[D'après NOLDUS 2008, p. 63:] 8 Commencez d’abord à peindre dans votre imagination des éléments accessoires, pleins d’esprit, pour bien exprimer votre matière, avec grâce et beauté (comme le font les Orateurs dans leurs discours) avec splendeur, Art et habileté. {Tout exprimer avec grâce.} Pour mieux y arriver, faites quelques esquisses assez pour que cela réussisse. {Faire d’abord des esquisses}

[D'après NOLDUS 2008, p. 155:] 8 Je ne déconseille pas une grande application dans l’apprentissage de la peinture de différents Tissus d’après la vie : aux yeux de Lucas, c’était sans fin, {Différentes sortes de Tissus d’après la vie. Le Drapé relève davantage de l’Esprit que le feuillage ou les cheveux.} selon le témoignage d’un proche qui avait bien connu cet artiste très célèbre. Cependant, le Drapé est, plus que le feuillage, les cheveux ou les barbes, une quête de l’esprit, et une invention de l’imagination, parce qu’il faut l’arranger, le ramasser, le relever, et l’attacher.{Manipuler et attacher les Tissus.}

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

[suggested translation, Marije Osnabrugge:] As such one may remark that the Art of Painting extends to many things; and is even necessary to the most precise describers of Nature. {The Art of Painting is necessary to the describers of nature.} And we see how often the Teachers have to ask for its assistance, and how they are forced to drawing after Humans, Birds, Fishes, and crawling creatures, in order to describe the Nature of things: […] The Architects, says Vitruvius, have to be very experienced in the Art of Drawing, in order for them to be able to show the nature of their proposed Work, with all its extras and Ornaments, in an easier way by means of a sketch. The Cartographers, Describers of the World and Star-Artists [ndr: Astronomers], have always known to portray everything in a clever way with the Art of Drawing. […]

VITRUVIUS

Goeree continues to list different uses of drawings and paintings, until page 31. [MO]

[suggested translation, Marije Osnabrugge:] The same Van Mander has also written an explanation of the Metamorphosis or recreation of Ovid, which may also serve for the understanding of the poetic fables, so that afterwards one may not behave himself unwisely in the composition of his inventions, but arrange them after the general explanations of such inventions; and also to apply them cleverly and eloquently at some occasions

VAN MANDER, Carel

[suggested translation, Marije Osnabrugge:] In observing the Drawings, Sketches and Prints, they should be used with the mind and not with the hand or eye to steal bits and pieces from it, even less to ape it entirely (although this also has its use when it applied well, as we teach in our Teycken-Konst,) {The right use of the Art of Print.} and they will continue to look through the Glasses of someone else. But no, one should aim to only impress the virtues, such as the lovely manner of composition, Drawing, clever thoughts and wise observations in his mind by looking, looking again, reasoning, deliberating and ruminating, and all this by repeatedly thinking about it, preserving; as such they will be turned into your own discoveries by the functioning of your Mind, and not those of someone else: So that they may serve as wise Councilors in the composing, ordering and decorating of your inventions. And this way one will become full of thoughts, quick of composition, mature and abundant of Painterly matter:

[suggested translation, Marije Osnabrugge:] Finally, a wise practitioner of the Art should also know, that he should diligently occupy himself with the observation of the natural Life, besides the study of all the aforementioned things, and to apply it in all possible occasions, because he would be often feel deceived who would boast – as soon as he has climbed some steps of the Art – that he could store all forms and actions of life in his memory and bring them forth whenever he would want to apply them to his inventions; {In all that one investigates, one should especially know life.} although it is necessary that someone has already practiced a lot in all the aforementioned studies: As the natural life is so rich in everything, abundant, artful and learned, that our memory is not at all capable to conceive it in its entirety and even less to remember: As such one moreover finds enough work to keep the thoughts occupied regarding the quantity of things, that one cannot find in life, unless in a dusky moment, or else by means of a powerful power of imagination, which is enforced and sustained by the observation of many things and a sensible understanding of things: Which may be capable of a lot regarding the pouring out of witty fantasies; and therefore it is justified to advice to attempt this, as we can appropriate the unavailable things by means of the imagination as if we had them presently with us; {What the imagination is capable of.} as such we need nothing but the hand of the Artist to apply it to the Painter’s canvas; which is why some have compared the imaginations to awake Dreams.

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

GOEREE, Willem et ANONYME, [Two faces, from the side, numbered A & B], estampe, dans GOEREE, Willem, Inleydinge Tot de Al-gemeene Teycken-Konst, waer in de Gronden en Eygenschappen, die tot onfeylbaer en verstandigh begrijp vande Teycken-Konst noodigh te weten zijn, kortelijck en klaer werden aen-gewesen. Zijnde niet alleen den Leerlingen van Teyckenaers, Schilders, Glas-schrijvers, Beeldt-houwers, en andere Oeffenaers tot een aenleydinge nut en dienstigh, maer oock om aen alle Lief-hebbers, en Beminners, soo van Dese, als van andere Konsten (daer uyt voort-komende) een bescheydene kennisse mede te deelen. Den tweeden Druck, by na de helft vermeerdert, Middelburg, Wilhelmus Goeree, 1670, p. 117.

[suggested translation, Marije Osnabrugge:] If someone aims to be bright and deliberate in the expression of the Characteristics; (which mainly has to be promoted in the Figures of Paintings, in the Facial Expressions, next to a good Action and Selection of the accessories), let him – following the example of this illustration - [ndr: reference to illustration], give a furtive Thief, or dirty glutton, the Expression of a Cat, or also of an Ape: Although the latter better illustrates a Joker, a Scoundrel or an Evil-doer, and most of all a Teuter-quaad. [ndr: continues to describe the other animals in relation to their facial expressions]

GOEREE, Willem et ANONYME, Sweming der Aangesigten , 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. 197.