[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. 40-41:] 22 En somme, le Dessin peut servir en différentes situations aux jeunes comme aux vieux ; oui, aux Princes, aux Commandants, aux Militaires tant pour parler d’Art en connaisseur {Le Dessin est utile pour les Princes, des Commandants et Militaires pour tracer des villes et fortifications Lisez dans la première partie des Vies des Peintres comment Lucius Scipio, frère de Scipion l’Africain, avait représenté la prise de Carthage.} que pour indiquer la disposition des sites et fortifications. C’est pourquoi il faut louer l’art noble du Dessin […]

[Suggested translation, Marije Osnabrugge:] This is than that imitation, which one commonly calls imitation, from which the Art of Drawing, the Art of Painting, the Art of Casting and all the other Arts of this earth spring forth. Just as this Imitation is called by Philostratus {…} a very old source and wonderfully similar to Nature itself. […]Just like that we cannot doubt in the least or 'the larger part of the Art, like the same Quintilianus [says] elsewhere {…}, leans on Imitation, yes even more so, the whole ruling of our lives consists therein that we always capably aim to that which we esteem highly in others.

PHILOSTRATOS
QUINTILIANUS

For the translation, I could not find a suitable synonym for Imitation, that would reflect the sense of the Dutch term 'nabootsing'/'imitatie'. [MO]

[Suggested translation, Marije Osnabrugge:] The other thing that Plinius remarks of this Pamphilus, is that his pupils remained connected to him for ten years; he attempted to preserve the good name of his school above all things, not wanting that his learning children [NDR: pupils] would fly before they had wings; because of this he tended to keep them busy with the Art of Drawing and other necessary principles a little longer, without suffering that they would lay their hands too early on painting because of a reckless disposition. We then would not have mentioned this carefulness of the old Masters, if many present-day Masters had not worked rather wrongfully, beginning with that which should be last because of a honour-eager hastiness, says Quintilianus {…}, as they largely impede a true progress of their Students, when they only attempt to show them the ‘apparently-convenient’ [NDR: problematic translation of schijn-schickelick] things.

PAMPHILUS
PLINIUS, L'Ancien
QUINTILIANUS

Junius cites an example by Pliny of a good Master, called Pamphilus. Pamphilus preferred to offer his pupils a slow (ten years) and steady learning period, lingering for a long time on the basic principles and the art of drawing (‘tekenkunst’). As such, ‘tekenkunst’ is presented as a basic technique, an initial important step in the learning process. [MO]

[Suggested translation, Marije Osnabrugge:] The straightforward and bad simplicity of these Arts has caused its progress as well, amongst other things. Because just like we find that those came closest to perfection, who did not so much place the pleasant loveliness of their works in the vain delusional ‘paint-ostentation’ but rather in the power of the unadulterated Drawing and in the natural use of few and rather common colors; as such the sincere benevolent Students, who mean well with the Art and did not mean to bring shame to their former Masters, committing themselves firmly to this very praiseworthy simplicity, placing the primary aim of their Emulation in truly meeting with this characteristic of the old Masters.

This section of the tekst is much shorter in the Latin and English editions, where it only serves as an introduction to the citation from Isocrates. [MO]

[Suggested translation, Marije Osnabrugge:] Yet the unbelievable power of this Symmetry reveals itself most in the Art of Drawing or in the first sketch of the found things. Various Art-loving Men tended to keep this well-proportioned design of a sufficiently conceived Invention for the main groundwork of these Arts; namely when the diligent Artists envision their first ideas in a few proportional lines, without the help of any entertaining colours, that one learns everything about the lively power of things itself in the simplicity of its contour and the mediocrity of its one-coloured interior.

This section in the Dutch edition is different from the English and Latin edition. [MO]

[Suggested translation, Marije Osnabrugge:] Philostratus has expressed the true nature as well as the true power of the Art of Drawing much clearer. It may not be denied that the lines, he says {…}, that exist without any splendor of colours but only in light and shadow, deserve the name of Painting; as we see not only the similitude of the depicted persons in it, but also their movements itself, whether that they are averted out of a hesitant shame or are driven towards something by a frank diligence and although these lines that are composed in the most simple way do not express the mixing of blood or the youthfulness of the hair and the beard in any way, nevertheless they modestly illustrate the perfect shape of a black or white man to us.

PHILOSTRATOS

[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:] {What the Art of Drawing consists of.} In itself she consists therein, that she depicts, by means of strokes, lines, contours, dark and light, all conceivable, true, ephemeral and present, yes future things as well, which can be contained in a shape, on a flat surface, appearing round and elevated

[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:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

PHILOSTRATOS

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

[BLANC J, 2006, p. 106] {L'art du dessin [...] si necessaire aux peintres}.Nous avons dit plus haut de quelle façon l'art du dessin est nécessaire non seulement aux sculpteurs, aux modeleurs [...] ou, pour le dire en un mot, à tous les hommes exerçant leur génie, puique l'art du dessin éclaire grandement la vue et le jugement. Mais il profite surtout à l'art de peinture, dont il est si inséparable que [ndr : sans lui celui-ci est non seulement défectueux] mais même totalement mort et inexistant, alors que, sans le secours des couleurs, l'art du dessin en représentant quelque chose, n'est en mesure que de montrer la plus grande masse de l'oeuvre par l'indication des lumières et des ombres. D'où il est facile de comprendre que celui qui veut parvenir à l'art de peinture doit progresser grâce à l'art du dessin, et cela avec une grande circonspection, puisque c'est un sentiment ancien et universel qu'il existe plus de peintres auxquels il manque un bon dessin que de peintres auquel il manque un bon coloris.

[BLANC J, 2006, p. 108-109] Celui qui désire recevoir la première leçon de cet art [ndr:l'art du dessin]/Voit qu'il apprend à esquisser de façon correcte et charmante/ C'est-à-dire à rechercher la façon dont on donne le mouvement /Aux choses, et à mépriser le fini et la sècheresse/ Car si l'on ne parvient pas à donner de la [ndr: convenance] / On gaspille vainement son temps à en travailler sur quelque partie.

[BLANC J, 2006, p. 119] Certains jugeaient que l'art du dessin ne devait concerner que le beau, d'autres qu'il devait toucher à tout ce que la nature produit. Et c'est ce chemin qui est d'abord plus utile aux jeunes gens, afin qu'ils s'habituent à imiter les choses telles qu'elles sont, pour, avec le temps et en ayant atteint la connaissance des choses, choisir avec jugement ce qui existe de plus beau.

[BLANC J, 2006, p. 349-350] Quoique beaucoup d'arts soient fondés sur l'art du dessin, aucun ne peut en effet atteindre le plus haut niveau de perfection dans la représentation d'un digne objet sans le secours d'un bon coloris qui fait qu'une peinture est digne d'être admirée. Cependant, quand le coloris est faux, les traits et les lignes auront beaux êtres excellents, ils ne représenteront pas ce dont ils seraient capables autrement: ils ne montreront pas la nature d'une façon ressemblante et infaillible, ce qui promet avec audace le véritable art de peinture lorqu'il a atteint son degré de perfection.

Hoogstraten énonce dans ce passage le primat de la couleur sur la ligne.

[BLANC J, 2006, p. 349 {Le bon coloris est comme l'édifice au-dessus de la fondation de l'art du dessin et il en est l'âme, sans laquelle l'art du dessin est dénué de force, c'est à dire qu'il est incapable de faire paraître la nature de façon totalement ressemblante.}

[BLANC J, 2006, p. 287] Si un maître tel que Titien, si doué dans l'imitation de la nature et sur le vif, avait en effet été bien aidé par l'art du dessin, et s'il avait soutenu son grand esprit et son vif tour de main par l'étude, il aurait surpassé tout le monde. Mais laissons à ce jugement sa partialité : l'art du dessin n'est pas ici défini comme la façon de bien imiter sur le vif mais comme la façon de représenter toujours le plus beau, comme Michel-Ange l'a bien montré dans son grand Jugement dernier, où il a fait des figures d'une très grande manière et de belles formes convenant à la résurrection des corps.

MICHELANGELO (Michelangelo Buonarroti), Le Jugement Dernier, 1536 - 1541, fresque, 1370 × 1220, Vatican, Cappella Sistina.

MICHELANGELO (Michelangelo Buonarroti)
TIZIANO (Tiziano Vecellio)

[suggested translation, Marije Osnabrugge:] Like the alphabet or the knowledge of the letters is the first introduction to Literature, similarly Geometry is the first principle that leads us to the Art of Drawing, without which it is completely impossible to reach it, or the other Arts or sciences.

[suggested translation, Marije Osnabrugge:] To get to the point, for the purpose of our treatise, we will start with the Perfect Art of Drawing: Even more so as it is the basis on which the Noble Art of Painting is founded; without which nobody could ever obtain Perfection, even if he would toil his entire life. We will first investigate, what the Art of Drawing is and then her power and effect. The Art of Drawing, is a clear demonstration of things, of lines, drawn by a well-trained hand on paper, on canvas or panel:

The phrasing of the first two paragraphs of this chapter are rather different in the German translation. [MO]

[suggested translation, Marije Osnabrugge:] We shall divide the Art of Drawing in two parts: young and old, both perfect in its own. The first, being the young, I will call modern, and the second being the old, I will call antique, the latter of which we have chosen to be the subject of our treatise, as it is the most perfect.

[suggested translation, Marije Osnabrugge:] The modern art of drawing is that which one learns since childhood, through a natural understanding and practice of the hands, which is so necessary, that one can impossibly obtain the second, before one knows her correctly and steadily, as the basis of it all. […] is thus far a good modern draughtsman, as nothing else is demanded but a simple imitation, without deleting or adding anything; She does not ask or points out, what is good or bad in the objects, but limits herself, when they have advanced this much, to point them ahead, to a next step, to her sister Antiquity, who is older and wiser: That’s it for as far as the modern and general art of drawing is concerned, being necessary.

[suggested translation, Marije Osnabrugge:] Let us now investigate, why this second art of drawing, the Antique, is more perfect than her sister. First with regard to the theory, or knowledge, secondly in practice. The first is general knowledge, […] What else this sagacious Antique demands from the draughtsman, is a profound knowledge of the proportions, their length and breadth: not only geometrical or flat, but round and with its foreshortening, following perspective, with proper light and shadow. Furthermore a good contrast, that is an orderly opposition of the members in the objects, moving or still, such as trees, flowers, animals, but foremost the human figure. Whose movement should be shown easily and following the different passions, diversely and naturally. The drapery well-arranged, the fabric thick or thin, the folds large or simple, conform the dignity of the people. […] And finally a careful expression of that which is beautiful or exceptional.

[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.