it modeled or in plaster, by good Masters, which we can nowadays acquire for a low Price: Of which we could list some of the most common Statues, such as all things by Francisco [ndr.: François Duquesnoy], who has made a group of beautiful small children, and his Gladiator is a remarkably beautiful Statue, The Rape of the Sabine by Giambologna. The Laocoon; the Wrestlers, the Greek Venus, Hercules, Hermes, the Anatomical Men with different movements; as well as some Animals such as Horses, Oxes, Cowes, Lions, Dogs and such, that are also useful and necessary; (…) {Drawing after Plaster is an introduction to the life.} The reason why drawing after plaster is so necessary, is because it may serve as an introduction to the life: And just like Drawing after Paintings is more difficult than after Drawings for the aforementioned reason, as such the Drawing after Plaster is more difficult than after Painting, because in Plaster one does not so much have the certainty of the contours, less than in a Painting, nor the determination of light and shadow, pointed out, as [ndr: they are] in a Painting or Drawing;

AGESANDROS OF RHODES, ATHENODOROS et POLYDOROS, Laocoon et ses fils, 40 avant J.C. - 20 avant J.C., marbre, 208 x 163 x 112, Vatican, Vatican, Museo Pio-Clementino, Inv. 1059.
ANONYME, Wrestlers, antique sculpture (dans GOEREE, 1670a, p. 68)
GIAMBOLOGNA (Jean de Boulogne), L'enlèvement des Sabines, 1574 - 1582, marbre, h 410, Piazza della Signoria, Loggia dei Lanzi.

Anciens (les)
DUQUESNOY, François
GIAMBOLOGNA (Jean de Boulogne)

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after plaster casts and refers it to working after the two-dimensional example. I have not been able to identify all the ancient sculptures that are mentioned. Hercules could refer to the Hercules Farnese, but not necessarily. Similarly, the Hermes could be the Apollo Belvedere. [MO]

[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:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

[BLANC J, 2006, p. 75] Pour bien peindre, en effet, il faut généralement bien dessiner.

[suggested translation, Marije Osnabrugge:] In the period when some Masters overestimated themselves in the Anatomy and some failed, some have behaved themselves much more modestly, as their works and prints demonstrate. {What some master have done to XX [ndr: illegible] the decayed Anatomy.} People testify that the Florentine Painter Dello was the first under the modern [ndr: artists], who started to portray the muscles with an intelligent judgement according to the actions and movements. Likewise it was said about the painter Rosso that he systematically exhumed the dead and made an Anatomy out of them with great diligence. Certainly, he who, for the general practice and observation of examples, besides the frequent Drawing of Academy-figures, can also find the opportunity to observe the dissection of the dead body of a man, or do such a thing himself in a decent way, he has the means to penetrate the artful invention of the biggest masterpiece of creation with observation, and to bring that which he sees here after life in a dead corpse into the rules of his art.

DELLO (unidentified)
Modernes (Les)
ROSSO FIORENTINO (Giovanni Battista di Jacopo)

[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:] Besides all that has been said it is also a mistake to think that one can only reach the envisioned step of true Anatomy by drawing a lot after life (and imitate it this just like it appears to us): because since one, approaching Life with unprepared eyes and senses, cannot see many things in life, because the eyes have not been opened by a special preparation, (or, if one can see them, will in that case not understand what function and action they have) as such it happens that one ruins them through incapably and uncertainly; and often see and show unmoving muscles in their uttermost power, and forcefully working [muscles, ndr.] in a common, or completely silent posture. […] Truly, Leonardo da Vinci was not completely mistaken, when he said that the painters who painted the naked figures without a profound experience of Anatomy, made nothing but the epidermis of the figures, but nothing of the figure itself, nor something that had to do with his true actions or internal mind. There was a certain wise master who did not only ask from his pupils that they would draw the muscles while they were studying them and note by writings which muscles and tendons showed or hid themselves in each limb with certain actions and movements or which did the most work or not with all; {Precise manner to understand the nature of muscles.} but he even wanted them to write about the little bodies of small children, from their birth until their full maturity and from that moment until their old age, through all the different ages and change that happens in each limb and in their assembly, which one became thicker, which fatter, which leaner; and with which difference they could be seen in one or another state or posture; which has truly instilled a great experience.

DA VINCI, Leonardo

[suggested translation, Marije Osnabrugge:] Yet beforehand it is necessary to know, that drawing after the life is twofold, one is necessary, the other coincidental. The necessary is, when one has conceived a composition and is in need of the life to execute it. The coincidental is that which one draws without concept (for which it will be used) in the College, positioned by someone.