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Wanneer de Schilders eenighe schoone ende bevallighe tronien, daer nochtans ’t eene of ’t andere ghebreck in ghespeurt wordt bestaen te Contrefeyten seght Plutarchus {In Cimonis vita.}, wy plaghten dan op deselvighe te versoecken, datse die mismaeckte hardigheyd niet t’eenemael en souden voorby gaen, noch oock al te besighlick uytdrucken, overmids het seker is dat het Beeld dat of soo ghehandelt wesende, ofte omghelijck, ofte leelick schijnen sal.

[Suggested translation, Marije Osnabrugge:] When the Painters are needed to portray some beautiful and lovely faces, in which one then finds some sort of flaw, says Plutarchus {…}, we then tend to request for this, that they do not neglect that deformed hardness immediately, but neither express it too readily, since it is certain that the Image that is being made that way, would appear either uneven [NDR: not resembling the sitter] or ugly.

The verb conterfeyten (to portray) is used to describe the specific act of portraying someone’s face. Junius cites Plutarchus, who stated that one should not neglect flaws in the face, nor should these elements be emphasized. If the flaws are too clearly present, the image would be perceived as not resembling the sitter (ongelijk) or ugly (lelijk). [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai