BERAAD (n. n.)
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Soo gheloove ick oock vastelick, datmen kleyn onderschyd tusschen ’t beraedt en tusschen ’t oordeel kan aenwijsen; ’t en waer saecke datmen ’t daer in voornamelick stelle , dat het oordeel sich ontrent die dinghen besigh houdt, de welcke nu alreede tevoorschijn ghebracht sijn; het beraed daerenteghen bemoeyt sich voornaemelick met die dinghen, de welcke als noch verborghen ligghende ofte noyt ghevonden of ten minsten twijffelachtigh sijn: Dat oock het oordeel doorgaens henen vast gaet; ’t beraed daer en teghen is een verre-ghehaelde reden, de welcke, ghelijkck se veeltijds met het versinnen ende overweghen van verscheydene dinghen besigh is, soo vervatse in sich niet alleen d’inventie maer oock d’oeffeninghe des oordeels selver.
[Suggested translation, Marije Osnabrugge:] As such I also firmly believe, that one can discern little difference between the consideration and the judgement; it is the case that one finds in primarily in the fact that the judgement occupies itself with those things that have already been brought forth; the consideration on the other hand occupies itself mostly with those things, which are still hidden or are never found or at least are questionable: Also that the judgment usually is certain; the consideration on the other hand is a far-fetched reason, which, as it often occupies itself with making up and considering several things, it contains in itself not only the invention but also the practice of judgment itself.
Junius discusses the difference between two capacities of the artist: consideration (beraad) and judgement (oordeel). The former takes place before the act of creation has taken place, whereas the latter is of importance after creation, to adjust that which has been created. The consideration is closely related to the artistic invention (inventie). [MO]