ROERSEL (n. n.)

BEWEGUNG DER SEELE (deu.) · MOTION OF SPIRIT (eng.) · MOUVEMENT (fra.) · MOUVEMENT DE L'ESPRIT (fra.)
TERM USED IN EARLY TRANSLATIONS
MOTION (eng.) · MOTUS (lat.) · MOVING (eng.)

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LINKED QUOTATIONS

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3 quotations

Quotation

Alhoewel een Beeld alle de waerachtighe linien der afghebeelder dingen uytdruckt; nochtans derft het de rechte kracht der dinghen selver, als wesende onbeweghelick en sonder eenigh roersel, seght Tertullianus Lib. II. adversus Marcionem. Het manghelt de kley-stekerye, seght Apuleius {In Apologia.}, aen de behaeghelicke lustigheyd die het leven dapper plaght te verwackeren; het schort de steenen aen de Coleur; het liegt de Schilderyen aen stijvigheyd; en alle dese verscheydene soorten van naeboetsinghe hebben ’t roersel ghebreck, ’t welck de levende ghelijckenisse der dinghen met een sonderlinghe ghetrouwigheyd plaght te vertoonen. Ghelijck het oversulcks altijd waerachtigh is dat d’afghebeelde dinghen ’t naturelicke roersel derven, soo plaghtense oock somtijds heel end’al van het naegheboetste roersel ontbloot te sijn; ghemerckt d’aller oudste en d’eerste Meesters in haere wercken een gantsch swaere, lompe, ende onbeweghelicke maniere volghden, sonder eenigh levendighe roersel in de selvighe uyt te storten.

[Suggested translation, Marije Osnabrugge:] Although an Image only expresses the true lines of the depicted things; it nevertheless lacks the true power of the things themselves, like being unmoving and with any stir, says Tertullianus (…). The clay-sculpting misses, says Apuleius, the comforting delight that life strongly tends to incite; the stones lack Colour; the Paintings lack stiffness; and all these different sorts of imitation miss the stirring, which the living similitudees of things tend to show with a remarkable faithfulness. Like it is moreover always true that the depicted things lack the natural movement, as such they sometimes also are completely devoid of the imitated movement; seen that the oldest and first Masters followed a rather heavy, akward and still manner, without putting any lively movement in it.

term translated by MOTUS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.178
term translated by MOTION in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p.290

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

Quotation

Van dien tijd af sach men de Konst daghelicks toenemen; soo datter in ’t ghelaet, in ’t gebaer, in de gantsche ghestaltenisse der Schilderyen een sekere Actie ofte bedrijvenskracht beghost uyt te blijcken. Daer en is gheen sonderlinghe bevalligheyd in een opgherecht lichaem te vinden, seght Quintilianus {Lib. ii. Cap. 13.}, het aenghesicht behoort naemelick t’onswaerd ghewendt te sijn, de armen nederwaerds hanghende, de beenen t’saemen ghevoeght, en het gantsche werck moet van boven tot beneden een onbeweghelicke stijvigheyd behouden. d’Ombuyginghe, ende om soo te spreken, het roersel gheven de naegeboetste dinghen een sekere Actie ofte bedrijf. Dus worden de handen niet altijd op eenerley wijse ghemaeckt, en ’t aenghesicht heeft duysend verscheydene vertooninghen. Eenighe lichaemen sijn ghestelt tot het loopen ende om eenigh ander gheweld te bewijsen: Eenighe sietmen sitten, eenighe nederligghen: Eenighe sijn moedernaeckt, eenighe ghekleedt, eenighe half naeckt en half ghekleedt. Wat isser doch soo verdraeyt ende bearbeyt als Myrons schijf-werper, die eertijds Discobolos wierd ghenaemt. Oversulcks plaghten oock dieghene, dien dit stuck werck niet wel aen en stond, gheoordeelt te worden gantsch gheen verstand van de Konst te hebben, ghemerckt yeder een bekent stond, dat de moeyelicke seldsaemheyd deses beelds den hoogsten lof verdiende. Gelijck wy dan sien dat het roersel een van de ghewighstighste punten is, diemen in dese Konst moet waernemen; soo en is het mijnes dunckens, niet swaer den ghebaenden wegh daertoe uyt te vinden. Wy behoeven maer alleen onse oogen op de nature te slaen, en haere voetstappen naerstighlick te volghen.

[Suggested translation, Marije Osnabrugge:] From that time onwards one could daily see the Art increase; such that a certain Action or power of movement to show in the face, in the gesture, in the whole appearance of the Paintings. There is no special loveliness to be found in an upright body, says Quintilianus {…}, the face should be turned towards us, the arms should hang downwards, the legs should be joined together, and the whole work should keep an unmoving stiffness from top to bottom. The Bending, and so to say, the movement give the imitated things a certain Action or activity. Thus the hands are not always made in one way, and the face has a thousand different expressions. Some bodies are positioned to walk and to show some other violence: Some one can see sitting, some laying: Some are completely naked, some dressed, some half naked and half dressed. What is more twisted and worked than Myron’s disk thrower, which was then called Discobolos. Regarding this those who did not like this piece of work very much, tended to be judged as having no knowledge at all of Art, seen that it was known to everyone, that the difficult rarity of this statue deserved the highest praise. Like we see that the movement is one of the most important point, that one has to observe in this Art; as such it is not hard, in my opinion, to find the beaten track towards it. We only have to cast our eyes on nature, and diligently follow in her footsteps.

MYRON, Discobolos

actie · bedrijvenskracht · ombuyginghe · bedrijf
stijvigheid

term translated by MOTUS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.178
term translated by MOVING in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p.290-291

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

Quotation

Ghelijck dan de voornaemste kracht der Schilderyen gheleghen is in de bequaeme naeboetsinghe der eyghenschappen diemen in d’onroerende dinghen verneemt, als oock in de levendighe afbeeldinghe der beroeringhen diemen in de roerende dinghen speurt; soo moeten wy het mede daer voor houden, dat de welstandigheyd des gantschen wercks gheoordeelt wordt allermeest in ’t ghebaer ende in ’t roersel der figuren te bestaen, wanneer deselvighe yet merckelicks doen of lijden. Dies plaght oock het levendighe roersel, nae d’eene of d’andere gheleghenheyd der figuren, somtijds Actie somtijds de Passie ghenaemt te worden: Want de Beelden die de kracht van eenig ernstigh bedrijf in haer uyterlick ghebaer uyt-wijsen, worden geseyt een goede Actie te hebben; d’andere daerenteghen die d’inwendige beroeringhen haeres ghemoeds door d’uytwendighe ontseltheyd te kennen geven, worden gheseyt vol van Passie te sijn. Dit vervult de wercken met eenen levendighen gheest, ’t is de rechte ziele der Konste.

[Suggested translation, Marije Osnabrugge:] Just like the main power of Paintings lies in the capable imitation of the characteristics that one perceives in the unmoving things, as well as in the lively depiction of the movements that one detects in the moving things; as such we have to consider as well, that the harmony of the whole work is thought to exist most of all in the gesture and the movement of the figures, when they do something remarkable or suffer. As such the living movement also tends to be called after one or the other situation of the figures, sometimes Action and sometimes Passion: Because the Images that show the power of a serious occupation in their outward gesture, are said to have a good Action; the other on the other hand who demonstrate the internal movements of their mind by means of an outward dismay, are said to be full of Passion. This fills the works with a lively spirit, it is the true soul of the Art.

Junius explains that there are different types of movement (beroering) in an art work, which he also calls movement (roersel) and gesture (gebaar). On the one hand, he uses the term action (actie), which refers to the outer movement of the figures. On the other hand, there is the passion (passie), which reflects the inner movements. The correct depiction of the different movements should lead to a well-composed whole (welstand). The rest of paragraph IV.2 describes the different emotions, not necessarily in direct relation to art. The phrasing of this paragraph is different in the Latin and English edition. [MO]

actie · passie · bedrijf · beroeringh · ontsteltheyd

term translated by MOTUS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.178
term translated by MOTION in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p.291-292

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
L’HISTOIRE ET LA FIGURE → expression des passions