LAIRESSE, Gerard de, Grondlegginge ter Teekenkonst, Zynde een korte en zeekere weg om door middel van de Geometrie of Meetkunde, de Teeken-konst volkomen te leeren, Door Gerard De Lairesse, Eerste Deel, Amsterdam, Willem de Coup, 1701.

Getty Research Institute Los Angeles NC705 .L18 1701er Frontispice Images hors-texte Images in-texte 365 quotations 211 terms
Gerard De Lairesse (Liège 1640 – Amsterdam 1711) was instructed to become a painter by Bertholet de Flemalle in Liège.[1] He settled in Amsterdam in 1665 and became a successful painter, mainly known for history paintings with mythological and allegorical subjects. He had many pupils, amongst others Jan Goeree (Willem Goeree’s son). In 1689, he became blind, forcing him to abandon his profession. He decided to continue instructing young painters and started an informal academy. Within the context of this academy, or ‘vergaadering in myn huys’ (gathering in my house), he wrote the Grondlegginge and later the Groot Schilderboek.

De Lairesse is most famous for being the author of the Groot Schilderboek (1st ed. 1707, see the analysis of the 1712 edition in this database). However, before devoting himself to his magnum opum, he wrote a smaller treatise on the Art of Drawing, the Grondlegginge ter Teekenkonst, which was published in 1701 with Willem De Coup (who would later also publish the Groot Schilderboek). Because of De Lairesse’s blindness and his self-confessed inability to express himself well in neither French (his native language) nor Dutch (his adoptive language), it is probable that the actual writing was done with the assistance of his two sons.[2] In fact, we find more terms with French origins in De Lairesse’s texts than in the work of his contemporaries (although he also currently used Germanic terms). The treatise enjoyed considerable success and was reprinted several times in Dutch. Just like the Groot Schilderboek, the Grondlegginge was translated into German (1st ed. 1705), as well as French (1st ed.1719) and English (1st ed. 1777) and enjoyed several editions.[3]  Only the German edition, translated by Samuel Theodor Gericke for the newly founded Berlin academy, included both parts of the treatise.

The Grondlegginge ter Teekenkonst is divided into two parts, each divided into sections (resp. lessons and propositions). De Lairesse deemed the information that he provides in the Grondlegginge necessary for an artist’s education, working from the assumption that one can only become a good painter after having learnt to be a good draughtsman. The first book consists of twelve basic lessons, addressing subjects like how to draw a line and simple shapes, gradually moving to more complex shapes and techniques like how to use hatching, create adequate perspective and shadows. In the second part, he provides descriptions of more complex propositions and interweaves his instruction with a dialogue between a slightly conceited young painter and a wiser elderly draughtsman regarding the apprenticeship and metier of artist. A couple of simple engraved drawings are included in the book in order to clarify De Lairesse’s instructions or, as he phrases it: ‘I also had plates added, to aid youth’s weak understanding.’[4]
 
Marije Osnabrugge
 
 
[1] See RKD Explore (https://rkd.nl/explore/artists/47470) and general bibliography on De Lairesse.
[2] See the introductions to both treatises for De Lairesse’s remarks on the way the books were conceived.
[3] For more information on the translations, see: MAES, 2018 (especially regarding the illustrations in the different editions); and OSNABRUGGE, forthcoming 2018. An earlier English translation of the treatise was part of a compilation of art theoretical texts (which enjoyed several reprints).
[4] De Lairesse 1701, [‘Noodzakelyk Voorbericht aan den Lezer’, unpaginated]: ‘Ik heb daar mede platen in laaten stellen, omde zwakheid van het begrip der jonge jeugt, te hulp te koomen, (…)’.
in-4 dutch

Dedication
Aan de Konstlievende Heeren van ons Konstgenootschap

Structure
Ode at p. *1
Dédicace(s) at p.*2-*4
Ode at p. *5-*9
Ode at 19
Ode at p. *11
Avis au lecteur at p. *12-13
Avant-propos at 36-37
Ode at 69

LAIRESSE, Gerard de, Grondlegginge ter teekenkonst : zynde een korte en zekere weg om door middel van de geometrie of meetkunde de teekenkonst volkomen te leeren, Door Gerard de Lairesse, Tweede Druk, Amsterdam, Rudolf en Gerard Wetstein, 1713.

LAIRESSE, Gerard de, Grondlegginge ter teekenkonst : synde een korte en zekere weg om door middel van de geometrie of meetkunde, de teekenkonst volkomen te leeren, Amsterdam, Jan Hartig, 1727.

LAIRESSE, Gerard de, Grondlegginge der teeken-konst, zynde een korte een zeekere weg om door middel van de geometrie of meetkunde, de teeken-konst volkomen te leeren, Amsterdam, Gerrit Tielenburg, 1766.

LAIRESSE, Gerard de, Anleitung zur Zeichenkunst: wie man dieselbe durch Hülffe der Geometrie grundlich und vollkommen erlernen könne, trad. par GERICKE, Samuel Theodor, Berlin, Wilhelm van Langefeld, 1705.

LAIRESSE, Gerard de, Les Principes du Dessein ou Methode courte et facile Pour apprendre cet Art en peu de tems, Par le fameux Gerard de Lairesse, Amsterdam, David Mortier, 1719.

LAIRESSE, Gerard de, Grundlegung zur Zeichen-Kunst: Das ist, Kurtzer und sicherer Weg, durch welchen das Zeichnen vermittelst der Geometrie oder Meßkunst, vollkömmlich erlernet werden kan. Den Mahlern, Kupferstechern, Bildhauern, Land-Messern, der Architectur geflissenen [et]c. und allen übrigen curiosen Liebhabern zum besten, Nürnberg, Johann Christoph Weigel, 1727.

LAIRESSE, Gerard de, Les Principes du Dessein ou Methode courte et facile Pour apprendre cet Art en peu de tems, Par le fameux Gerard de Lairesse, Amsterdam, Le Cene, 1729.

LAIRESSE, Gerard de, Neueröffnete Schule der Zeichnungskunst, worinnen die Anfangsgründe derselben nach einer leichten und kurzen Art nicht allein beschrieben werden, sondern auch in 120 Kupfertafeln gezeiget wird, wie man zur Vollkommenheit dieser angenehmen Kunst gelangen kann : nebst einem Berichte von Zubereitung und Gebrauche der Wasserfarben, Leipzig, Arkstée & Merkus, 1745.

LAIRESSE, Gerard de, Les Principes du Dessein ou Methode courte et facile Pour apprendre cet Art en peu de tems, Par le fameux Gerard de Lairesse, Leipzig - Amsterdam, Arkstée & Merkus, 1746.

LAIRESSE, Gerard de, Gründliche Anleitung zur Zeichenkunst. Aus dem holländischen übersezt. Neue und verbesserte Auflage. Mit Kupfern, Nürnberg, Christoph Weigel, 1780.

LAIRESSE, Gerard de, Gründliche Anleitung zur Zeichnungskunst oder kurzer und sicherer Weg durch geometrische Regeln diese Kunst vollkommen zu erlernen: aus dem Holländischen übersezt, mit Kupfern, Nürnberg, Schneider und Weigels, 1804.

OSNABRUGGE, Marije, « German Translations of Dutch Art Literature: Goeree, Beurs and De Lairesse », dans VAN LEEUWEN, Rieke (éd.), La Haye, RKD, forthcoming 2018 [En ligne : http://www.rkdmonographs.nl/ consulté le 31/12/2017].

DE VRIES, Lyckle, Gerard de Lairesse: An Artist between Stage and Studio, Amsterdam, Amsterdam University Press, 1998.

DE VRIES, Lyckle, « Gerard de Lairesse: The Critical Vocabulary of an Art Theorist », Oud Holland, 117/1-2, 2004, p. 79-98 [En ligne : http://www.jstor.org/stable/42711687 consulté le 30/03/2018].

DE VRIES, Lyckle, How to Create Beauty: De Lairesse on the Theory and Practice of Making Art, Leiden, Primavera press, 2011.

MAËS, Gaëtane, « Les 'Principes du dessin' de Gerard de Lairesse : réflexions sur les différentes éditions et traductions parues dans l'Europe des Lumières », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne , Actes du colloque de Montpellier et Paris, Montpellier, PULM, 2018, p. 139-167 [En ligne : dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].

FILTERS

QUOTATIONS

Gelyk het Alphabet of kennis der Letteren, de eerste Inleidinge van de Letterkonst is, zo is desgelijks de Meetkunde het eerste beginzel die ons tot de Teekenkonst geleid, buiten de welke het gantsch onmoogelyk is, om daar toe, zoo wel als tot andere Konsten of weetenschappen, te geraaken.

terms translations

[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.

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[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.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Tien jaar om het verstand te rypen, en den geest op te wekken, is twee en twintig. Tien jaar om het leeven te onderzoeken en t’ordineeren, is twee en dertig; dan noch tien om uit te munten in ’t algemeen, zo in Theorie als Practyk, maakt zaamen twee en veertig, die nu vyftig, en meer bereiken kan, zyn de jaaren om een doorlugtigen naam, eer en geld te verkrygen. Zo is ’t dat ik de koers gereekent, of liever verdeeld heb, van een braaf Schilder, of Konstenaars leeven. Doch den Heemel beschikt het naar zyn welgevallen, helpt den eenen wat vroeg, en den anderen wat laater, absque ingenio, labor inutilis, dat is, zonder bequaamheid is ’t vergeefs gearbeid. Dierhalven zo leert ons de ervarentheid, dat de alderbeste middelen om in de Teekenkonst te vorderen is, wanneer men jong zynde, een bequaame geest, goed onderwys, en een volstandige naarstigheid heeft: waar van de laatste, de moeielykste dingen, gemakkelijk doet worden.

terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → marché de l'art
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

SPECTATEUR → marché de l'art
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

In the French translation (1719), this term is translated as 'le genre de vie'. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → marché de l'art
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

theorie

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

praktijk

Conceptual field(s)

L’ARTISTE → apprentissage
L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] Ten years to ripen the mind and incite the spirit, makes twenty-two. Ten years to investigate the life and to compose, makes thirty-two; then another ten to excel in general, both in Theory and Practice, makes forty-two, he who can reach fifty, which are the years to obtain an illustrious name, honour and money. This is how I count, or rather divide, the course of the life of a good Painter or Artist. Yet the Heaven determines it to its own desire, helps one [ndr: artist] a bit early, the other somewhat later, absque ingenio, labor inutilis, that is: without aptitude labour is in vain. Therefore the experience teaches us, that the best means to advance in the Art of Drawing is to have an adequate spirit, good instruction and enduring diligence: the latter makes the hardest things easy.

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → apprentissage

[…] want zonder die eerste Gronden der Konsten te verstaan, is het onmoogelyk in haaren weg of loop te vorderen, verre van haare volmaaktheid, en toppunt te konnen bereiken. De eerste beginselen nu der Teecken-konst, bestaan uyt het kennen en maaken van trekken, verscheidentlyk gehaalt, dat dan ook als het A B C der meetkunde is. Dus brengen wy hier den Leerlingen voor ’t ooge, [ndr: reference to illustration] […] Van alle deeze linien en trekken, moeten de eerste Beginners, zich aanstonds een vast denkbeeld maken;

terms translations

[suggested translation, Marije Osnabrugge:] […] because without understanding those first principles of the Arts, it is impossible to improve one’s way or course, let alone to be able to reach perfection and the top. Now the first principles of the Art of Drawing, consist of the knowing and making of strokes, done in different ways, which is likewise the ABC of geometry. Thus we show these to the Pupiles, […] Of all these lines and strokes, the initial beginners should quickly form an image [ndr: in their mind];

grond

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] […] because without understanding those first principles of the Arts, it is impossible to improve one’s way or course, let alone to be able to reach perfection and the top. Now the first principles of the Art of Drawing, consist of the knowing and making of strokes, done in different ways, which is likewise the ABC of geometry. Thus we show these to the Pupiles, […] Of all these lines and strokes, the initial beginners should quickly form an image [ndr: in their mind];

beginsel

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] […] because without understanding those first principles of the Arts, it is impossible to improve one’s way or course, let alone to be able to reach perfection and the top. Now the first principles of the Art of Drawing, consist of the knowing and making of strokes, done in different ways, which is likewise the ABC of geometry. Thus we show these to the Pupiles, […] Of all these lines and strokes, the initial beginners should quickly form an image [ndr: in their mind];

trek

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] because without understanding those first principles of the Arts, it is impossible to improve one’s way or course, let alone to be able to reach perfection and the top. Now the first principles of the Art of Drawing, consist of the knowing and making of strokes, done in different ways, which is likewise the ABC of geometry. Thus we show these to the Pupiles, […] Of all these lines and strokes, the initial beginners should quickly form an image [ndr: in their mind];

lijn

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Doch aangezien zy niet alleen de bespiegeling der Kunst; maar veel meer ook haare oeffening moeten bekoomen, kan de meester hun de eerste beginselen der handeling leeren op een ley, waar op hy de leerlingen, deze linien met een grieffie laat naatrekken; die dan dezelve in een reis drie of vier, alle fix zullen konnen volgen; en haapert’er noch wat aan, zo kan de meester ligt, neevens de aanwyzinge van de handgreep, of ’t houden der griffie, hen het stout en glad trekken op de leye, naader aantoonen;

terms translations

[suggested translation, Marije Osnabrugge:] Yet, as they should not only obtain a reflection on the Art; but rather its practice, the master can teach them the first principles of handling on a slate, on which he makes the pupils trace these lines with a pen; who will then be able to follow them firmly after three or four times; and if something is lacking, the master can easily, besides the indication of the handle [ndr: the way of holding], or the holding of the pen, further show them how to draw strongly and smoothly on the slate;

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] Yet, as they should not only obtain a reflection on the Art; but rather its practice, the master can teach them the first principles of handling on a slate, on which he makes the pupils trace these lines with a pen; who will then be able to follow them firmly after three or four times; and if something is lacking, the master can easily, besides the indication of the handle [ndr: the way of holding], or the holding of the pen, further show them how to draw strongly and smoothly on the slate;

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] Yet, as they should not only obtain a reflection on the Art; but rather its practice, the master can teach them the first principles of handling on a slate, on which he makes the pupils trace these lines with a pen; who will then be able to follow them firmly after three or four times; and if something is lacking, the master can easily, besides the indication of the handle [ndr: the way of holding], or the holding of the pen, further show them how to draw strongly and smoothly on the slate;

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Yet, as they should not only obtain a reflection on the Art; but rather its practice, the master can teach them the first principles of handling on a slate, on which he makes the pupils trace these lines with a pen; who will then be able to follow them firmly after three or four times; and if something is lacking, the master can easily, besides the indication of the handle [ndr: the way of holding], or the holding of the pen, further show them how to draw strongly and smoothly on the slate;

Conceptual field(s)

L’ARTISTE → apprentissage

Een voorzichtig meester, middelerwyl, moet van den beginne aan, wel en naauwkeurig letten, op de neiging en inborst der leerlingen; op dat hy, schoon ze in veelerlei opzigt strydig zyn, echter met allen zyn oogmerk bereike. Hy moet ook weten, op hoedanigen wys men de onderwyzinge der jeugt, na de hoedanigheid haar’er begrip, met voordeel zal toepassen.

terms translations

[suggested translation, Marije Osnabrugge:] Meanwhile, a careful master, should pay attention from the start, to the inclination and nature of the pupils; in order for him, as they are in many ways contradictory, may reach his goal with all [ndr: of the pupils]. He should also know how to successfully apply the instruction of the youth, according to the state of their understanding.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Meanwhile, a careful master, should pay attention from the start, to the inclination and nature of the pupils; in order for him, as they are in many ways contradictory, may reach his goal with all [ndr: of the pupils]. He should also know how to successfully apply the instruction of the youth, according to the state of their understanding.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Meanwhile, a careful master, should pay attention from the start, to the inclination and nature of the pupils; in order for him, as they are in many ways contradictory, may reach his goal with all [ndr: of the pupils]. He should also know how to successfully apply the instruction of the youth, according to the state of their understanding.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Meanwhile, a careful master, should pay attention from the start, to the inclination and nature of the pupils; in order for him, as they are in many ways contradictory, may reach his goal with all [ndr: of the pupils]. He should also know how to successfully apply the instruction of the youth, according to the state of their understanding.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Meanwhile, a careful master, should pay attention from the start, to the inclination and nature of the pupils; in order for him, as they are in many ways contradictory, may reach his goal with all [ndr: of the pupils]. He should also know how to successfully apply the instruction of the youth, according to the state of their understanding.

Conceptual field(s)

L’ARTISTE → apprentissage

Eerstelyk moetmen dan noodzaakelyk overzien, of die linien zo zyn alze moeten weezen, en met de streepen die wel getrokken zyn te pryzen, moedigt men de jeugt aan, die niet zyn alze behooren, moetmen niet al te veel verachten, maar hen aandringen, omze op nieus, en beter te maaken. Dit wekt de lust en iever dan t’elkens op. Een goed Meester ontziet zich niet de Leerlingen te onderwyzen, voor te gaan, en zelfs streepen maakende hen te zeggen, zo moet’et gedaan weezen, Jongelingen, zo gy ’t wel wilt doen. Want het voordoen, heeft meerder kracht en grooter vermogen ontrent de Leerlingen die eerst beginnen, dan eenige onderrigtinge die in lessen bestaan; de reeden daar van is, dat zy zich beeter met de oogen, dan met het verstand kunnen helpen.

terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] Firstly it is necessary to see whether the lines are as they should be, and by praising the streaks that are well done, one encourages the youth, those [ndr: lines] that are not as they should be should not be despised too much, but they [ndr: the pupils] should be solicited to make them again and better. This incites the desire and diligence every time. A good Master does not spare himself to instruct the pupils by preceding them and by saying – while making streaks himself – it should be done this way, Boys, if you want to do it well. Because setting the example has more force and greater power with regard to the pupils who are just starting, than any instruction that consists of lessons; the reason for this is that they can help themselves better with the eyes, than with the mind.

This section is more elaborate in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
SPECTATEUR → connaissance

Zo stapt den Jongeling, door een geestigen aart aangedreeven bly en luchtig, en van trap tot trap, tot de zichtbaarheeden der natuur, ende heldre bespiegelingen, daar hy zijn natuurlijke neiging toe voelt trekken, terwyl hy bevind dat Natuur en Kunst, hem beide beginnen toe te lacchen, en aan te dryven, tot hoe langs hoe grooter zaaken, daar hy door begeerte en iever toe aangelokt werd.

terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

natuur

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

kunst

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] As such the young man, driven by a spirited nature, moves happily and loosely from step to step, towards the visibilities of nature and clear reflections, to which he feels his natural inclination drawn, while he feels that Nature and Art both start to smile at him, and push him towards the more the greater things to which he is seduced by desire and diligence.

Conceptual field(s)

L’ARTISTE → qualités

[…] want wie geen goed Meester heeft, zal een kwaad navolger zijn. Daarom is het noodig, dat men de Jeugt al vroeg een verstandig Meester geeft, onder wiens ervarentheid en grondige lessen, zy een waare kennis; en niet de uiterlyke schyn der Konst mogte verkrygen.

terms translations

[suggested translation, Marije Osnabrugge:] […] because he who has no good Master, will be a bad follower. Therefore it is necessary, that one gives the youth a wise Master early on, under whose experience and thorough lessons they may obtain a true knowledge and not the outward appearance of Art.

Conceptual field(s)

L’ARTISTE → apprentissage

Zo dat het met recht wel te beklaagen is, dat wy daagelijks zo veel bequaame geesten, tot broddelaars zien worden, en dat alleenig door slecht onderwys. ’t Is wel waar dat de Natuur veel macht heeft, buiten d’onderwyzinge: maar men moet ook vast stellen, dat het onderwys, zonder hulp van de Natuur, kragteloos is: Want de Natuur is blind, zo de Konst haar oogen niet oopent.

terms translations

[suggested translation, Marije Osnabrugge:] Such that is truly to be regretted that we daily witness so many adequate minds turn into botchers, and this only because of bad instruction. It is true that Nature has a lot of power, besides the instruction: but we have to admit, that instruction is powerless without the help of Nature: Because Nature is blind, if Art does not open her eyes.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Such that is truly to be regretted that we daily witness so many adequate minds turn into botchers, and this only because of bad instruction. It is true that Nature has a lot of power, besides the instruction: but we have to admit, that instruction is powerless without the help of Nature: Because Nature is blind, if Art does not open her eyes.

In the German translation, the translator added ‘durch gutte Regeln’ behind Kunst, to clarify the term. [MO]

natuur

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Such that is truly to be regretted that we daily witness so many adequate minds turn into botchers, and this only because of bad instruction. It is true that Nature has a lot of power, besides the instruction: but we have to admit, that instruction is powerless without the help of Nature: Because Nature is blind, if Art does not open her eyes.

konst

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Such that is truly to be regretted that we daily witness so many adequate minds turn into botchers, and this only because of bad instruction. It is true that Nature has a lot of power, besides the instruction: but we have to admit, that instruction is powerless without the help of Nature: Because Nature is blind, if Art does not open her eyes.

In the French translation, the translator used the adjective 'mal-instruit'. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage

Dus zal men alles naar de Wiskunde schikken, op dat ‘er niets aan haapere, en dit zal met ‘er tyd, ook zulk een vaste handeling veroorzaaken, dat men altyd wisse trekken zal geeven, in alle voorkoomende zaaken, ’t zy men die schetze of in ’t net stelle, daar men deze kleine beginzelen voorby gaande, niet anders als in ’t wild schermd, en nooit tot volkoome kennis, ontrent de zekerheid en vastigheid geraaken kan.

terms translations

[suggested translation, Marije Osnabrugge:] So one should order [ndr: do] everything according to Mathematics, so nothing is lacking, and with time this will cause such a steady handling, that one will always provide strong strokes, in all occurring cases, whether they are sketched or neatly [ndr: in the final version], as – if one neglects these small principles – one does nothing but work at random, and will never obtain perfect knowledge regarding the certainty and steadiness.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] So one should order [ndr: do] everything according to Mathematics, so nothing is lacking, and with time this will cause such a steady handling, that one will always provide strong strokes, in all occurring cases, whether they are sketched or neatly [ndr: in the final version], as – if one neglects these small principles – one does nothing but work at random, and will never obtain perfect knowledge regarding the certainty and steadiness.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] So one should order [ndr: do] everything according to Mathematics, so nothing is lacking, and with time this will cause such a steady handling, that one will always provide strong strokes, in all occurring cases, whether they are sketched or neatly [ndr: in the final version], as – if one neglects these small principles – one does nothing but work at random, and will never obtain perfect knowledge regarding the certainty and steadiness.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Men neem nu in acht dat die dwarsse, welke door het stuk loopt, Horizont genaamt word; en het Oogje, het oogpunt. [ndr: reference to illustration] De Linien, die uit dezelve voortkoomen, al waaren ‘er noch zo veel, zijn Oogstralen. De Dwarsstreep, die daar onder regt door loopt, is de Bazis of Grondlinie. De twee streepjes aan weerzyden den Horizont, noemtmen Distantie. Aldus geeven wy elk hune eigen benaamingen. Deze moetmen geduurig nazien; om dezelve van buiten te kennen, en zo het gebeurt, dat ‘er een dwarsse linie tusschen de Bazis en den Horisont is, dan zegtmen Paralel aan den Horizont, doch zo dezelve heel laag is, dan noemt men die Paralel aan de Bazis.

terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

grondlijn

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

basislijn

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] One observes that this transversal [ndr: line] that runs through the piece, is called Horizon; and the little eye, the point of view. The lines that come from it, even if there are many, are eye beams. The transversal line, which runs straight through it, is the basic or ground line. The two lines on either side of the Horizon, is called distance. As such we give each their proper name. One should review these at length; to learn them inside out, and if it happens that there is a transversal line between the Basis and the Horizon, one calls it parallel to the horizon, but if it is very low, one calls it parallel to the Basis.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective

De Printen geeft men hen voor eerst, om zich te vermaaken, in het bezien deezer Kunst. Ten tweede om de Geest op te wakkeren. Ten derde, verwekt het in hen een nieuwe lust, door de veranderinge der gedagten t’aanschouwen, […] Ja wie zou niet door iever en Leerzucht, aangenoopt en geprikkeld werden, die al de naavolgende Deugden, dog niet alle gelyk, in voornaame Printen komt t’aanschouwen. Als een grootse gedagten. Fraaye verkiezinge. Welgekooze schoone naaktens. Graaçelijke Actien. Natuurlijke beweeginge en passien. Lieffelyke Vrouwebeelden. Welgeschikte kleedinge en plooyen. Aandachtige en bevallige weezens. Goede Houdinge. Cierlyke Architectuur. Aardig Bywerk. […] en al ’t geen wat in volmaakte Printen kan gevonden worden. Maar dat alles ziet men ook, en noch beeter, in uitgevoerde Teekeningen, door een verstandige hand gewrocht. Daar en booven heeft men noch een merkelijk grooter voordeel in de Teekeningen te beschouwen, want daar uit leert men een fraaye, kloeke, en wakkere manier of Handelinge, ’t geen in de Printen niet te zien is, te meer wyl de artzeeringe daar alle verkeerd, en teegens de hand loopen.

terms translations

[suggested translation, Marije Osnabrugge:] One first gives them the prints, to entertain them, in observing this Art. Secondly to incite the Mind. Thirdly, it causes a renewed desire in them, by observing the change of ideas, […] Yes who would not be induced and provoked by diligence and a desire to learn, who sees all the following virtues – yet not all at once – in illustrious prints. Such as a great idea, a beautiful choice, well-chosen beautiful nudes, graceful actions, natural movement and passions, lovely female figures, well-composed clothing and folds, careful and delightful figures, good harmony, graceful architecture, nice ornament. […] and everything that can be found in perfect Prints. But all of this can also be seen, and even better, in executed Drawings, made by a sensible hand. Moreover, there is an important other advantage in Drawings, because it also teaches you a beautiful, strong and quick manner or Handling, which cannot be seen in prints, more so because the hatching is wrong and mirrored [ndr: literally: against the hand].

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition de la gravure
terms translations

[suggested translation, Marije Osnabrugge:] One first gives them the prints, to entertain them, in observing this Art. Secondly to incite the Mind. Thirdly, it causes a renewed desire in them, by observing the change of ideas, […] Yes who would not be induced and provoked by diligence and a desire to learn, who sees all the following virtues – yet not all at once – in illustrious prints. Such as a great idea, a beautiful choice, well-chosen beautiful nudes, graceful actions, natural movement and passions, lovely female figures, well-composed clothing and folds, careful and delightful figures, good harmony, graceful architecture, nice ornament. […] and everything that can be found in perfect Prints. But all of this can also be seen, and even better, in executed Drawings, made by a sensible hand. Moreover, there is an important other advantage in Drawings, because it also teaches you a beautiful, strong and quick manner or Handling, which cannot be seen in prints, more so because the hatching is wrong and mirrored [ndr: literally: against the hand].

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin

Zy word van de natuur verkozen, en is van de bevalligheeden altyt geoeffent, om de waereld uitmuntende mannen te leeveren, voornamentlyk in deze Edele Konst, die zo veel Weetenschappen in zich behelst: Ja ik derf zeggen, dat ‘er geen Konst of Weetenschap in de waereld hoorde te zijn, of een volmaakt Schilder, dienden ‘er eenige kennis van te hebben. De Natuur verschaft aan de vaardige geesten, meer voordeel, dan de Leer-oeffening, aan d’anderen. Vind men niet meer voorbeelden van Doorluchtige Meesters in deze Konst, die op den hoogsten top geklommen zyn geweest, welke vrolijk en vol snakeryen waaren: dan van de geenen, die een zwaarmoedigen aart hadden? Raphael, Polidoor da Caravaggio, Leonard da Vinci, Peryndel Vaga, Parmezan, Primaticcio, Pietro de Corton, Tintoret, Giorgon, Lodewyk en Annibal Carats, Albaan, Bassan, Lanfranc, en meer andere; zyn die niet alle vrolijk en vaardig van geest geweest?

terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

natuur

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

leeroefening

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] They [ndr: talented artists] are naturally preferred and is always trained in beauty, to provide the world excellent men, especially in this Noble Art, which contains so many sciences: Yes I dare say, that there should be no Art or Science in the world, or a perfect Painter should have some knowledge of it. Nature provides the apt minds more advantage than the practice of learning provides to others. Does one not find more examples of illustrious Masters in this Art, who have climbed to the highest summit, who were happy and full of joy: than of those, who had a melancholic nature? Raphael, Polidoro da Caravaggio, Leonardo da Vinci, Perino del Vaga, Parmigianino, Primaticcio, Pietro da Cortona, Tintoretto, Giorgione, Ludovico and Annibale Carracci, Francesco Albano, Bassano, Lanfranco and many others; have they not all been happy and apt of mind?

It is unclear what exactly 'Zy' in the first sentence is refering to. This paragraph is ordered differently in the German translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités

Het houtsekóól is altyd in gebruik geweest, maar naaderhand het potloot tot ons gekoomen, of bekend geworden zijnde, zo oordeel ik dat veel zuiverder, en wel zo bequaam om te handelen, als het eerste; alzo het zich met kruimmelen van brood, genoegzaam uitvryven laat, wanneer het mals en goed is. Deze twee vind ik de bekwaamste om te Schetzen, alhoewel het potloot, ook uitermaaten goed is om te stellen; doch het houtsekóól, is voor de eerstelingen in het Schetzen, en ’t potloot voor die wat verder zijn, best te gebruiken.

terms translations

[suggested translation, Marije Osnabrugge:] The charcoal has always been used, but when afterwards the pencil arrived or became famous, I judge it to be more pure and just as adequate to handle, as the first; as it can easily be rubbed out with bread crumbs, if it is tender and good. I find these to the most adequate to sketch, although the pencil is also extremely good to compose; but the charcoal is best to be used by the beginners in sketching and the pencil for those who are a bit more advanced.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] The charcoal has always been used, but when afterwards the pencil arrived or became famous, I judge it to be more pure and just as adequate to handle, as the first; as it can easily be rubbed out with bread crumbs, if it is tender and good. I find these to the most adequate to sketch, although the pencil is also extremely good to compose; but the charcoal is best to be used by the beginners in sketching and the pencil for those who are a bit more advanced.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] The charcoal has always been used, but when afterwards the pencil arrived or became famous, I judge it to be more pure and just as adequate to handle, as the first; as it can easily be rubbed out with bread crumbs, if it is tender and good. I find these to the most adequate to sketch, although the pencil is also extremely good to compose; but the charcoal is best to be used by the beginners in sketching and the pencil for those who are a bit more advanced.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Het wel Schetzen, is het noodzaakelijkste, en ’t voornaamste van de geheele Teekenkonst, waarom ik vast stel, dat het zelve voor alles dient waargenomen te worden; zommige beginnen wanneer zy een Beeld voor hebben naar te tekenen, het hoofd met alles wat ‘er in hoord, ten eersten net te stellen, en vervolgens zo het heele Beeld tot onderen toe, […]

terms translations

[suggested translation, Marije Osnabrugge:] Sketching well, is the most necessary and principal [ndr: thing] of the entire Art of Drawing, which is why I believe that it should be observed before everything else; some – when they intend to draw after a figure before them – start to compose the head with everything in it and then the whole figure until the feet, [ndr: literally: until the lower part] […]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Daarom gy leergierige, neemt mijn zeggen tot u onderwyzinge terherten, en gef wel agt, in alles wat u zal voorkomen naar te tekenen, dat gy altyt op deeze volgende wys, met de afdeelinge te werk gaat, zonder Passer of Liniaal te gebruiken, maar met een vinger, of uw houtzekóól naar gissinge te meeten, leerd het oog al zachjes, tot de korrektheid gewennen; want het oog is gelijk ik gezegt heb, onze voornaamste leidsman.

terms translations

[suggested translation, Marije Osnabrugge:] Therefore, you who are eager to learn, take my words about your instruction to heart, and pay good attention in everything that you happen to draw after, that you always work in the following manner, with the division, without using a compass or ruler, but measuring with the finger or your charcoal by guessing, teach the eye slowly to get used to the correct way; because – as I have said – the eye is the principal guide.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Therefore, you who are eager to learn, take my words about your instruction to heart, and pay good attention in everything that you happen to draw after, that you always work in the following manner, with the division, without using a compass or ruler, but measuring with the finger or your charcoal by guessing, teach the eye slowly to get used to the correct way; because – as I have said – the eye is the principal guide.

Conceptual field(s)

SPECTATEUR → perception et regard

Wy hebben tot nut toe niet anders voorgestelt, om wel te zeggen, als ongevulde gedaantens, dewelke gy nu vullen zult, en met de schaduwe verheeven doen schynen; als dan noemt men ’t vaste lichaamen. En dewyl men reeds (op de schaaduwe na) zo ver is, om tot de volmaaktheid der Eedele Teekenkonst te geraakten, zo is ’t voor eerst noodich, zich aan een goede, en vaste manier van Teekenen met roodaarde te gewennen, doch niet schommelen of reuselen, als zommige doen, maar met een fraaye handeling van artzeeren

terms translations

[suggested translation, Marije Osnabrugge:] Thus far we have not be discussing anything, so to say, but the empty shapes which you will now fill and will make appear to be heightened with shadows; then one calls them solid bodies. And as one is already advanced enough (apart from the shadow), to reach the perfection of the Noble Art of Drawing, as such it is foremost necessary to get used to a good and steady manner of drawing with red earth, yet not scumbling or rousling, as some do, but with a beautiful manner of hatching.

In the French translation, this term is described as 'marquer les hacheures'. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Thus far we have not be discussing anything, so to say, but the empty shapes which you will now fill and will make appear to be heightened with shadows; then one calls them solid bodies. And as one is already advanced enough (apart from the shadow), to reach the perfection of the Noble Art of Drawing, as such it is foremost necessary to get used to a good and steady manner of drawing with red earth, yet not scumbling or rousling, as some do, but with a beautiful manner of hatching.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Om ’t beleggen der vlakke Schaaduwen, wijst dit ons aan, dat’er niet meer als twee over elkander geslaagen artzeeringe moeten weezen, doch des noods zynde drie, en op de Rondigheid, of wykende party, maar een. De toetzen of diepzels, is de uiterste kracht van ’t kryt of roodaarde, dezelve word gereuzelt of geschommelt, want meer als drie artzeeringe over elkanderen, is overtollig en vergeefze moeiten, zo wel in ’t teekenen als Etzen, gelyk dit voorbeeld aanwijst. [ndr: reference to an illustration]

terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] To build up flat shadows, it is advised, that there are no more than two hatchings on top of each other, if necessary three, and on the roundness, or declining parts, but one. The touches or depths are the utmost power of the crayon or read earth, it is rousled or scumbled, because more than three hatchings on top of each other is redundant and wasted effort, both in drawing as etching, as this example shows.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

Gaat dan heen, en haal de kleine gedeeltens, die door het uitveegen verflaaut geworden waaren, als ’t hair, Oogen, neus, mond, vingers en toonen&, hier en daar met toetsjes wat meerder op, dezelve neffens de Omtrek, op den dach heel teer en zacht houdende, de Schaaduw zyde een weinigje sterker: dus doende vertoont zich de ommetrek natuurlyk, en ’t geeft een ongemeene grootsheid en welstand, aan u beelden, of andere voorwerpen. Daar na zalmen de vlakke Schaaduwe, van booven, en allengskens tot beneeden toe, met een enkele artzeeringe taamelyk kloek aanleggen, zo gelyk, en evenwys van elkanderen, als ’t moogelyk zyn zal, dat ’s voor zo ver de geschaaduwde voorwerpen betreft. Dan de flaauwe tint of rondigheid begonnen, ook met een enkelde artzeeringe, maar heel zacht, min of meer, naar dat uw voorwerp is; want de mezetinten moeten nooit verdubbeld zyn.

terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Then continue and accentuate the small parts that had been diminished by rubbing out, such as the hair, eyes, nose, mouth, fingers and toes etc., here and there with small touches, keeping them – besides the outline – very delicate and soft in the light parts, the shadow side a bit stronger, on your figures and other objects. Afterwards one shall build up the flat shadow from high to the lower parts, rather strongly with some hatchings, just like and similar to each other, if possible for as far as the shadowed objects are concerned. Then one starts with the faint tone or roundness, also with a few hatchings, but very softly, as your objects demands it; because the mezzotints should never be doubled.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Wat men nu vlakke Schaaduwe noemt, zullen wy met dit zelfde voorbeeld bewijzen. [ndr: reference to illustration.] Om dat dees pilaar aan d’eene zyde eenparig verlicht is, zo noemtmen het vlak gedaagd. Desgelyks zegtmen van de andere zyde, wanneer een vlakke en breede Schaaduwe, met geen licht gebrooken is.

terms translations

[suggested translation, Marije Osnabrugge:] What is called flat shadow, we will show with this same example. [ndr: reference to illustration.] Because this pillar is equally lighted, it is called lighted flatly. One says the same thing about the other side, when a flat and broad shadow is not interrupted by light.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] What is called flat shadow, we will show with this same example. [ndr: reference to illustration.] Because this pillar is equally lighted, it is called lighted flatly. One says the same thing about the other side, when a flat and broad shadow is not interrupted by light.

In the French translation, the combination 'vlakke schaduw' is translated as 'extreme clair'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] What is called flat shadow, we will show with this same example. [ndr: reference to illustration.] Because this pillar is equally lighted, it is called lighted flatly. One says the same thing about the other side, when a flat and broad shadow is not interrupted by light.

In the French translation, the combination 'vlakke schaduw' is translated as 'extreme clair'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière

Wat het woord rondigheid zeggen wil, zalmen meede genoegzaam uit het zelfde voorbeeld begrijpen [ndr: reference to illustration], want de Pylaar van voore, zoo wel rond is, als ter zyde; men noemt het ook de mezetint, gelykmen ziet aan de lichte zyde der Kolom, naar de Superficie of omtrek toe, dat ’s te zeggen daar het licht verminderd en weg weikt; niet alleen een Kolom, maar alle ronde voorwerpen, doch den een min d’ander meer; als mede het boovenste vlak van dat vierkant, die achterweikt; en dat is eigentlyk ’t geen wy weikende tinten noemen. Door het woord mezetint, verstaan wy de halve of tusschen tint; om dat die gemeenlyk, tusschen het vlakke licht en de vlakke Schaaduwe, van elks half en half behoord; want altyd is tusschen licht en donker, een mezetint, die deze twee harde Partyen met elkanderen veenigt, en in een doet smelten.

terms translations

[suggested translation, Marije Osnabrugge:] What the word roundness means, one may easily understand from the same example, because the pillar is round from the front as well as from the side; one also calls it mezzotint, as one can see on the light sight of the column, towards the surface or contour, that is to say where the light diminishes and disappears; not only a column, but all round objects, although some more than others; just as the upper surface of that cube [ndr: square], that moves away; and this is actually what we call retreating colours. With the word mezzotint, we mean the half or middle tint; because it usually belongs between the flat light and the flat shadow, half of each; because there is always a mezzotint between light and dark, which unites these two hard parts with each other, and makes them melt into the other.

This paragraph is ordered somewhat different in the German translation of 1705.[MO]

tussentint · mezzotint

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] What the word roundness means, one may easily understand from the same example, because the pillar is round from the front as well as from the side; one also calls it mezzotint, as one can see on the light sight of the column, towards the surface or contour, that is to say where the light diminishes and disappears; not only a column, but all round objects, although some more than others; just as the upper surface of that cube [ndr: square], that moves away; and this is actually what we call retreating colours. With the word mezzotint, we mean the half or middle tint; because it usually belongs between the flat light and the flat shadow, half of each; because there is always a mezzotint between light and dark, which unites these two hard parts with each other, and makes them melt into the other.

This paragraph is ordered somewhat different in the German translation of 1705.[MO]

tussentint · halve tint

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] What the word roundness means, one may easily understand from the same example, because the pillar is round from the front as well as from the side; one also calls it mezzotint, as one can see on the light sight of the column, towards the surface or contour, that is to say where the light diminishes and disappears; not only a column, but all round objects, although some more than others; just as the upper surface of that cube [ndr: square], that moves away; and this is actually what we call retreating colours. With the word mezzotint, we mean the half or middle tint; because it usually belongs between the flat light and the flat shadow, half of each; because there is always a mezzotint between light and dark, which unites these two hard parts with each other, and makes them melt into the other.

This paragraph is ordered somewhat different in the German translation of 1705.[MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] What the word roundness means, one may easily understand from the same example, because the pillar is round from the front as well as from the side; one also calls it mezzotint, as one can see on the light sight of the column, towards the surface or contour, that is to say where the light diminishes and disappears; not only a column, but all round objects, although some more than others; just as the upper surface of that cube [ndr: square], that moves away; and this is actually what we call retreating colours. With the word mezzotint, we mean the half or middle tint; because it usually belongs between the flat light and the flat shadow, half of each; because there is always a mezzotint between light and dark, which unites these two hard parts with each other, and makes them melt into the other.

This paragraph is ordered somewhat different in the German translation of 1705.[MO]

mezzotint · halve tint

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
EFFET PICTURAL → qualité des couleurs

Wat de manier van artzeeren met roodaard aangaat, het zelve zal de jeugt moogelyk wel wat moeielyker, als ’t reuzelen vallen, maar daar teegens zullen zy wederom bevinden, dat het meerder tot een vaste hand zal dienen; want in ’t beleggen derzelve, is het meest geleegen, naar dat zy dik of dun, digt of weid, van elkanderen zyn, waar door het duistere of flaauwe tinten voortbrengt, daarom vereischt het meerdere kennisse en oordeel, als ’t reuzelen of schommelen, ja al waaren de artzeeringe eevenweidig en dik, zo kan men net gissen, hoe veel twee, drie, of vierdubbel over elkanderen geslaagen, doen kunnen, even gelykmen in ’t Cyfferen een zom reekent, tweemaal twee maakt vier, en tweemaal vier is acht: hetgeen ik vast stel dat men reuzelen of schommelen niet geschieden kan, dat ook wel te begreipen is.

terms translations

[suggested translation, Marije Osnabrugge:] What the manner of hatching with red earth is concerned, it will likely be a bit more difficult for the youth than rousling, but on the otherwise they will again experience that it will lead to a steady hand; because in using it, it is most important whether they are thick or thin narrow or wide, in relation to each other, because of which it brings forth dark or faint tints, which is why it needs more knowledge and judgement than rousling or scumbling, yes even if the hatching were parallel and thick, one can just guess how many – two, three or four layers on top of each other – can be done, just like one makes a calculation: two times two is four and two times four is eight. I have established that rousling and scumbling cannot take place separately, which can be easily understood.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] What the manner of hatching with red earth is concerned, it will likely be a bit more difficult for the youth than rousling, but on the otherwise they will again experience that it will lead to a steady hand; because in using it, it is most important whether they are thick or thin narrow or wide, in relation to each other, because of which it brings forth dark or faint tints, which is why it needs more knowledge and judgement than rousling or scumbling, yes even if the hatching were parallel and thick, one can just guess how many – two, three or four layers on top of each other – can be done, just like one makes a calculation: two times two is four and two times four is eight. I have established that rousling and scumbling cannot take place separately, which can be easily understood.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] What the manner of hatching with red earth is concerned, it will likely be a bit more difficult for the youth than rousling, but on the otherwise they will again experience that it will lead to a steady hand; because in using it, it is most important whether they are thick or thin narrow or wide, in relation to each other, because of which it brings forth dark or faint tints, which is why it needs more knowledge and judgement than rousling or scumbling, yes even if the hatching were parallel and thick, one can just guess how many – two, three or four layers on top of each other – can be done, just like one makes a calculation: two times two is four and two times four is eight. I have established that rousling and scumbling cannot take place separately, which can be easily understood.

The French translator made a mistake, translating rode aarde with rood krijt. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] What the manner of hatching with red earth is concerned, it will likely be a bit more difficult for the youth than rousling, but on the otherwise they will again experience that it will lead to a steady hand; because in using it, it is most important whether they are thick or thin narrow or wide, in relation to each other, because of which it brings forth dark or faint tints, which is why it needs more knowledge and judgement than rousling or scumbling, yes even if the hatching were parallel and thick, one can just guess how many – two, three or four layers on top of each other – can be done, just like one makes a calculation: two times two is four and two times four is eight. I have established that rousling and scumbling cannot take place separately, which can be easily understood.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Om dan het schetzen, op de alderbeste en zeekerste manier in ’t werk te stellen, zo moet men voor eerst, de çentraale of perpendikulaare linie op zyn papier, met houtsekóól trekken, en maaken by zich zelfs een overslach hoe ver, in ’t prinçipaal, de ondersteunende voet met het hoofd gelyk komt, […] Zet dan naar gissinge een stip voor het hoofd, naavel, en voet: en gaat daar zo in het schetzen met de voornaamste deelen, van booven naar beneeden toe, op voort. Dat gedaan zynde zo zalmen in ’t Prinçipaal zien, op wat hoogte ten naasten by, het naavolgende beeld begint, zegende by zich zelfs als of men iemand onderwees, het bovenste van ’t vroutjes hoofd, moet met de mans borst gelyk koomen, daar dan een stip gezet; de kin, met zyn naavel, weederom een stip: en zo met de andere deelen op dezelfde wys gissende, voortgaande:

terms translations

[suggested translation, Marije Osnabrugge:] To then make use of sketching in the best and most certain way, one should first draw the central or perpendicular line on his paper with charcoal, and make a consideration for oneself to which degree the supporting foot is the same as the principal, […] Then by guessing place a dot for the head, navel and foot: and continue with this in sketching the principal parts, from the top towards the bottom. When this is done, one will look at the principal, on which height the next figure starts more or less, saying to oneself as if teaching someone: the upper [ndr: part] of the head of the woman should be at equal [ndr: height] as the chest of the man, and then place a dot; the chin, with his navel, again a dot: and continuing like this for the other parts, guessing in a similar way:

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
terms translations

[suggested translation, Marije Osnabrugge:] To then make use of sketching in the best and most certain way, one should first draw the central or perpendicular line on his paper with charcoal, and make a consideration for oneself to which degree the supporting foot is the same as the principal, […] Then by guessing place a dot for the head, navel and foot: and continue with this in sketching the principal parts, from the top towards the bottom. When this is done, one will look at the principal, on which height the next figure starts more or less, saying to oneself as if teaching someone: the upper [ndr: part] of the head of the woman should be at equal [ndr: height] as the chest of the man, and then place a dot; the chin, with his navel, again a dot: and continuing like this for the other parts, guessing in a similar way:

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Als u nu de Schets ten ruwesten ontworpen is, en dat al de groote deelen op zyn plaats aangeweezen staan, zo zalmen het voorwerp en zyn schets, in vergelyking teegens elkanderen, met een aandachtig oordeel, een weinigje uit de hand beschouwen, om te zien, of de schikking naar behooren geplaatst is, en of de beelden haar werkinge genoeg doen; want als dat in de schets niet wel waargenoomen word, zo zalmen met de verplaatzing en verbeetering der deelen in de stellinge, zulk een groote en verdrietigen arbeid ontmoeten, dat de iever en lust van de teekening vergaan zal zyn, eer men de zelve eens half gesteld vertoonen kan. […] In het opstellen, moetmen voor al wel toe zien, dat de lossigheid der Aktien, die de schets alreede is, daar niet uit en raakt. Het welke gemakkelyk kan gebeuren, wanneer men geen agt geeft, door wat voor-deelen, de natuurlyke beweeging en werkinge der Beelden veroorzaaken.

terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

[The French translator, wrongfully, interpreted the first occurrence of werking in the sense of effect, not of action. [MO]

beweging · werking

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

[The French translator, wrongfully, interpreted the first occurrence of werking in the sense of effect, not of action. [MO]

werking · actie

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

[The French translator, wrongfully, interpreted the first occurrence of werking in the sense of effect, not of action. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

[The French translator, wrongfully, interpreted the first occurrence of werking in the sense of effect, not of action. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

Conceptual field(s)

SPECTATEUR → jugement
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

schikking · stelling

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

stelling · opstellen

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

opstellen · schikking

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] If you now have designed the sketch in its roughest form, and all the bigger parts are marked in their place, as such one shall observe the object and its sketch, in comparison to each other, with a careful judgement, a little bit in one’s hand, to see if the composition has been satisfactorily placed and if the figures sufficiently do their movement; because if this is not observed correctly in the sketch, one will find such a big and sad work for the moving and improvement of the parts in the composition, that the diligence and desire of the drawing will be lost before one can even show it partially finished. […] In the composition, one should first make sure, that the looseness of the actions that is already in the sketch, does not disappear from it. Which can easily happen, when one does not pay attention through which parts the natural movement and action of the figures are caused.

[The French translator, wrongfully, interpreted the first occurrence of werking in the sense of effect, not of action. [MO]

actie · beweging

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

Elfde Les, p. 30
[…] zo zal het niet ondienstig zyn, dat wy tot het wit en zwart Kryon, op gegrond of blauw papier, overgaan. Om een goede en vaste handelinge, op zulk papier te verkrygen, is 'er‘geen beeter middel, als zich gestaadig naar gewasse Teekeningen of playster te oeffenen, want de gewoonte zegt het spreekwoord, is een tweede natuur. Waarom wy de Leerlingen, hier verscheide weezens in playster troonien voorzetten. In plaats datmen op het wit papier, zyn voorwerpen met de Schaaduwe plagt te doen ronden, niet datmen gantsch geen Schaaduwe meer zoude behoeven te maaken: dat is de meening niet, geensints; maar hier en daar weinig, zoo het de nood vereischt

terms translations

[suggested translation, Marije Osnabrugge:] […] as such it will not be un-useful to continue with the white and black crayon on grounded or blue paper. To obtain a good and steady handling on such paper, there is no better way than to steadily practice after washed drawings or plaster, because – the saying goes – the habit is a second nature. Which is why we place several figures in plaster in front of the pupils. Instead of attempting to make the objects round by means of shadows on white paper, – not that one should no longer need to make any more shadows, that is not the opinion, not at all - but here and there a little bit, as it is necessary.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] as such it will not be un-useful to continue with the white and black crayon on grounded or blue paper. To obtain a good and steady handling on such paper, there is no better way than to steadily practice after washed drawings or plaster, because – the saying goes – the habit is a second nature. Which is why we place several figures in plaster in front of the pupils. Instead of attempting to make the objects round by means of shadows on white paper, – not that one should no longer need to make any more shadows, that is not the opinion, not at all - but here and there a little bit, as it is necessary.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] as such it will not be un-useful to continue with the white and black crayon on grounded or blue paper. To obtain a good and steady handling on such paper, there is no better way than to steadily practice after washed drawings or plaster, because – the saying goes – the habit is a second nature. Which is why we place several figures in plaster in front of the pupils. Instead of attempting to make the objects round by means of shadows on white paper, – not that one should no longer need to make any more shadows, that is not the opinion, not at all - but here and there a little bit, as it is necessary.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] […] as such it will not be un-useful to continue with the white and black crayon on grounded or blue paper. To obtain a good and steady handling on such paper, there is no better way than to steadily practice after washed drawings or plaster, because – the saying goes – the habit is a second nature. Which is why we place several figures in plaster in front of the pupils. Instead of attempting to make the objects round by means of shadows on white paper, – not that one should no longer need to make any more shadows, that is not the opinion, not at all - but here and there a little bit, as it is necessary.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

[…] zo sal met het wit Kryon, by de verheevenste partyen begonnen worden, daar het alderligsten is; als op het voorhoofd, neus, en wangen, verminderende al sachjes hoe langs hoe meer, doch niet met artzeeren, maar al schommelende, dan alleen daar het licht afneemt, en met de Schaaduwe vereenigt word, gelyk dit lachend-troonitje in de zwarte Konst aanwyst [ndr: reference to illustration], het welke naar een teekening gemaakt is, die even alzo op donker papier gehoogt was: zo doende zult gy de Schaaduwe van zelfs zien voortkomen. Neemt dan uw zwart of rood-kryt, en artzeer de Schaaduwe daar het zulks vereischt; geef dan verders de uiterste hoogzels of glans, en ook de diepzels.

terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

hoogzel

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

diepzel

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] as such the highest parts should be started with the white crayon, where it is the lightest; such as on the head, nose, cheeks, diminishing it little by little, although not with hatching but by scumbling, and only where the light diminishes and is united with the shadow, as this smiling face in the black art demonstrates, which is made after a drawing that was likewise heightened on dark paper: this why you will automatically see the shadows appear. Then take your black or red crayon and hatch the shadow where necessary; then add the extreme highlights or shine as well as the depths.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

OM tot de Zaak te koomen, zo zullen wy tot Voorwerp onzer Verhandelinge, met de Volmaakte Teekenkonst een Aanvang neemen: Nademaal dezelve, het fondament zy, waar op de Edele Schilderkonst is gegrondvest; zonder de welke niemand onmoogelyk tot Volkoomentheid kan geraken, al vroeten hy zyn leeven lang. Onderzoeken wy dan vooreerst, wat de Teekenkonst is, en vervolgens haar vermoogen, en uitwerkinge.
De Teekenkonst, is een kenbaar vertoog der dingen, van Liniamenten, door een welgeoeffende hand getrokken, op papier, op doek, of panneel:

terms translations

[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]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Het is aanmerkerswaard, dat in deze Landen, de Teekenkonst teegenwoordig zo weinig betragt word, ja zo gering en onnoodig geoordeeld, als of het maar tydquistinge was, en niet te pyne waard, om eenige moeiten, of studie aan te hangen. Daar ik in teegendeel wel anders heb moeten blokken, om wat te leeren; niet alleen in myn Jonkheid? maar tot het laatste der daagen dat my dit ongeval overgekoomen is, heb ik de weekelyke Kollegien waargenoomen, en Akadeemie Beelden naar ’t Leeven geteekent, behalven noch andere gewoontes dien ik had, van naar de Antyken, Basreleeves, en van gekleede Leeman te teekenen, gelyk dezelve Modellen of teekeningen, onder de Liefhebbers berustende, kunnen uitwijzen. En noch heb ik niet genoeg naar myn zin geweeten, om de naam van Historie-schilder te draagen. Maar wat hoef ik een Voorbeeld van myn zelver op te haalen, bleikt het niet genoeg aan de werken der oude Beroemde meesters, dat zy al haar vleit en zorg aangewend hebben, om in de Teekenkonst uit te munten, als Raphael, Michel Angelo, Karats, en meer anderen; niet alleen in ’t Menschbeeld, maar alles; zo wel Landschap, Architektuur, Konterfytzels, Bloemen, Beesjes, en wat er meer vereyst om Universeel of algemeen te zyn?

terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

universeel

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

GENRES PICTURAUX → paysage
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

GENRES PICTURAUX → portrait
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

L’ARTISTE → qualités
GENRES PICTURAUX → peinture d’histoire
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

GENRES PICTURAUX → paysage
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

In the German translation, this term is translated as 'Bild eines Menschen. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

tekening

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] It is noteworthy, that in these countries the Art of Drawing is so seldom attempted, yes judged to be so worthless and unnecessary, as if it were a waste of time, and not worth the trouble, to dedicate any effort or study to. Although I have had to work very hard, to learn something. Not only in my youth, but until the last day before this accident happened to me, I have followed the weekly classes and drawn academy figures after the life, besides the other habits that I had, of drawing after the Antique, bas-reliefs, and the dressed manikin, as these models or drawings that are in the possession of the amateurs, may show. And still I did not know enough, for my liking, to carry the name of history painter. But why would it be necessary to provide my own example, as if it does not show enough in the works of the old famous masters, that they have applied all their diligence and care to excel in the Art of Drawing, such as Raphael, Michelangelo, Carracci and many others; not only for the human figure, but everything; for landscape, architecture, portraits, flowers, animals and what else is necessary to be universal or general?

algemeen

Conceptual field(s)

L’ARTISTE → qualités

Voorwaar men hoeft zich dan niet te verwonderen, dat die Groote Meesters, haar zo veel aan de Teekening hebben laaten geleege leggen, en geen tyd of moeiten ontzien, om die volkoomentlyk te leeren, en daar door tot de hoogste top der volmaaktheid te geraaken, zynde verzeekert, dat zo zy een Eeuwige naam wilde verdienen, door dat middel dezelve zoude kunnen bekoomen. […] Hier zoude moogelyk iemand teegen werpen, dat de groote agting, die men voor zodaanige Printen en Teekeningen heeft, juist niet om de schoonheid of deugd is, maar eerder om de oudheid, voornaamentlyk, om dat zy zo quaalyk te bekoomen zyn, want het geen overvloedig en gemakkelyk te krygen is, werd doorgaans weinig geagt: welke Redeneeringe, by sommige niet onwaarschynlyk voorkoomen zou, maar myns oordeels, by de verstandige geen indruk vinden: […] Het is ook onweederspreekelyk, dat alles ’t geen volmaakt Schoon en Deugdzaam is, aldermeest gewenscht en ’t zorgvuldigste bewaard word.

terms translations

[suggested translation, Marije Osnabrugge:] Truly one does not have to be amazed that those great masters, have placed so much emphasis on the Drawing and did not waste time nor effort, to learn it perfectly, and by that way reach the highest top of perfection, being certain, that if they had wanted to deserve an eternal name, they would be able to receive it by that means. […] Here one could perhaps object that the great esteem that we have for such prints and drawings are not because of the beauty or virtue, but rather for their age, mostly, because they are so difficult to get, as that which is abundant and easy to get, is often little esteemed; which argument would not appear to be unlikely to some, but to my opinion will not receive agreement from the wise: […] It is also indisputable, that everything which is beautiful and virtuous is most sought-after and kept in the most careful way.

Conceptual field(s)

SPECTATEUR → marché de l'art
terms translations

[suggested translation, Marije Osnabrugge:] Truly one does not have to be amazed that those great masters, have placed so much emphasis on the Drawing and did not waste time nor effort, to learn it perfectly, and by that way reach the highest top of perfection, being certain, that if they had wanted to deserve an eternal name, they would be able to receive it by that means. […] Here one could perhaps object that the great esteem that we have for such prints and drawings are not because of the beauty or virtue, but rather for their age, mostly, because they are so difficult to get, as that which is abundant and easy to get, is often little esteemed; which argument would not appear to be unlikely to some, but to my opinion will not receive agreement from the wise: […] It is also indisputable, that everything which is beautiful and virtuous is most sought-after and kept in the most careful way.

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → marché de l'art
terms translations

[suggested translation, Marije Osnabrugge:] Truly one does not have to be amazed that those great masters, have placed so much emphasis on the Drawing and did not waste time nor effort, to learn it perfectly, and by that way reach the highest top of perfection, being certain, that if they had wanted to deserve an eternal name, they would be able to receive it by that means. […] Here one could perhaps object that the great esteem that we have for such prints and drawings are not because of the beauty or virtue, but rather for their age, mostly, because they are so difficult to get, as that which is abundant and easy to get, is often little esteemed; which argument would not appear to be unlikely to some, but to my opinion will not receive agreement from the wise: […] It is also indisputable, that everything which is beautiful and virtuous is most sought-after and kept in the most careful way.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
L’ARTISTE → qualités

T: […] Maar zeg eens wat is Konst, en waar in bestaat uw oeffening?
S: Alles dat my voor komt te Schilderen, wat vraagen is dat?
T: Uyt de Geest ook?
S: Wat uyt de geest, wisje wasje, neen het Leeven, de Naarbootsinge der algemeene Natuur is myn Studie.
T: Hebt gy wel naar Playster leeren Teekenen?
S: Drie jaar heb ik geteekend, maar ‘k weet van geen playster, heb ook by myn patroon niets daar van gezien, maar na fraaje printen van Blommert, Berchem, Breugel, Rubens, en andere braave Konstenaars.
T: Naar Raphael, Karats, en Pousyn ook?
S: ‘k Geloof van ja, ik heb’er zoo naauw niet opgelet. Maar wel na Teekeningen van myn Meester.
T: Hebt gy meede op ’t Kollegie naar het Naakt Model geteekent?
S: Neen.
T: Wat meent gy dan met het Leeven te Schilderen?
S: Na Leevendige menschen, Man, Vrou, Kind, Schaapen, Ossen, Koeyen, Stoelen, Kassen; ja alles dat te pas komt.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsmen]: […] But tell me, what is Art, and of what consists your practice? S [ndr: painter]: Everything that I want to paint, what kind of question is this? T: Also from the Mind? S: From the mind, what a nonsense [ndr: with the expression ‘wisje wasje’, De Lairesse brushes painting from the mind aside], no the life, the imitation of the general nature is my study. T: But have you learned to draw after plaster? S: Three years I have drawn, but I know of no plaster, nor have I seen any of it with my patron, but after beautiful prints by Bloemaert, Berchem, Breugel, Rubens and other good artists. T: After Raphael, Carracci and Poussin as well? S: I guess so, yes, I have not considered it much. But definitely after the drawings of my master. T: Have you also drawn during the classes after the nude model? S: No. T: Then what do you mean with painting with the life? S: After living people, man, woman, child, sheep, oxes, cows, chairs, cupboards; yes everything that might come of use.

leven · natuur

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsmen]: […] But tell me, what is Art, and of what consists your practice? S [ndr: painter]: Everything that I want to paint, what kind of question is this? T: Also from the Mind? S: From the mind, what a nonsense [ndr: with the expression ‘wisje wasje’, De Lairesse brushes painting from the mind aside], no the life, the imitation of the general nature is my study. T: But have you learned to draw after plaster? S: Three years I have drawn, but I know of no plaster, nor have I seen any of it with my patron, but after beautiful prints by Bloemaert, Berchem, Breugel, Rubens and other good artists. T: After Raphael, Carracci and Poussin as well? S: I guess so, yes, I have not considered it much. But definitely after the drawings of my master. T: Have you also drawn during the classes after the nude model? S: No. T: Then what do you mean with painting with the life? S: After living people, man, woman, child, sheep, oxes, cows, chairs, cupboards; yes everything that might come of use.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

T: Hebt gy ’t Mensch beeld, met alle zyn Proportien ook geteekent?
S: Ja toch, het eerste jaar al.
T: Zo kent gy die vast van buiten, en die van de Vrou ook denk ik? zonder twyffel weet gy dan mede wel, waar in die beide Proportien verschillen?
S: ‘k Geloof ja, als ik’er moeiten om doen wou, maar wat hoeft dat? die dingen wijzen zich zelfs, want als ik het leeven voor myn heb, dat volg ik zonder roemen, zo korrekt na als een draad.
T: Ja? Maar kund gy dan de gebreeken wel zien die in ’t leeven zyn, en dezelve ook verhelpen? want als men de proportie niet ter deegen weet, en waar een volmaakt beeld in bestaat, zo kan men ook niet zien of het wel is.
S: Het leeven kan niet missen; meent gy dat ik niet zien kan of iemand een Scheeve mond, Blind oog, of horlevoet heeft?
T: De proportie bestaat daar niet in, het bestaat in de Leedematen, haar lengte, dikte, en breedte.

terms translations

[suggested translation, Marije Osnabrugge:] T: [ndr: draughtsman] Have you also drawn the human figure, with all its proportions? S: [ndr: painter] Yes, certainly, already during the first year. T: So you must know it inside out, and that of the woman as well, I presume? Without a doubt you also know very well, how both these proportions differ? S: I believe so, yes, if I would put some effort into it, but why would I? Those things are self-explanatory, because when I have the life in front of my, then I imitate without hesitation, as correctly as a thread. T: Yes? But are you able to recognize the errors that are in the life and resolve them? Because if one does not know the proportion thoroughly, and of which a perfect figure consists, then one cannot see whether it is good, either. S: The life cannot miss; Do you mean I cannot see whether someone has a crooked mouth, blind eye or club foot? T: That is not what the proportion consists of, it consists of the body parts, their length, thickness and width.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

T: Hebt gy ook wel kleeren naar de leeman geschilderd?
S: Ja dat heb ik eens gedaan, maar het is zulk een gefutzel: en wat de kleeding aangaat, dat luistert zo naau niet. Maar de Kouleuren suiver te temperen, en aan te leggen, dat is wat moejelyk voorme, en ook om een ding glat te verdreiven: want het is ellendig datmen zo qualyk zagte vis-penceelen kreigen kan.
T: Neen dat schort u niet, gy verdreift u dingen al heel zagjes.
S: Ja weet gy dat, het is de ziel van de konst een gladde en malsse penseel; Ik meen dat het myn ook veel moeiten gekost heeft, want ik ontzie geen tyd, tog dat is ’t waar ’t meest om te doen is;

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Have you also drawn clothing after the manikin? S [ndr: painter]: Yes, I have done this once, but it is such a bother: and what the clothing is concerned, that is not so important. But to mix the colours purely, and build them up, that is a little hard for me, and also to diminish a thing smoothly: because it is miserable that it is so difficult to find soft fish-brushes. T: No, that is no problem for you, you already diminish your things very smoothly. S: Yes, do you know, a smooth and tender brush is the soul of art: I think it took me a lot of effort, because I took my time, yet that is what it is all about;

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Have you also drawn clothing after the manikin? S [ndr: painter]: Yes, I have done this once, but it is such a bother: and what the clothing is concerned, that is not so important. But to mix the colours purely, and build them up, that is a little hard for me, and also to diminish a thing smoothly: because it is miserable that it is so difficult to find soft fish-brushes. T: No, that is no problem for you, you already diminish your things very smoothly. S: Yes, do you know, a smooth and tender brush is the soul of art: I think it took me a lot of effort, because I took my time, yet that is what it is all about;

In the German translation, this term is replaced by the expression 'nach dem Leben'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Have you also drawn clothing after the manikin? S [ndr: painter]: Yes, I have done this once, but it is such a bother: and what the clothing is concerned, that is not so important. But to mix the colours purely, and build them up, that is a little hard for me, and also to diminish a thing smoothly: because it is miserable that it is so difficult to find soft fish-brushes. T: No, that is no problem for you, you already diminish your things very smoothly. S: Yes, do you know, a smooth and tender brush is the soul of art: I think it took me a lot of effort, because I took my time, yet that is what it is all about;

In the German translation, this term is replaced by the expression 'nach dem Leben'. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Have you also drawn clothing after the manikin? S [ndr: painter]: Yes, I have done this once, but it is such a bother: and what the clothing is concerned, that is not so important. But to mix the colours purely, and build them up, that is a little hard for me, and also to diminish a thing smoothly: because it is miserable that it is so difficult to find soft fish-brushes. T: No, that is no problem for you, you already diminish your things very smoothly. S: Yes, do you know, a smooth and tender brush is the soul of art: I think it took me a lot of effort, because I took my time, yet that is what it is all about;

In the German translation, this term is replaced by the expression 'nach dem Leben'. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

T: Wat ik nog verder vraagen moet, de perspektief die hebt gy al vast doeje niet, en van wie geleerd?
S: Daar weet ik niet af.
T: Wel hoe maakt gy ’t dan om iets in perspektief te brengen?
S: Dat valt van zelfs toe: Men moest ook wel onnoozel weezen, alsmen niet wist, dat de dingen die ver zyn, verkleenen, endat een vierkante Taafel op sy, zo breed niet is, als voor.
T: Maar hoe veel dat alles verkleend, zonder Oogpunt, Planum, of Distantie, daar spreek ik van

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: What else I need to ask, you must have certainly learned the perspective, didn’t you, and from whom? S [ndr: painter]: I know nothing about it. T: But how do you bring something in perspective, then? S: It happens automatically: You have to be really stupid, if you don’t know, that the things that are far away, become smaller, and that a square table is just as wide from the side as at the front. T: But I am talking about how much all of that is made smaller, without point of view, planum or distance.

Conceptual field(s)

EFFET PICTURAL → perspective

T: Nu nog, maar ik seg dat het my veels te vroeg is, ‘k laat staan voor u. Eerst moet ik myn zinnen nog wat scherpen, en myn ooge zuiver hebben. Dan een Italiaanze Rys aangevangen, om in de Konstwerken der oude en doorlugtige meesters, ( zo Beeldhouwers als Schilder,) te zien wat ik kan, en wat my noch ontbreekt. Maar zo gy wild, gaan wy t’zaamen over 2 a 3 jaar, ondertusschen zullen wy ons best doen, om noch wat te leeren, gy in ’t teekenen, en ik in ’t Schilderen: want het is loffelyker een goed Teekenaar te zyn, als een slegt Schilder. Daar worden ook weinige Schilders gevonden die wel Teekenen, maar meer die een goede Koloriet hebben. De Teekening is gelyk een vorm, zo die goed is, zo zyn mede al de gietselen die der uitkoomen goed, dog isse gebrekkelyk, zo deugt ‘er niets van alles watter uitkomt.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

SPECTATEUR → perception et regard
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

L’ARTISTE → qualités
PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

L’ARTISTE → qualités
PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: And still, I tell you it is far too early for me, let alone for you. First I will need to sharpen my senses a bit more and obtain a pure eye. Then undertake an Italian journey, to see in the art works of the ancient and illustrious master (both sculptors and painters) what I am capable of and what I am still lacking. But if you want, we can go together in about two or three years, in the mean time we will do our best, to learn some more, you in drawing and me in painting: because it is more praiseworthy to be a good draughtsman, than a bad painter. Few painters can be found who draw well, but more who have a good colouring. The drawing is like a mold, if it is good, then all the casts that come from it are good, but if she is faulty, then all that comes from it is no good.

Conceptual field(s)

SPECTATEUR → perception et regard
L’ARTISTE → qualités

O Bedroefde tyd, O Amsterdam, waar is uw eertyds oude luister? Hoe zyt gy zo vervallen? Is ‘er geen lust of eerprikkeling meer in uwe onderdaanen? De Edele Schilderkonst die voor dezen in zulk een aanzien en agting gehouden wierd, werd nu niet meer in waardigheid noch om haar Deugden, betracht of gelieft, maar alleen uit nood en in schyn. Wat plachtmen de vertrekken, van uwe schoone Bouwgevaartens, O roem van Europa, met heerlyke konststukken te zien pronken, tot vermaak, verwondering, en leerzaame voorbeelden der aanschouweren.

terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

SPECTATEUR → perception et regard
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

SPECTATEUR → perception et regard
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] O dreaded time, O Amsterdam, where is your former glory? How did you decay so much? Is there no more desire or stimulus for honour in your inhabitants? The noble Art of Painting that used to be held in such regard and esteem, is no longer practiced or loved in dignity nor for its virtues, but only out of necessity and for its appearance. How one longs to see the rooms of your beautiful buildings, O glory of Europe, to be shining with delightful works of art, for delight, astonishment and instructive examples of its beholders.

Conceptual field(s)

SPECTATEUR → perception et regard

De Teekenkonst zullen wy in tweën verdeelen, als jong en oud, ieder in ’t zyne volmaakt. De eerste zynde de jongste, zal ik Modern, en de tweede als oudse, Antik, noemen, welke laatste wy tot voorwerp onzer verhandleinge verkoozen hebben, als zynde de volmaakste.

terms translations

[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.

oud
modern · jong

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
CONCEPTS ESTHETIQUES → antique
terms translations

[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.

modern
antiek · oud

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

jong
antiek · oud

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

antiek
modern · jong

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Ten anderen, zo moetmen de Volmaakte Teekenkonst, Proportie, Anathomie, Aktie, Kleedinge, de Graacelykheid van ’t alderschoonste Naakt, en meer andere Deugden verstaan, eermen dezelve werken, met een keurig oog kan beschouwen. Wat de Proportie aangaat, die hebben zy zo wonderlyk wel na de waardigheeden der Beelden weeten te verkiezen, dat’er geen Konstenaar in de waereld iets op te zeggen kan hebben, ja zodanig, dat de Goden, met noch een byzondere omtrek geteekent zyn, zo welstandig en heerlyk, dat alle kenders aanstonds kunnen zien, dat’er meerder Groots en Gracelykheid in speeld, als die der andere beelden. Een Schilder kan dan niet beeter doen, om dezelve weetenschap te doorgronden, als het welgemaaktste Model dien hy krygen kan, met een zelve Aktie gesteld, op zyn alderkorrektste, en suiverste naar te teekenen.

terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

SPECTATEUR → jugement
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, one should understand the perfect Art of Drawing, proportion, anatomy, action, drapery, the gracefulness of the most beautiful nude, and many other virtues, before one can observe its works with a judicious eye. What the proportion is concerned, they [ndr: the ancient artists] have been able to select it so perfectly after the dignity of the figures, that no artist in the world can say anything about it, yes to such a degree that the gods have been drawn with a special contour, so harmonious and delightful, that all connoisseurs can immediately recognize that there is more greatness and gracefulness in them, than in the other figures. A painter can do nothing better, to comprehend its knowledge, than to draw in the most correct and pure way after the most well-made model that he can get, posed with a similar action.

Conceptual field(s)

De moderne Teekenkonst is, diemen van jongs op leerd, door een natuurlyk begrip, en oeffening der handen, dewelke zo noodzaakelyk is, datmen onmoogelyk tot de tweede kan koomen, dan alvoorens haar, korrekt en vast te kennen, als zynde de grondslag van t’geheel. […] is voor zo ver een goed modern teekenaar, dewyl niet meer vereyscht wordt, als een eenvoudige imitatie, of naarbootzing, zonder het minste af, of toe te doen; Zy vraagt, nog wijst niet, wat goed en kwaad is in de voorwerpen? maar laat haar vergnoegen, als zy zo ver zyn, wyzende hen lieden dan verders, een trap hooger, naar haar Zuster Antik, die ouwer en wyzer is: Dat’s voor zoveel de moderne, en Algemeene Teekenkonst betreft, als zynde noodzaakelyk.

terms translations

[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.

modern

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[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.

nabootsing

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[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.

antiek

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

imitatie

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[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.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[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.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Laaten wy nu onderzoeken, waarom deeze tweede teekenkonst, zynde t’Antik, volmaakter is als haar Zuster? Voor eerst in de Theorie, of kennis, ten tweede in de praktyk. De eerste is een gemeene kennis, […] Wat deeze schrandere Antik van de Teekenaar noch verder eyscht, is een vaste kennis der proportien, haar legte en breedte: niet alleen Geometraal of platformig, maar rond, en met zyn verkortinge, na de perspektief, met behoorlyke dag en schaaduwe. Verders een goede Kontraste, dat is een ordentelyke teegenstelling der leeden in de voorwerpen, beweegelyk en onbeweegelyk, als Boomen, Bloemen, Beesten, doch voornamentlyk het Menschbeeld. Welker beweeginge gemakkelyk, en na de verscheide hartstogten, veranderlyk en natuurlyk, moeten vertoont worden. de kleederen wel geschikt, de stoffe dik of dun, de plooyen groots of simpel, overeenkomende met de waardigheid der perzoonen. […] En eindelyk een naauwe Expressie of uitdrukkinge, van t’geen schoon en uitgeleezen is.

terms translations

[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.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
CONCEPTS ESTHETIQUES → antique
terms translations

[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.

Conceptual field(s)

terms translations

[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.

theorie
praktijk

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → règles et préceptes
terms translations

[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.

theorie · kennis

Conceptual field(s)

terms translations

[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.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[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.

kennis
praktijk

Conceptual field(s)

L’ARTISTE → règles et préceptes

T: […] Oeffent dan voor eerst, naar al het fraaiste dat hier te krygen is, zo Teekeningen, als Printen; voornamentlyk naar de Statuaas, en Basre-leeves van Perrier, zo naakt als Gekleed; neemende voor al wel acht, op de byzondere drachten, Cieraaden, en Ornamenten daar in gebruikelyk: Playsterbeelden, Gekleede Leeman; ’t Naakte Leven &c.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Then first practice all the beautiful things that can be found here, such as drawings and prints; especially after sculpture and bas-reliefs by Perrier, both nude and dressed; paying special attention to the specific dress, jewels, ornaments that are common in them: plaster statues, dressed manikin, the nude life etc.

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → outils
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Then first practice all the beautiful things that can be found here, such as drawings and prints; especially after sculpture and bas-reliefs by Perrier, both nude and dressed; paying special attention to the specific dress, jewels, ornaments that are common in them: plaster statues, dressed manikin, the nude life etc.

Conceptual field(s)

L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Then first practice all the beautiful things that can be found here, such as drawings and prints; especially after sculpture and bas-reliefs by Perrier, both nude and dressed; paying special attention to the specific dress, jewels, ornaments that are common in them: plaster statues, dressed manikin, the nude life etc.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Then first practice all the beautiful things that can be found here, such as drawings and prints; especially after sculpture and bas-reliefs by Perrier, both nude and dressed; paying special attention to the specific dress, jewels, ornaments that are common in them: plaster statues, dressed manikin, the nude life etc.

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition de la gravure
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Then first practice all the beautiful things that can be found here, such as drawings and prints; especially after sculpture and bas-reliefs by Perrier, both nude and dressed; paying special attention to the specific dress, jewels, ornaments that are common in them: plaster statues, dressed manikin, the nude life etc.

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin

[…] gelyk het veel maalen komt te gebeuren, dat in plaats van daar iets fraais en byzonders te leeren, gy een gantsche tyd genoodzaakt bent, om voor een geringe prys, daar gy naulyks het leeven mee op kund houden, op de Galey te Schilderen zoo als men ’t daar [ndr: in Rome] noemt; hier zegtmen voor Keelbeulen werken. Daar leid dan al u voorige Oeffening in d’as, en gy vind geen middel om u daar uit te redden: Invoegen gy al u Leeven een Broddelaar en Klad-aap blyft.

terms translations

[suggested translation, Marije Osnabrugge:] […] as it frequently happens, that – instead of learning something beautiful and special – you are for a long time forced to paint in the galleys, as it is called there [ndr: Rome], for a low price on which you can barely stay alive; it is called to work for executioners. There you run all former practice to the ground and you cannot find a way to save yourself from it, meaning you will stay a botcher and daubing-monkey all your life.

kladaap

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] as it frequently happens, that – instead of learning something beautiful and special – you are for a long time forced to paint in the galleys, as it is called there [ndr: Rome], for a low price on which you can barely stay alive; it is called to work for executioners. There you run all former practice to the ground and you cannot find a way to save yourself from it, meaning you will stay a botcher and daubing-monkey all your life.

broddelaar

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] as it frequently happens, that – instead of learning something beautiful and special – you are for a long time forced to paint in the galleys, as it is called there [ndr: Rome], for a low price on which you can barely stay alive; it is called to work for executioners. There you run all former practice to the ground and you cannot find a way to save yourself from it, meaning you will stay a botcher and daubing-monkey all your life.

Conceptual field(s)

T: Lang, Maager, Kort, Dik, Scheef, of Krom; de Proportie is, en blyft altyd de zelve, dat ’s te zeggen, het beeld zeeven hoofden lang; Armen, Beenen, Handen, en Voeten desgelyks, ja tot de minste gedeeltens toe.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Tall, skinny, short, fat, lopsided or bent; the proportion is and remains always the same, that is to see, the figure seven heads tall; arms, legs, hands and feet the same, yes until the smallest parts.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

T: [...] Maar hoor, als gy de Proportie beelden eens vast in u memorie hebt, zo zult gy allengskens gewent worden, om de passer niet meer met de hand; maar met het oog te gebruiken.
S: Nu begrijp ik watmen te verstaan wil geeven, alsmen zegt, dat de Beeldhouwer de passer in de hand, en de Schilder dezelve in ’t oog moet hebben. Waarlyk ik bevind het nu ook zo, want dat rond en verheeven is, al is het nog zo krom of geboogen, zo kunnen zy ’t met de passer afmeeten; het geen met een geschilderd beeld onmoogelyk gedaan kan worden. Zo dat ik hier uit bemerk, dat het meerder Konst moet weezen te werken met de Geest dan met de handen. Och had myn Meester my al dees dingen gezegt, zo had ik ’t nu al lang geweeten.
T: Hy heeft u moogelyk noch zo ver niet geoordeeld om die zaaken t’openbaaren, of gy hebt door achteloosheid, geen opmerkinge genoeg genoomen, en dan leidmen gemeenlyk, de schuld op de meester. Een Leerling die gaau van begrip, werkzaam, en oplettende in zyn doen is, geeft groote hoop om een braaf meester te worden, te meer als hy in zyn jonkheid door een goede onderwyzinge, ondersteund geworden is. Maar zo hy geen voorzichtigheid, noch goede Memorie heeft; zo koomen hem die drie hoedaanigheeden niet te staade. Want de Voorzichtigheid is het oog der ziel, de Bloem eener Plant, en het spits eener schicht. Maar goede Onthoudinge is het voornaamste.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → apprentissage
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → apprentissage
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

onthouding

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

memorie

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: But listen, as soon as you have the proportion [ndr: of] figures fixed in your memory, you will gradually become accustomed to no longer use the compass with the hand but with the eye. S [ndr: painter]: No I understand what they want to say, when they say that the sculptor has to have the compass in the hand and the painter in the eye. I am truly agreeing, because that which is round or elevated, no matter how crooked or bent it is, they are able to measure it with the compass; which cannot be done with a painted figure. So I conclude from this, that it is more artful to work with the mind than with the hands. Oh, if only my master had said these things, I would have known them a long time ago. T: Possibly, he did not deem you advanced enough to reveal those things, or you have not noticed it because of carelessness, and then the master is generally blamed. A pupil who is quick-witted, diligent and attentive in his ways, gives great hope to become a good master, more so if he has been supported by good instruction since his childhood. But if he does not possess carefulness, nor a good memory; then those three characteristics will not be apparent. Because the Carefulness is the eye of the soul, the flower of a plant and the point of a beam. But a good Memory is the most important.

Conceptual field(s)

L’ARTISTE → qualités

Nademaal de Teekenkonst, gelijk ik aangeweezen heb, het fondament zy, waar op de Schilderkonst vast steund; zo is ’t desgelyks onweederspreekelijk, dat de Perspektief de grondregel is van de Teekenkonst, buiten de welke niemand, onmoogelyk een vast Teekenaar kan worden, […] De Teekenaars, kunnen zonder kennisse der zelve, onmoogelyk tot de Schilderkonst geraakten, al konden zy noch zo deftig teekenen: Vermits het Oog-punt, Plaanum, en Distantie, alleen de wegwijzers zyn. Een zeeker Schrijver zegt, dat de Schilderkonst en Perspektief, een zelve zaak zy; om dat’er geen Schildery zonder Perspektief is. Het geene wel ten deelen, maar niet geheel waar gemaakt zou konnen werden: Nademaal de Voorwerpen die niet zonder Schaaduwe kunnen zyn, daarom niet een en ’t zelfde als de Schaaduwe is. Maar dit is een vaste stellinge die op reeden steund, dat een Schilder de Perspektief in geen zyner werken voorby kan gaan; hy kan geen streep trekken, ja niet eenen streek met de Penseel haalen, of het moet met de zelve over een koomen. Zy steld de maat der dingen, en doet de Kouleuren voortkomen of wegwijken, in plaats van ’t Schildery dat het ook is. Waarom een Konstenaar de grondreegulen der Perspektief voor al moet kennen. [...] De grootste Meesters in Italien, zyn zodaanig van gevoelen, dat men onmoogelyk een ordentelijke gedachten opstellen, of voortbrengen kan, daar al de Konst-reegulen in gebruikkelyk, niet uit de grond opgehaald werden. Nochtans zegt men dat Raphaël zelfs, in eenige Teekeningen, de Perspektief versloft heeft, schoon hy dezelve wel verstond. Michel Angelo in tegendeel, heeft niets daar van geweeten, waar over hy meenigmaal van d’een en d’ander berispt geworden is.

terms translations

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

Conceptual field(s)

EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

Conceptual field(s)

EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

Conceptual field(s)

L’ARTISTE → règles et préceptes
EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] While the Art of Drawing, as I have shown, is the foundation on which the Art of Painting firmly leans; it is likewise undeniable that the perspective is the principal rule of the Art of Drawing, without which nobody can ever become a steady draughtsman, […] Without knowledge of it, draughtsmen can impossibly reach the Art of Painting, no matter how nicely they could draw: As the point of view, planum [ndr: surface] and distance are the only signposts. A certain author says, that the Art of Painting and the perspective are one and the same; as there is no painting without perspective. Which can be found to partially, but not entirely, true: Although objects cannot be without a shadow, they are not the same as the shadow. But it is a strong argument which is built on reason, that a painter cannot by-pass perspective in any of his works; he cannot draw a line, yes not even draw one stroke with his brush, or it has to agree with it. She sets the measure of things and makes the colours come forth or recline, wherever it is in the painting. Which is why an artist should foremost know the principal rules of perspective. […] The greatest masters in Italy are of the opinion that one can impossibly compose or bring forth an orderly thought, if all the art rules that are used in it are not coming from the basis. Nonetheless they say that even Raphael has neglected the perspective in some drawings, although he understood it. Michelangelo on the other hand, knew nothing about it, for which he was frequently reproached by some or another.

Conceptual field(s)

EFFET PICTURAL → perspective

Laaten wy in dit Hoofdstuk eens aanmerken, wat voordeel een doorlugtig Teekenaar, booven een gemeene, of Moderne kan behaalen: naamentlyk, dat hy door de kennis van ’t Proportie-beeld, uitdrukkelyk weet te verbeelden, niet alleen ’t gemeen of Moderne Schoon, maar daar en booven het uitgeleesen, en ’t volmaakste, geevende ieder het zyne klaarlyk te kennen, Koningen, Prinssen, Vorsten, Helden, Goden &c.

terms translations

[suggested translation, Marije Osnabrugge:] Let us consider in this chapter, which advantage an illustrious draughtsman could obtain above a general or modern one: namely, that he will certainly know – because of the knowledge of the proportion [ndr: of the] figure – to depict not only the common or modern beauty, but moreover the exquisite and the most perfect, clearly giving each its own, kings, princes, royals, heroes, gods etc.

gemeen

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Let us consider in this chapter, which advantage an illustrious draughtsman could obtain above a general or modern one: namely, that he will certainly know – because of the knowledge of the proportion [ndr: of the] figure – to depict not only the common or modern beauty, but moreover the exquisite and the most perfect, clearly giving each its own, kings, princes, royals, heroes, gods etc.

modern
doorluchtig

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Let us consider in this chapter, which advantage an illustrious draughtsman could obtain above a general or modern one: namely, that he will certainly know – because of the knowledge of the proportion [ndr: of the] figure – to depict not only the common or modern beauty, but moreover the exquisite and the most perfect, clearly giving each its own, kings, princes, royals, heroes, gods etc.

gemeen

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Let us consider in this chapter, which advantage an illustrious draughtsman could obtain above a general or modern one: namely, that he will certainly know – because of the knowledge of the proportion [ndr: of the] figure – to depict not only the common or modern beauty, but moreover the exquisite and the most perfect, clearly giving each its own, kings, princes, royals, heroes, gods etc.

Conceptual field(s)

L’ARTISTE → qualités

Doch het is niet alleen genoeg, dat men de Theorie, of kennis van deeze dingen weet, maar de Praktyk of Handelinge, moet’er by zyn.

terms translations

[suggested translation, Marije Osnabrugge:] Yet it does not suffice, that one knows the theory or knowledge of these things, but the practice or handling should be present too.

praktijk
theorie · kennis

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Yet it does not suffice, that one knows the theory or knowledge of these things, but the practice or handling should be present too.

theorie
praktijk · handeling

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] Yet it does not suffice, that one knows the theory or knowledge of these things, but the practice or handling should be present too.

handeling
theorie · kennis

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Yet it does not suffice, that one knows the theory or knowledge of these things, but the practice or handling should be present too.

kennis
praktijk · handeling

Conceptual field(s)

L’ARTISTE → règles et préceptes

Voor myn besluit zal ik hier nog iets aanmerken, weegens vierderly byzondere manieren der Oude Antiken.
D’eerste Stark, Kloek, en Robust; dezelve is naagevolgt, door Michel Angelo, Karats, en ’t heele School van Boulogne; welke manier eigentlyk , van de Stad Atheenen oorspronkelyk is.
De tweede, Swak en Vrouwagtig, welke waargenomen wierd door Jan de Boullogne, en meer anderen; die men oordeeld van Korinthen afkomstig te zyn.
De derde, vol van Teeder en Bevalligheid; die men voorgeeft dat Apelles, Phidias en Praxitieles gevolgt hebben, welke manier in zeer groote agtinge gehouden wierd, en vast steld van Rhodes oorspronkelyk te weezen.
Met de vierde, wijst ons aan een grootse ommetrek, als mede Natuurlyk, Seedig en Korrekt; zynde naagevolgt door Raphaël, Pousyn, &c. en is afkomstig van Siconien, een stad uit Peloponnesen: is eygenthlyk zo tot volmaaktheid geraakt, om dat uit ieder manier het beste gekoozen is, en by een gevoegt is.

terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] For my conclusion I will discuss some things regarding the four specific manners of the old ancients. The first, strong, potent and robust; it is followed by Michelangelo, Carracci and the entire Bolognese school; which manner actually originated from the city of Athens. The second, weak and feminine, which was observed by Giambologna and many others; which one believes to come from Corinth. The third, full of tenderness and grace; which is thought to be followed by Apelles, Phidias and Praxiteles, which manner is held in very high esteem and is considered to originate from Rhodes. With the fourth, it shows us a great contour, as well as natural, virtuous and correct; being followed by Raphael, Poussin, etc. and originates from Sicyon, a city in the Peloponnesus: actually came to such perfection because the best was selected from each manner and combined.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

T: Wel Jongman, hoe gaat het, hebt gy al een begin gemaakt van de Perspektief?
S: Ja toch, noch drie a vier lessen dan ben ik ‘er deur, ik kan reeds myn Planum slaan, Oogpunt en Distantie vinden, alle dingen over end zetten, en haar verkorting mede: wel te verstaan, voor zo ver de onlichaamelijke voorwerpen betreft, zonder Schaaduwe.
T: Het is in alle dingen zo. Eerst de fondamenten, daar na volgt de Elevatie, of verheevenheid, en eindelyk de lichaamen met haar schaaduw en slagschaaduwe, welke de Perspektief-Praktyk genoemt word.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: So young man, how are you, have you made a beginning with the perspective? S [ndr: painter]; Yes certainly, another three or four lessons and I will be through with it, I can already make my planum [ndr: surface], view point and find the distance, place all things upward as well as their foreshortening: to be clear, for as far as the non-bodily objects are concerned, without shadow. T: It is the same for all things. Frist the foundations, then the elevation follows and finally the bodies with their shadow and cast shadow, which is called the practical perspective.

Here, as in the Groot Shcilderboek, De lairesse makes a subtle distinction between the knowledge and the execution of perspective. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: So young man, how are you, have you made a beginning with the perspective? S [ndr: painter]; Yes certainly, another three or four lessons and I will be through with it, I can already make my planum [ndr: surface], view point and find the distance, place all things upward as well as their foreshortening: to be clear, for as far as the non-bodily objects are concerned, without shadow. T: It is the same for all things. Frist the foundations, then the elevation follows and finally the bodies with their shadow and cast shadow, which is called the practical perspective.

Here, as in the Groot Shcilderboek, De lairesse makes a subtle distinction between the knowledge and the execution of perspective. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective

T: Wel aan, begeef u dan met den eersten in het Kollegie naar het naakte leeven te teekenen, want daar door is het, dat van al ’t geen gy tot noch toe geleerd hebt, verzeekert zult werden. Het onbeweegelke hebt gy genoegzaam in u magt, maar het beweegelyke, zult gy in ’t naakt Modél moeten vinden. En wilt, of kund gy noch een tusschen tyd vinden, als gy de Perspektief verstaat, zo kyk somtyts in het Anathomie-boek van vander Gragt, daar zult gy baat by vinden.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Very well, then go at once draw after the nude life in the College, as all that which you have learned so far will be ascertained by this. The unmovable you master satisfactorily, but the movable you will have to find in the nude model. And if you want or can find some spare time, once you understand the perspective, do sometimes look in the anatomy book by Vander Gragt [ndr: Jacob van der Gracht], it will be of use to you.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Very well, then go at once draw after the nude life in the College, as all that which you have learned so far will be ascertained by this. The unmovable you master satisfactorily, but the movable you will have to find in the nude model. And if you want or can find some spare time, once you understand the perspective, do sometimes look in the anatomy book by Vander Gragt [ndr: Jacob van der Gracht], it will be of use to you.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Very well, then go at once draw after the nude life in the College, as all that which you have learned so far will be ascertained by this. The unmovable you master satisfactorily, but the movable you will have to find in the nude model. And if you want or can find some spare time, once you understand the perspective, do sometimes look in the anatomy book by Vander Gragt [ndr: Jacob van der Gracht], it will be of use to you.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

T: […] Hierom behooren wy niet al te voortvaarende in onze loffelyke oeffening te weezen, en ons niet laaten vervoeren, om straks het einde daar van te zien; Maar wy moeten bedacht, voorzichtig, en te gelyk bezorgt zyn, alzo dat de Naarstigheid, met de rypigheid vermengt zynde, gesteld worde tusschen traagheid en rassigheid: Waar uit dan een prysselyke Naarstigheid voortkomt. Daarom zegt Aulus Gellius zeer wel, om een Zaak wel uit te voeren, moet by de snelle naarstigheid, de traage vlytigheid gevoegt worden.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: […] Therefore we do not need to be too expeditious in our laudable practice, and let ourselves not get carried away, to later see the end of it; But we should simultaneously be thoughtful, careful and concerned that the Diligence, mixed with maturity, is placed between slowness and quickness: from which a praiseworthy diligence will then spring forth. This is why Aulus Gellius says very well: to execute something well, a slow industriousness should be added to a quick diligence.

Conceptual field(s)

L’ARTISTE → qualités

T: Neen vriend slegter is het niet, beziet het wel met aandacht; ’t is zo eel niet gesneeden, maar het is van Teikening en korrektheid der Muskulen, niet minder als d’ander.
S: Is het wel in ’t Leeven zo? myn dunkt dat’er de Vleizigheid zo wel niet in is, als die geene welke ik van Rubbens, Jordaans, en meer anderen gezien heb. Het komt my voor, eeven als de gevilde Menschen, of gelyk dat Beeld die gy my van de Anathomie geleent hebt.
T: Daarom laat ik ze u ook zien: niet om te zeggen, datmen die zo naarvolgen moet; maar alleen om de vastigheid van teikening die daar in is; waardoor gy merken kund wat voordeel iemand heeft, die ’t wel verstaat; ja zo, dat hy naar een Modél, alderhande stand van menschen, ’t zy vet, maager, jong, oud, kloek, robust, met weinig moeiten kan teikenen of verbeelden.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: No friend, it is not worse, observe it well with attention; It has not been cut that nobly, but it has design and correctness of the muscles, no less than the other. S [ndr: painter]: Is it really like this in the life? I think that the fleshiness is not so good in it, as the one which I have seen in Rubens, Jordaans and others. It appears to me to be similar to the skinned humans, or like that figure that you have lent me from the anatomy. T: This is why I show them to you now, not to say that they should be imitated like that; but only because of the firmness of drawing that is present in it; by which you can notice what an advantage someone has, who understands it well; yes, in such a way, that he is able to draw or depict without much effort all sorts of postures of men after a model, whether fat, skinny, young, old, strong, robust.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: No friend, it is not worse, observe it well with attention; It has not been cut that nobly, but it has design and correctness of the muscles, no less than the other. S [ndr: painter]: Is it really like this in the life? I think that the fleshiness is not so good in it, as the one which I have seen in Rubens, Jordaans and others. It appears to me to be similar to the skinned humans, or like that figure that you have lent me from the anatomy. T: This is why I show them to you now, not to say that they should be imitated like that; but only because of the firmness of drawing that is present in it; by which you can notice what an advantage someone has, who understands it well; yes, in such a way, that he is able to draw or depict without much effort all sorts of postures of men after a model, whether fat, skinny, young, old, strong, robust.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

T: Waarom ik nu deze printen van Mantegna en Heemskerk vertoon, dat is om aan te wyzen, hoemen een generaal Konçept op ’t Papier steld, eer het Leeven gebruikt word. Want die meesters hadden dat voor een manier in ’t Schetzen haar’er naakte, jong of oud, dat zyde Muskulen en haar situatie, op zulk een wys gelyk gy ziet, met streepen of stipjes aantoonde; niet allen om te zeggen dat het zo hoord, maar daar door vaster en vaardiger te worden, gelyk het onvermydelyk moet volgen.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: Why I now show you these prints by Mantegna and Heemskerck, it is to show how one composes a general concept on paper, when the life is used. Because those masters had such a manner of sketching their nudes, young and old, that they showed the muscles and their situation in the way that you see, with lines and dots; not only to say that it should be that way, but to become more steady and capable through it, as it should unavoidably follow.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

T: Zo is ‘t; Doch gy moet dat heel anders verstaan, het is wel waar voor ’t geene de handeling van ’t Kreon betreft; maar daar men hem [ndr: Annibale Carracci] in pryst, raakt voornamentlyk de Proportie, Ommetrek, en Muskulen: niet geaffekteert als d’eerste, maar Kloek.
S: Van wie was die andere dan?
T: Van Michel Angelo. Beziet deze nu.
S: Dat’s voorwaar een schoon en welgemaakt beeld, ik denk dat het mede van Karats is?
T: O neen; van Raphaël, Prins der Schilders.
S: Is dat Raphaël? Hoe eel, schoon en zeedig vertoont het zich?
T: Dat ’s waar. Nu hebt gy vierderly doorlugtige en korrekte Teikenaars gezien, en ieder byzonder van verkiezinge. Raphaël, in zeedig, en bevalligheid. Michel Angelo, Robust en sterk. Karats, kloek en deftig. Heemskerk, vast en zeeker.

terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] T [ndr: draughtsman]: That’s right; Yet you should understand it in a very different way, it is true for that which concerns the handling of the crayon; but that for which he [ndr: Annibale Carracci] is praised, mainly touches upon the proportion, contour and muscles: not affectated like the first, but strong. S [ndr: painter]: By whom was the first [ndr: drawing], then? T: By Michelangelo. Look at this one now. S: That is truly a beautiful and well-made figure, I think it is also by Carracci? T: Oh no, it is by Raphael, the prince of painters. S: Is that Raphael? How noble, beautiful and virtuous it shows itself? T: That’s right. Now you have seen four illustrious and correct draughtsmen, and all the different choices. Raphael, for virtuousness and grace. Michelangelo, robust and strong. Carracci, potent and solemn. Heemskerck, steady and certain.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Om tot de Handelinge te koomen, zullen wy voor eerst onderzoeken, wat het beoogt: namentlyk, of het zo noodzaakelyk is tot het uitvoeren van de voernoemde Konstwerken. Ten tweeden, hoe veelderly middelen daar zyn, om in ’t byzonder uit te munten. De vraag is dan, of die vier gezeide Konsten, zints een anderhalve Eeuw ( ten opsichte van het Manuaal,) niet merkelyk toegenoomen zyn, en noch meêr toeneemen, wel te verstaan, voor zo ver het uitvoeren betreft? Wy meenen van ja, en dat het onwederspreekelyk is. Voor eerst, hebben wy onder de Teikenaars, ontallyke voorbeelden, van vaste en suivere handelinge; [...] Waarlyk, het Manuaal is van uitsteekend groot vermogen, waneer de hand door de kennisse bestierd word: [...] Het Manuaal is, veelderly, ieder studie vereyscht het zyne.

terms translations

[suggested translation, Marije Osnabrugge:] To arrive at the different manners, we will first investigate what it aims at: namely, if it is that necessary for the execution of the aforementioned art works. Secondly, how many ways there are, to excel specifically. The question is then, whether the four mentioned arts, have considerably increased and are still increasing, since one and a half century (with regard to the manual), for as far as the execution is concerned, to be clear? We believe they are, and undeniably so. Firstly, we have countless examples amongst the draughtsmen, of a steady and pure handling; […] Truly, the manual is of extremely great force, when the hand is guided by knowledge: […] The manual is manifold, each study demands its own.

manuaal

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] To arrive at the different manners, we will first investigate what it aims at: namely, if it is that necessary for the execution of the aforementioned art works. Secondly, how many ways there are, to excel specifically. The question is then, whether the four mentioned arts, have considerably increased and are still increasing, since one and a half century (with regard to the manual), for as far as the execution is concerned, to be clear? We believe they are, and undeniably so. Firstly, we have countless examples amongst the draughtsmen, of a steady and pure handling; […] Truly, the manual is of extremely great force, when the hand is guided by knowledge: […] The manual is manifold, each study demands its own.

handeling

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Om van verscheide handelingen, de beste en bequaamste te verkiezen, en aan te wennen, zullen wy tweederly voorstellen; de eerste om naar het Modél te teekenen, en d’andere om een Ordinantie uit te voeren. De eerste vaardig en vlug; om die Redens wil, dat het Leeven of Modél, zo haast verandert, en zo net niet weêr hersteld kan worden. De tweede bedaarder, met wat meerder tyd uitgevoerd, of zuiverder gehandeld: Geevende ieder voorwerp, naar dat zy voorkomen of wegwyken, min of meerder kragt. Den een kloekmoedig handelende, en d’ander Sagt en Eel: ten einde d’eene, natuurlyker wys na by schynt, en d’ander door een dunne damp beneveld, allengskens verzwakt, en uit het gezicht verdwynt. Het welk de Teekenaar, met Kreon, Pen, of Penseel, in zyn Ordinantie te weeg kan brengen, als een Schilder met Kouleuren en Penseelen. Een Graveerder niet uitgezondert, bestaand het zelve, in een handelinge der werktuigen, en gevoel der handen.

terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] To select the best and most apt of the different manners, and get used to it, we will introduce two; the first to draw after the model, the other to execute a composition. The first [ndr: is] competent and quick; for that reason, that the life or model quickly changes and cannot easily be repaired [ndr: also: but in the same pose again]. The second [ndr: is] more modest, execute with a bit more time, or handled more purely: Providing each object, more or less power as they come forward or move away. The first handled strongly, the other soft and noble: so that the former appears closer to nature and the latter hazy by a thin mist, gradually weakened and disappearing from sight. Which the draughtsman can do with crayon, pen or brush in his composition, like a painter with colours and brushes. The Engraver not excepted, doing the same, by handling tools, and feeling of the hands.

Conceptual field(s)

L’ARTISTE → qualités

Nademaal de Handelinge van ieder studie in het zyne, het geene is, waar door de voorgemelde Konstwerken haar volkoomentheid verkrygen, zo zullen wy die van de Teikenkonst, vooreerst in ’t byzonder uitleggen, waar in die is bestaande. Wy stellen vast, dat de zin, door een vaste kennisse, de handen van de Teikenaar alleen bestierd, doch zonder de hulp van een geduurige oeffening, geen vruchten en zoude kunne voortbrengen, dan gebrekkelyk en zonder voordeel: ik zeg gebrekkelyk, ten opsichte van het uitvoeren eener gedagten; want wat kan het een Teikenaar baaten, al heeft hy noch zo een Sierlyke, Deftige, en Aangenaam Konsept ontworpen, als hy het niet naar vereysch van zaaken uitvoeren kan? Nademaal gelyk wy gezegt hebben, de handeling, alleen, in het voltoojen eens Konst stukwerks, d’uiterste bevalligheid en volmaaktheid toebrengt, waar van zyn meeste voordeel afhankelyk is.

terms translations

[suggested translation, Marije Osnabrugge:] While the handling of each study on its own is that, by which the aforementioned art works obtain their perfection, as such we will first explain the one of the Art of Drawing specifically, what it consists of. We conclude that the intention, by means of a firm knowledge, guides the hands of the draughtsman on its own, yet without the help of a steady practice it would not be able to bring forth any results, but faulty and without benefit: I say faulty, with regard to the execution of one’s thoughts; because what is the use for a draughtsman, no matter what kind of graceful, solemn, pleasant concept he has designed, if he is unable to execute it as it is required? As we have already said, the manner alone, in the execution of a piece of art, brings forth the utmost gracefulness and perfection, of which its greatest benefit is depending.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] While the handling of each study on its own is that, by which the aforementioned art works obtain their perfection, as such we will first explain the one of the Art of Drawing specifically, what it consists of. We conclude that the intention, by means of a firm knowledge, guides the hands of the draughtsman on its own, yet without the help of a steady practice it would not be able to bring forth any results, but faulty and without benefit: I say faulty, with regard to the execution of one’s thoughts; because what is the use for a draughtsman, no matter what kind of graceful, solemn, pleasant concept he has designed, if he is unable to execute it as it is required? As we have already said, the manner alone, in the execution of a piece of art, brings forth the utmost gracefulness and perfection, of which its greatest benefit is depending.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] While the handling of each study on its own is that, by which the aforementioned art works obtain their perfection, as such we will first explain the one of the Art of Drawing specifically, what it consists of. We conclude that the intention, by means of a firm knowledge, guides the hands of the draughtsman on its own, yet without the help of a steady practice it would not be able to bring forth any results, but faulty and without benefit: I say faulty, with regard to the execution of one’s thoughts; because what is the use for a draughtsman, no matter what kind of graceful, solemn, pleasant concept he has designed, if he is unable to execute it as it is required? As we have already said, the manner alone, in the execution of a piece of art, brings forth the utmost gracefulness and perfection, of which its greatest benefit is depending.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] While the handling of each study on its own is that, by which the aforementioned art works obtain their perfection, as such we will first explain the one of the Art of Drawing specifically, what it consists of. We conclude that the intention, by means of a firm knowledge, guides the hands of the draughtsman on its own, yet without the help of a steady practice it would not be able to bring forth any results, but faulty and without benefit: I say faulty, with regard to the execution of one’s thoughts; because what is the use for a draughtsman, no matter what kind of graceful, solemn, pleasant concept he has designed, if he is unable to execute it as it is required? As we have already said, the manner alone, in the execution of a piece of art, brings forth the utmost gracefulness and perfection, of which its greatest benefit is depending.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination

DE gemakkelykste en vaardigste manier, is zeekerlyk de beste, niet teegenstaande dat’er veel in ’t gebruik, en door my onderzogt zyn: als het teekenen met de Pen, Penseel, Rood of Zwartkryt, doch alle van weinich nut voor Schilders. Maar de manier van hoogen op gegrond papier, en met zwart te diepen; overtreft verre de anderen, zo in volmaaktheid, als nuttigheid: voldoende ten eersten door zyn verheeventheid ons oog, zonder datmen eenige Grond daar om hoeft te maaken. Gelykmen komt te zien aan Plaatsnyders, die zich in de zwarte-kunst oeffenen, welke haar verlustigen met schraapen op een gegronde plaats: en ’t is niet te gelooven, hoe gemakkelyk en vaardich zy daar meede voortgaan, ’t geen zy in het Etzen of Snyden, niet zouden doen.

terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

hogen

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

diepen

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure
terms translations

[suggested translation, Marije Osnabrugge:] The most easy and adequate manner, is certainly the best, notwithstanding that there are many in use and investigated by me: such as the drawing with pen, brush, red or black crayon, yet all of little use for painters. But through the manner of heightening on grounded paper, and deepening with black; it surpasses all the others, both in perfection and in usefulness: firstly satisfying our eye because of the elevation, without the necessity to make any ground for it. As it is seen from Engravers, who practice the black art, which they embellish by scraping on a grounded plate: and it is unbelievable, how easy and capably they do this, which they would not do in etching or engraving.

In the German translation, this paragraph is part of the discussion between Judicio and Probus, this statement is made by Probus. It appears that the translator made a mistake here. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Wat belangt een Konsept, of ontwerp-schets met’er vlugt te schaaduwen, daar toe is het wel de vaardigste en beste van alleen, wanneer het door een vaste, en verstandige hand geschied: zulks dat de grootste Schaaduwen, eenparig en vlak, zonder te verdryven, aangelegt zynde; een aangenaame Welstand van licht en bruin, geeft. Maar die manier van Wassen, ten opzichte voor de Plaatsnyders, om’er naa te Etzen of snyden, is teegenwoordig wel het meeste in gebruik, mits dat zo een teekening wel uitgevoerd zy.

terms translations

[suggested translation, Marije Osnabrugge:] What a concept or design-sketch is concerned, shadowing it quickly, it is the most adequate and best of all, when it is done by a steady and wise hand: in such a way that the largest shadows are build up uniform and flat, without diminishing; [ndr: which] provides a pleasant harmony of light and shadow [ndr: literally: brown]. But this manner of washing, in comparison to the engravers, to afterwards etch or engrave, is nowadays the most frequently used, if such a drawing is well-executed.

ontwerpschets

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] What a concept or design-sketch is concerned, shadowing it quickly, it is the most adequate and best of all, when it is done by a steady and wise hand: in such a way that the largest shadows are build up uniform and flat, without diminishing; [ndr: which] provides a pleasant harmony of light and shadow [ndr: literally: brown]. But this manner of washing, in comparison to the engravers, to afterwards etch or engrave, is nowadays the most frequently used, if such a drawing is well-executed.

concept

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Daar is geen beeter Manier om op wit Papier te teekenen, (’t zy Beelden of Landschap, en die zulke goede Inleidinge geeft, tot de Graveer of Etskunde,) als met Rood-aard; ’t geen lieffelyk in ’t aanschouwen, maar smettelyk in ’t handelen is, doch niet met fyne streepen, gelyk de jonge Graveerders gemeenlyk doen, of het zo genaamde Dommelen; maar het Kloeke Artzeeringe, en nooit meer dan twee of driemaal over elkanderen geslaagen, door de welke men verkrygt een vaste hand, en kennisse van ’t beloop der dingen diemen voor heeft, naar haar hoedaanigheid, rond, of kantig; als Naakt, Kleedinge, Gronden en Steenen, met de verkortinge of Perspektief: alzo doende, zullen wy het regte spoor koomen te volgen, en ongevoelig geraaken, tot de fraaje handeling van ’t wit Kreon.

terms translations

[suggested translation, Marije Osnabrugge:] There is no better way to draw on white paper, (whether figures or landscape, and which gives such good introduction to the art of engraving and etching,) than with red earth; which is lovely to see, but messy to handle, although not with thin lines, as the young engravers generally do, or the so-called dommelen; but the strong hatching – never more than two or three times on top of each other – by which one gets a steady hand and knowledge of the way of things that one intends [ndr: to make], round or sharp; such as nude, drapery, ground and rocks, with foreshortening or perspective: by doing this, we will eventually come to follow the right track and become insensitive to the beautiful handling of the white crayon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] There is no better way to draw on white paper, (whether figures or landscape, and which gives such good introduction to the art of engraving and etching,) than with red earth; which is lovely to see, but messy to handle, although not with thin lines, as the young engravers generally do, or the so-called dommelen; but the strong hatching – never more than two or three times on top of each other – by which one gets a steady hand and knowledge of the way of things that one intends [ndr: to make], round or sharp; such as nude, drapery, ground and rocks, with foreshortening or perspective: by doing this, we will eventually come to follow the right track and become insensitive to the beautiful handling of the white crayon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] There is no better way to draw on white paper, (whether figures or landscape, and which gives such good introduction to the art of engraving and etching,) than with red earth; which is lovely to see, but messy to handle, although not with thin lines, as the young engravers generally do, or the so-called dommelen; but the strong hatching – never more than two or three times on top of each other – by which one gets a steady hand and knowledge of the way of things that one intends [ndr: to make], round or sharp; such as nude, drapery, ground and rocks, with foreshortening or perspective: by doing this, we will eventually come to follow the right track and become insensitive to the beautiful handling of the white crayon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Nu is het licht af te neemen hoe vermaakelyk het is, in het Teekenen naar ’t Leeven, wanneer men een vaste Omtrek heefd, van een Enkeld of Rond voorwerp, ’t zy Konterfytzels, Naakte Beelden, Kleedinge, ja wat zoude mooge zyn; ’t geen alleen met ophoogen, ons werk verheeven maakt, ’t voorwerp gelyk doet worden, en de Schaduwe ziet voortkomen, zonder daar aan te raaken; als hier en daar des noods zynde, een diepzeltje in de donkerste holligheeden te geeven, de Reflexien daar uit te spaaren indien het zulks vereyscht: en zo de Grond wat te donker mogt zyn; zult gy met u licht, de gemelde Reflektien sagjes aanwyzen. Waar uit men wel kan afneemen, hoe veel vaardiger deeze manier, als d’anderen is: want terwyl den eenen, zyn Beeld op wit papier tykenende vaardig maakt, hebt gy’er dikwils met zulks te doen, twee of meer gedaan. En deeze Teekeninge wel uitgevoerd zynde, zyn zeekerlyk de bekwaamste om naar te Schilderen, en hoeft geen graau geschilderd Modél, ja het Leeven zelfs te wyken, wel te verstaan op de Kouleur na.

terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Now it is easy to understand how delightful it is, in drawing after the life, when one has a firm contour, of a single or round object, whether portraits, nude figures, drapery, yes whatever it may be; which makes our work elevated by heightening alone, makes the object resemble and show the shadow coming forward, without touching it; if necessary, put a little depth in the darkest hollow parts, save the reflections from it if demanded: and if the ground is a bit too dark; you will point out the aforementioned reflections with your light. From which one can easily understand, how much more adequate than the other this manner is: because although one [ndr: artist] capably makes his figure by drawing on white paper, you will have done two or more in this manner. And if these drawings are executed well, they are surely the most adequate to paint after, and no model painted in gray will have to be inferior to life itself, that is except for the colour.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

Om nu het voorzyde Gegronde Papier toe te maaken, zo zyn deeze vier dingen daar toe noodig; Eerstelyk bekwaam Papier, vast, effen en glad. Ten tweede, goede Inkt, bestendig en wel gegomt. Ten derden Italiaans kryt, Sjeft genaamt. En ten vierden, goed zwart kryt, vast en mals

terms translations

[suggested translation, Marije Osnabrugge:] Now to prepare the aforementioned grounded paper, four things are necessary; Firstly good paper, firm, even and smooth. Secondly, good ink [ndr: varnish], resistant and gummed well. Thirdly Italian crayon, called “sjeft”. And fourthly, good black crayon, firm and tender

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Het is zeer loffelyk, dat een Teikenaar zich aan de Omtrek, ten hoogsten laat geleegen leggen: doch het is zeer onnozel, alsmen meent, dat het zonder de Schaduwe zou konnen geschieden, alzo de Omtrek en de Schaaduwe, zodaanig aan elkanderen vermaagschapt zyn, dat den een zonder d’ander, niet volmaakts kan uitwerken. [...] Het is onweederspreekelyk, dat de Superfiçieele aanwijzinge of Omtrek, van eenig voorwerp, hoe die ook mogt zyn, dezelve voorwerpen niet kenbaar kan maaken, zonder hulp der Schaaduwe; want de Schaaduwe geeft de verheeven lichaamelykheid. Het is dan van de regte weg afgedwaald, niet te willen weeten, dat de Schaaduwe, de Omtrek bestant doet zyn, en de Omtrek alleen, niet meer is, als het A, B, C, in de Letterkunde, dewelke van geen d’er waarde geacht werd, als zy niet te zaamen gevoegt, en woorden uitmaaken.

terms translations

[suggested translation, Marije Osnabrugge:] It is very praiseworthy that a draughtsman pays at least some attention to the contour: yet is very stupid, if one thinks that it could be done without the shadow, as the contour and the shadow are so connected to each other, that the one cannot turn out perfect without the other. […] It is undeniable that the superficial indication of the contour of any object, however it may be, cannot indicate these objects without the help of a shadow; because the shadow provides elevated corporality. It is deviated from the right path, to be unwilling to know that the shadow makes the contour exist, and the contour alone is nothing – just like the ABC in literature, which is seen as worthless if they are not combined and form words.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] It is very praiseworthy that a draughtsman pays at least some attention to the contour: yet is very stupid, if one thinks that it could be done without the shadow, as the contour and the shadow are so connected to each other, that the one cannot turn out perfect without the other. […] It is undeniable that the superficial indication of the contour of any object, however it may be, cannot indicate these objects without the help of a shadow; because the shadow provides elevated corporality. It is deviated from the right path, to be unwilling to know that the shadow makes the contour exist, and the contour alone is nothing – just like the ABC in literature, which is seen as worthless if they are not combined and form words.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Maar als ik daar na zogt, zo bevond ik de oorzaak te zyn, de sobere kennis dien ik van de voornoemde schoonheid der Antiken had: derhalven dezelve vlytig onderzoekende, waar in die meest geleegen was, zo zag ik het Leeven, met een heel ander Oog als te vooren: en wierd doe magtig, al Teekenende naar het Naakt Modél, hier en daar, eenige verbeetering aan te doen, zonder myn gedagten eenigzints daar aan te hangen, zo te zeggen ongevoelig. Het alderbeste dan myns oordeels, om met voordeel op de Akadeemien te studeeren, is wanneer het Model taamelyk goed, en wel Geproportioneerd zy; zich t’eenemaal daar aan te verbinden, zonder het minste by te doen, of af te laaten; inzonderheid de geenen, die de schoone Bevalligheid van ’t Antik, niet volkoomen bekend is: zich ondertusschen oeffenende naar Playster, Fraaje Printen en Teekeningen, om het zelve te verkrygen, en alzo (zonder veel hoofdbreekens) te gewennen, haar Modéllen te verhelpen; zoekende hier en daar, de Deelen die u Modéllen gelyk zyn, dezelve daar na Korrigeerende: Gelyk een Borst, Dye, Arm, Handen en Voeten. Het welk doende, zo zult gy zeekerlyk de regte Kennisse daar van bekoomen, en het Antik, van ’t Modern kunnen onderscheiden, en uw Modéllen, niet teegenstaande in eenige Deelen gebrekkelyk, gelyk ik gezegt heb beschouwen, niet als het is; maar zo als ’t behoord te weezen, en al Teekenende ongevoelig verhelpen. En op des te beeter te vorderen, in deeze Oeffening naar ’t Leeven, en de naaste weg in te slaan; zo neemt u toevlugt tot de Anathomie:

terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

L’ARTISTE → apprentissage
L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

modern

Conceptual field(s)

CONCEPTS ESTHETIQUES → antique
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

MANIÈRE ET STYLE → école
CONCEPTS ESTHETIQUES → antique
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] But when I searched for it, I found the sober knowledge that I had about the aforementioned beauty of the ancients to be the reason: therefore investigating eagerly wherein it lay most, I say the life with a very different eye than before: and then became able, while drawing after the nude model, to make some improvements here and there, without putting too much thought in it, insensitive so to say. The very best, to my opinion, to study with benefit at the Academies, is when the model is rather good and well-proportioned; to commit to it at once, without adding the least, or leave out; especially those who are not perfectly familiar with the beautiful grace of the Antique: meanwhile practicing themselves after plaster casts, beautiful prints and drawings, to obtain it, and thus (without much effort) get used to improve their models; searching here and there, the parts that resemble to your models, correcting it accordingly: Such as a breast, thigh, arm, hands and feet. By doing this, you will certainly obtain the right knowledge of it, and be able to distinguish the antique from the modern, and observe your models, notwithstanding they are faulty in some parts, in the manner that I said, not how it is; but how it is supposed to be, and improving it unaffectedly. And to advance even better, in this practice after the life and continue; you rely on the anatomy [ndr: the study of the anatomy]:

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

In het Teekenen naar ’t Leeven of Naakt Modél, zyn deze voornaame dingen aan te merken: Eerstelyk een bekwaame zitplaats, of afstand van ’t Beeld. Ten tweede, de çentrale linie of eevenwigtigheid, zittende of staande. Ten derde de Deelen die Beweegelyk of werkelyk zyn, waar in de Muskulen zich kragitg vertoonen. Ten vierden, de Slagschaaduwe op ’t Planum of grond, zyn Lengte en Breedte. En ten laatsten den Horizont.

terms translations

[suggested translation, Marije Osnabrugge:] In drawing after the life or the nude model, the principal things can be remarked: Firstly an adequate place to sit or distance to the figure. Secondly, the central line or balance, sitting or standing. Thirdly, the [ndr: body] parts that are moving or working, in which the muscles show themselves strongly. Fourthly, the cast shadow on the planum [ndr: surface] or ground, its length and breadth. And finally the horizon.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] In drawing after the life or the nude model, the principal things can be remarked: Firstly an adequate place to sit or distance to the figure. Secondly, the central line or balance, sitting or standing. Thirdly, the [ndr: body] parts that are moving or working, in which the muscles show themselves strongly. Fourthly, the cast shadow on the planum [ndr: surface] or ground, its length and breadth. And finally the horizon.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

[Judicio:] Wie zal zeggen dat de Konstwerken der Chineezen, die tot heeden noch zonder Schaduw is, volmaakt zyn? ’t Is waar haar Ommetrekken zyn wel suiver en Korrekt na haar meening; maar des niet teegenstaande alles schynt plat, gelyk het ook is. En al praktiseeren zy noch duizend Jaaren, zo zullen zy ’t zonder Schaduwe niet goet maaken.

terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] Who will say that the art works of the Chinese that are up until today without shadow, are perfect? It is true that their contours are pure and correct to their opinion; but nonetheless everything appears to be flat, which indeed it is. And even if they practice for another thousand years, they will never make it right without shadow.

École chinoise

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] Who will say that the art works of the Chinese that are up until today without shadow, are perfect? It is true that their contours are pure and correct to their opinion; but nonetheless everything appears to be flat, which indeed it is. And even if they practice for another thousand years, they will never make it right without shadow.

École chinoise

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] Who will say that the art works of the Chinese that are up until today without shadow, are perfect? It is true that their contours are pure and correct to their opinion; but nonetheless everything appears to be flat, which indeed it is. And even if they practice for another thousand years, they will never make it right without shadow.

École chinoise

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Doch voor af is noodig te weeten, dat het naar ’t Leeven Teekenen, tweederly is, ’t een Noodzakelyk, en het ander Toevallig. De Noodzakelyke is, wanneer men een Ordinantie Gekonsipieert heeft, en tot het uitvoeren zelve, het Leeven behoeft. De Toevallige is die, welke men zonder Konzept (waar toe ’t gebruikt zal worden) in de Kollegien Teekent, door d’een of d’ander op gesteld.

terms translations

[suggested translation, Marije Osnabrugge:] Yet beforehand it is necessary to know, that drawing after the life is twofold, one is necessary, the other coincidental. The necessary is, when one has conceived a composition and is in need of the life to execute it. The coincidental is that which one draws without concept (for which it will be used) in the College, positioned by someone.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Yet beforehand it is necessary to know, that drawing after the life is twofold, one is necessary, the other coincidental. The necessary is, when one has conceived a composition and is in need of the life to execute it. The coincidental is that which one draws without concept (for which it will be used) in the College, positioned by someone.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

[…] zo zal ik met de Zitplaats of Afstand, eerst beginnen. Het is wel te begrypen, dat aan de Verkiezinge dezelve, veel geleegen is, om het Modél of Voorwerp, bekwaamlyk zonder Mistalligheid, in zyn geheel te zien. Voor het byzonder en Net uitvoeren, zo kan men des Noods zynde, wat naader zitten of Staan, mits het Oogpunt altyd waarneemende; ’t geen gemakkelyk zal geschieden, voor die in de Perspektief ervaaren zyn:

terms translations

[suggested translation, Marije Osnabrugge:] […] I will then first start with the place to sit or distance. It is easy to understand, that much depends on the choice itself, to adequately see the model or object as a whole without obstruction. In order to execute precisely and neatly, it may be needed to sit or stand a bit closer, while always observing the view point; which can easily be done by those who are experienced in the perspective.

This paragraph is phrased differently in the German translation of 1705. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] […] I will then first start with the place to sit or distance. It is easy to understand, that much depends on the choice itself, to adequately see the model or object as a whole without obstruction. In order to execute precisely and neatly, it may be needed to sit or stand a bit closer, while always observing the view point; which can easily be done by those who are experienced in the perspective.

This paragraph is phrased differently in the German translation of 1705. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective

De vierde, zynde de slagschaduwe op ’t planum of grond, is het onfylbaarste middel om aan te toonen, waar het Beeld, in Ordinantie geplaatst moet worden: want het wyst, of die ter regter, linker zyde, of in de midden gestaan heeft, en behoorden te staan, gelyk deze schets B aanwyst [ndr: reference to illustration].

terms translations

[suggested translation, Marije Osnabrugge:] The fourth, being the cast shadow on the planum [ndr: surface] or ground, is the most infallible way to show where the figure has to be placed in the composition: because it indicates whether it stood, and should stand, on the right or left side or in the middle, like this sketch B shows.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

De laatsten is den Horizont, zijnde van geen minder belang, ten opsichte van het gebruik, in zodaanige Teekeningen eener ordinantie, op dat d’eene Horizont met den ander, over een komt; te weeten die des models, met die van u konzept, waar in hy gebruikt word. Een zaak die door veele zeer onagtzaam werd verzuimt, denkende dat het zo naau ‘er niet op aan komt: gebruikende zo wel haar Modéllen, die met een hooge Horizond geteekend zijn, in een Ordinantie met een laage, en zo ook in tegendeel, die naar een laage, in een hooge Horizond.

terms translations

[suggested translation, Marije Osnabrugge:] The last is the horizon, being of no lesser importance, with regard to its use, in these drawings of a composition, in order that one horizon coincides with the other; that is to say the one of the model with the one of your concept [ndr: invention] in which it is used. A thing which is carelessly neglected by many, thinking that it is not so important: using both their models, which are drawn with a high horizon, in one composition with a low [ndr: horizon] and also the contrary, those with a low, in a high horizon.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

[Judicio:] [...] Denk eens wat voordeel men van het Dach Tykenen heeft, ’t geen men by de Lamp moet missen, ten opzichte van de Koloriet: gelyk de vleezige Kouleur, op de grove partyen. De Teerigheid, neevens de vermindering der Mezzetinten, op de minder vleezige. Den Geelagtigheid aan de Hals, Okzels, Buik &c. De Gloeientheid in alle sluitende ofte draaiende deelen, die zich uiterlijk in haar werkinge beweegen. Hoe veel teegenstellingen van Tinten is ‘er niet al waar te neemen, als ’t Hoofd tegens de Hals, Schouders, Borst, korte Ribben, Buik, Heupe, Dye, Knien, Beenen, Voeten, Elleboogen, Armen en Handen; ’t geen zonder ’t zien, bykans onmogelijk is te gelooven

terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] [Judicio:] […] Just think how much benefit one has from drawing by daylight that one has to miss with the lamp, with regard to the colouring: like the flesh colour, on the large parts. The tenderness, besides the diminution of the mezzotints, on the less fleshy. The yellowness on the neck, armpits, stomach etc. The glow in all the closing or moving members, how expressly move in their action. How many contrasts of tints cannot be observed, like the head against the neck, shoulders, breast, short ribs, stomach, hips, thighs, knees, legs, feet, elbows, arms and hands; which, without seeing it, is almost impossible to believe.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Eer men zich begeeven zal tot het Teikenen naar ’t Leeven, is het voor al nodig te weten, of ’t Modél bekwaam, dat is Schoon en Welgemaakt zy voor een Man van zyn Jaaren; waarom wy ’t hier niet ondienstig achten, een kleine aanwyzinge daar van te doen, hoe dezelve in ’t geheel Geproportioneerd dienden te wezen, om Schoon te noemen.
Een fraai en Welgemaakt Mans-Modél, bestaat voor eerst, in een Kloeke en volwassen Gestalten, om dezelve zo veel te bekwamer, van een reedelyke Distantie te kunnen beschouwen. Niet te Dik of te overmatig vet; maar doorgaans wet Gemuskeld. Breed van Schouders. De Rug vleezig. De Borst verheeven. De Heupen smal, doch evenwel maatig. De Buik niet zwellende. De Knieschyven duidelyk. De Beenen regt: en de Voeten weinig buitenwaarts. De Vingers lang, maar niet puntig. De Toonen desgelyks, en gesloten van de groote toon af. Wat de Troonie belangt, dat wyst zich zelfs; en dewyl geen Weezen, altoos geen eenig byzonder, van noden is, tot het naar ’t Modél Teikenen, zo komt het zo naau niet. Een mensch alzo gevonden hebbende, oordeel ik dezelve zeer dienstig om te kunnen gebruiken.

terms translations

[suggested translation, Marije Osnabrugge:] Before one moves on to the drawing after the life, it is most important to know, whether the model is adequate, that is beautiful and well-made for a man of his age; which is why we do not think it is useless, to give some indication about it, how it should generally be proportioned to be called beautiful. A beautiful and well-made male model, most of all has a strong and mature posture, to be able to study it better from a reasonable distance. Not too thick or extremely fat; but generally quite muscular. Broad shoulders. Fleshy back. Elevated chest. The hips small, yet sizable nonetheless. The stomach not bloathed. The kneecaps clearly defined. The legs straight: and the feet turned a little outwards. The fingers long, but not pointy. The toes the same, and closed from the big toe onwards. What the face is concerned, that will show itself; and while no character, that is not one in particular, is necessary for drawing after the model, it is not so important. Once such a man has been found, I think he is very convenient to use.

The German translator frequently translates ‘naar het leven tekenen’ with drawing after the model (das Modell nachzeichnen). [MO]

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Before one moves on to the drawing after the life, it is most important to know, whether the model is adequate, that is beautiful and well-made for a man of his age; which is why we do not think it is useless, to give some indication about it, how it should generally be proportioned to be called beautiful. A beautiful and well-made male model, most of all has a strong and mature posture, to be able to study it better from a reasonable distance. Not too thick or extremely fat; but generally quite muscular. Broad shoulders. Fleshy back. Elevated chest. The hips small, yet sizable nonetheless. The stomach not bloathed. The kneecaps clearly defined. The legs straight: and the feet turned a little outwards. The fingers long, but not pointy. The toes the same, and closed from the big toe onwards. What the face is concerned, that will show itself; and while no character, that is not one in particular, is necessary for drawing after the model, it is not so important. Once such a man has been found, I think he is very convenient to use.

The German translator frequently translates ‘naar het leven tekenen’ with drawing after the model (das Modell nachzeichnen). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Before one moves on to the drawing after the life, it is most important to know, whether the model is adequate, that is beautiful and well-made for a man of his age; which is why we do not think it is useless, to give some indication about it, how it should generally be proportioned to be called beautiful. A beautiful and well-made male model, most of all has a strong and mature posture, to be able to study it better from a reasonable distance. Not too thick or extremely fat; but generally quite muscular. Broad shoulders. Fleshy back. Elevated chest. The hips small, yet sizable nonetheless. The stomach not bloathed. The kneecaps clearly defined. The legs straight: and the feet turned a little outwards. The fingers long, but not pointy. The toes the same, and closed from the big toe onwards. What the face is concerned, that will show itself; and while no character, that is not one in particular, is necessary for drawing after the model, it is not so important. Once such a man has been found, I think he is very convenient to use.

The German translator frequently translates ‘naar het leven tekenen’ with drawing after the model (das Modell nachzeichnen). [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection

De Stelder dit alzo overwogen hebbende, zou alsdan een Schets van die Aktie maaken gelyk hy gewoon is, om het Modél daar naar te stellen. Als het nu een reedelyk goed Beeld was, en dat’er iets byzonders in aangemerkt wierd, ’t zy in de Omtrek, Kontraste, Passie, Uitdrukkinge of iets anders; zo geeft het den Stelder voor ’t zyne op.

terms translations

[suggested translation, Marije Osnabrugge:] Once the positioner [ndr: he who positions the model during the drawing class] has considered this, he should make a sketch of this action as it usually is, to position the model accordingly. If it is a reasonably good figure and something particular is noticed in it, whether the contour, contrast, passion, expression or something else; then the positioner abandons his own [ndr: plans] for it

Conceptual field(s)

Verders om in het Naakt aan te toonen, wat een goede Kontraste is; en waar uit een welgesteld Beeld in zyne Beweeginge, of Aktie, is voortkomende. Want de Deftigheid, Sierlijkheid, en Bevalligheid van een welgemaakt Lichaam, bestaat in een ordentelyke en werkelyke Schikkinge der Leeden. Als ik mijn gevoelen zeggen zal, zo agt ik het Teikenen naar ’t Leeven van geender waarden, zo dat niet voor af en ging: ja niet meer als de Koloriet zonder Teikenkonst. Want wat baat ons het Leven, al Teikenen wy noch zo lang, als men de macht niet en heeft om een Beeld te kunnen stellen.

terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

This sentence is missing in the German translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

This sentence is missing in the German translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

This sentence is missing in the German translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Om een Reflexie, met voordeel en welstand te plaatzen, is zo gemakkelyk niet, als veele zich wel inbeelden. Het is niet genoeg dat het Beeld, daar door helder en aangenaam word, daar moeten Beweeg-reedenen van zyn. ’t Is wel waar dat men het genoegzaam gewaar werd, wanneer wy ’t Leeven voor ons hebben, maar men loopt te los over die dingen heen, ziende dezelve gemeenlyk zonder opmerkinge, als of de Reflexien geen Hoofdzaak, in het Teikenen naar ’t Leeven was? Doch indien daar wat meerder agt op gegeeven wierd, zo zou men met ér tyd, door de ervarentheid, zoo een grondige kennis daar van verkrygen, dat ‘er onmogelyk zulke groote misslagen meêer voor den dach zoude komen, als ‘er tot nu toe in de waereld geslopen zyn. Sommige hebben over al Reflektien gemaakt, of het wezen kon of niet. Anderen wederom, hebben het zo veel gemeid als ’t hun mogelyk was. D’een zoekt zijn Beelden met helderheid, en d’ander met bruin goed te maken: niet om dat het zo hoord; maar om dat het met haar zinnelijkheid over een komt. Waarom ik vastelyk geloof, dat ér weinig in de Kollegien met ander inzigt Teikenen, als om Beelden te vergaaren; dat’s te zeggen om de Praktyk, en niet om de Theorie.

terms translations

[suggested translation, Marije Osnabrugge:] To place a reflection with benefit and harmony, is not as easy as many might imagine. It is not enough that the figure becomes bright and pleasant because of it, there should be reasons for it. It is true that one easily becomes aware, when the life is in front of us, but these things are easily dismissed, as it is generally noticed without observation, as if the reflections are not an important thing in the drawing after the life. Yet if one would pay a bit more attention to it, one would obtain such a profound knowledge of it with time, through experience, that such great mistakes could impossible occur again, as have crept into the world until now. Some have made reflections everywhere, whether it was possible or not. Others have avoided them as much as possible. One attempts to correct his figures with clarity, the other with shadow: not because it is how it should be; but because it coincides with their whims. Which is why I firmly believe that few [ndr: artists who are] are drawing in the Colleges, [ndr: for something else] but to gather figures; that is to say for the practice, not for the theory.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] To place a reflection with benefit and harmony, is not as easy as many might imagine. It is not enough that the figure becomes bright and pleasant because of it, there should be reasons for it. It is true that one easily becomes aware, when the life is in front of us, but these things are easily dismissed, as it is generally noticed without observation, as if the reflections are not an important thing in the drawing after the life. Yet if one would pay a bit more attention to it, one would obtain such a profound knowledge of it with time, through experience, that such great mistakes could impossible occur again, as have crept into the world until now. Some have made reflections everywhere, whether it was possible or not. Others have avoided them as much as possible. One attempts to correct his figures with clarity, the other with shadow: not because it is how it should be; but because it coincides with their whims. Which is why I firmly believe that few [ndr: artists who are] are drawing in the Colleges, [ndr: for something else] but to gather figures; that is to say for the practice, not for the theory.

theorie

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] To place a reflection with benefit and harmony, is not as easy as many might imagine. It is not enough that the figure becomes bright and pleasant because of it, there should be reasons for it. It is true that one easily becomes aware, when the life is in front of us, but these things are easily dismissed, as it is generally noticed without observation, as if the reflections are not an important thing in the drawing after the life. Yet if one would pay a bit more attention to it, one would obtain such a profound knowledge of it with time, through experience, that such great mistakes could impossible occur again, as have crept into the world until now. Some have made reflections everywhere, whether it was possible or not. Others have avoided them as much as possible. One attempts to correct his figures with clarity, the other with shadow: not because it is how it should be; but because it coincides with their whims. Which is why I firmly believe that few [ndr: artists who are] are drawing in the Colleges, [ndr: for something else] but to gather figures; that is to say for the practice, not for the theory.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] To place a reflection with benefit and harmony, is not as easy as many might imagine. It is not enough that the figure becomes bright and pleasant because of it, there should be reasons for it. It is true that one easily becomes aware, when the life is in front of us, but these things are easily dismissed, as it is generally noticed without observation, as if the reflections are not an important thing in the drawing after the life. Yet if one would pay a bit more attention to it, one would obtain such a profound knowledge of it with time, through experience, that such great mistakes could impossible occur again, as have crept into the world until now. Some have made reflections everywhere, whether it was possible or not. Others have avoided them as much as possible. One attempts to correct his figures with clarity, the other with shadow: not because it is how it should be; but because it coincides with their whims. Which is why I firmly believe that few [ndr: artists who are] are drawing in the Colleges, [ndr: for something else] but to gather figures; that is to say for the practice, not for the theory.

praktijk

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] To place a reflection with benefit and harmony, is not as easy as many might imagine. It is not enough that the figure becomes bright and pleasant because of it, there should be reasons for it. It is true that one easily becomes aware, when the life is in front of us, but these things are easily dismissed, as it is generally noticed without observation, as if the reflections are not an important thing in the drawing after the life. Yet if one would pay a bit more attention to it, one would obtain such a profound knowledge of it with time, through experience, that such great mistakes could impossible occur again, as have crept into the world until now. Some have made reflections everywhere, whether it was possible or not. Others have avoided them as much as possible. One attempts to correct his figures with clarity, the other with shadow: not because it is how it should be; but because it coincides with their whims. Which is why I firmly believe that few [ndr: artists who are] are drawing in the Colleges, [ndr: for something else] but to gather figures; that is to say for the practice, not for the theory.

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination

Derhalven oordeelen wy, dat het een groot Voordeel zou zijn, wanneer de Teekenaars, hun Akademie-Beelden somtyds overzagen, en onderzochten wat in ieder Beeld byzonders aan te merken was zeggende by hen zelfs, dit Beeld raakt de Ponderatie of Eevenwigtigheid, deze was wegens de Draajinge, dit ziet op den Dach van vooren, en die van de zy. Daar wierd dit of dat, over gereedenkaveld; op deeze beaamden zy dit, en dat wierd verworpen &c. Wat zoude men, allengs, daar door een groote indruk in onze Denk-Beelden krygen, ’t geen nu door stoffigheid, over het hoofd gezien, en voorby gegaan word.

terms translations

[suggested translation, Marije Osnabrugge:] Therefore we believe that it would be a great benefit if the draughtsmen would sometimes look over their academy-figures, and would investigate what special thing was to be remarked about each figure, saying to themselves: this figure touches upon the balance, this one was because of the twist, this [ndr: figure] is looking frontally to the light and this [ndr: figure] from the side. This or this has been discussed about it; about this they agree, and this is dismissed etc. What a great impression on our thoughts this would gradually provide, which is now missed and neglected because of messiness

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Wy hebben in onze laatste Propositie beweezen, dat het Dach-Teikenen ’t voordeeligste is, om dat het veel sagter en eenpariger Schaduwe geeft, en ook om dat de Lichamen zich natuurlijker in de Koloriet en Reflektie, zonder hardigheid vertoonen; daar in teegendeel het Lamplicht, zeer sterke en afgesneedene Schaduwen en dagen voortbrengt.

terms translations

[suggested translation, Marije Osnabrugge:] In our last proposition we have proven that the drawing by daylight is the most profitable, because it gives a much softer and uniform shadow and also because the bodies show themselves more naturally in colour and reflection, without hardness; to the contrary the lamp light creates very strong and cut-off shadows and lights.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] In our last proposition we have proven that the drawing by daylight is the most profitable, because it gives a much softer and uniform shadow and also because the bodies show themselves more naturally in colour and reflection, without hardness; to the contrary the lamp light creates very strong and cut-off shadows and lights.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] In our last proposition we have proven that the drawing by daylight is the most profitable, because it gives a much softer and uniform shadow and also because the bodies show themselves more naturally in colour and reflection, without hardness; to the contrary the lamp light creates very strong and cut-off shadows and lights.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Het is myn vast gevoelen dat de Oeffening der plooijen niet volkomen geleerd kan worden, zonder de Leeman te gebruiken; Want wat baat het dat men zich uitmergeld met kleêren uit de Geest te Teikenen als wy ’t leeven voor ons kunnen hebben, zonder welke het onmogelyk is de natuur der Stoffe te doorgronden: daar zich, in tegendeel, veele niet anders oeffenen dan naar de Statuaas en fraaiste printen der beroemste meesters, welke hier in uitgemunt hebben: als Raphaël, Barotius, Guido, Albaan, Pousyn &c; denkende uit dezelfde reeds een gebaande weg te hebben gevonden, om tot genoegzame volkomentheid te geraken, en hun oogmerk te bereiken. Daar men nochtans weet, dat Raphaël voornaamentlyk, die gelegentheid niet gehad hebbende, echter in zyn tyd, de fraayste dingen voor den dag gekomen zyn. Nu zoude men mogen vragen, waarom eenige andere vermaarde Meesters, als Titiaan, Tintoret, Paulo Veronees, Julio Romano, Michel Angelo, Dominiquin, Bassan &c, zo goed daar in niet geoordeeld werden? de reeden is deeze, dat Raphaël het leeven gebruikt heeft, wel te verstaan een Leeman, waar door hy de natuur en eigenschap der Stoffe grondig heeft leeren onderzoeken: alhoewel men hem nogtans zou kunnen beschuldigen dat hy zyn beelden de meesten tyd met eenderly Stoffe kleeden, in voorvallen, daar de verandering genoegzaam verschillende kon geweest hebben. Evenwel moet men bekennen dat ‘er voor, noch naderhand, geen zo ervaren en Konstryk in dezelve geweest is, dan een alleen, te weten Nikolas Poussyn; echter is dit geen wonder; dewyl hy het Natuurlyke leeven onderzocht en gebruikten gelyk hem bewust was dat Raphaël gedaan had, en niet gelyk anderen die alleen zyn werk navolgden: daarom zyn zy ook slegter geweest, hebben minder kennis gehad, en meenigmaal niet van de natuur der stoffe of plooijen geweeten.

terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] I feel that the practice of the folds cannot be learned completely, without using a manikin; Because what use it that one strains himself with drawing clothing from the mind if we can have the life in front of us, without which it is impossible to comprehend the nature of the fabric: although many, to the contrary, do not train themselves in any other way than with the statues and beautiful prints of the most famous masters, who have excelled in this: like Raphael, Federico Barocci, Guido Reni, Francesco Albano, Nicolas Poussin etc. in the belief they have found a well-treaded road in this, to easily obtain perfection and reach their goal. Although we know, that Raphael in particular did not have this opportunity, but that the most beautiful things came to light in his time. Now we might ask, why some other famous masters, like Titian, Tintoretto, Paolo Veronese, Giulio Romano, Michelangelo, Domenichino, Bassano etc. were thought not to be so good in this. The reason is, that Raphael used the life, that is to say a manikin, through which he has learned to profoundly investigate the nature and character of the fabric: although we could still accuse him that most of the time he has dressed his figures with one type of fabric, in cases where the variety could have easily been different. Likewise we should confess that neither before nor after, none was so experienced and artful in this, than one, that is Nicolas Poussin; however this is no miracle; while he studied and used the natural life, as he was aware that Raphael had done and not like the others who only followed his [ndr: Raphael] work: this is also why they were worse, had fewer knowledge and many times did not know about the nature of the fabric or folds.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Ik vroeg eens aan iemand, waarom hy zyn kleêren altyd met dunne ploojen maakte? waarop hy my tot antwoord gaf, geen zin te hebben in zulke dikke ploojen als Paulo Veronees, Titiaan en Rubbens verbeelden. Sommige bederven hun beelden zodanig met het ophoopen van veelderhande ploojen; dat zy daar door t’eenemaal vergeeten, het gebruik der stoffe alleenig gemaakt te zyn, om de partyen der Lichamen daar ze over heen komen, te kleeden en met gratie te bedekken: en niet om dezelve daar mede te belaaden en te vervullen, als of het geheele Lichaam maar een buik, en alle leeden op de verheeven partyen, met zandzakken bekleed waaren. Veele wederom maken hun kleedingen als of het darmen zyn, op de manier van Korton, ziende nergens als zulke printen.

[suggested translation, Marije Osnabrugge:] One time I asked someone, why he always made his drapery with thin folds? To which he answered me that he had no desire to depict such thick folds like Paolo Veronese, Titian and Rubens. Some ruin their figures so much by stacking multiple of folds; that they forget at once that the use of fabric is only made to dress the parts of the body on which they fall and cover them with grace: and not to pile them with it and fill it, as if the whole body is but a stomach and all limbs were dressed with sandbags on the elevated parts. Many again make their draperies as if they are bowels, in the manner of Pietro da Cortona, seeing nothing but such prints.

This section is missing in the German translation. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

[suggested translation, Marije Osnabrugge:] One time I asked someone, why he always made his drapery with thin folds? To which he answered me that he had no desire to depict such thick folds like Paolo Veronese, Titian and Rubens. Some ruin their figures so much by stacking multiple of folds; that they forget at once that the use of fabric is only made to dress the parts of the body on which they fall and cover them with grace: and not to pile them with it and fill it, as if the whole body is but a stomach and all limbs were dressed with sandbags on the elevated parts. Many again make their draperies as if they are bowels, in the manner of Pietro da Cortona, seeing nothing but such prints.

This section is missing in the German translation. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

De Kleedinge waar mede men de Beelden omslingert, moeten zodanig in haar plojen rondom de leeden die zy bekleeden geschikt wezen, datmen op de partyen die door den grootsten dag bescheenen werden, geen ployen ziet die met donkere schaduwe bedekt zyn, noch die ook een al te sterken dag ontfangen: wel oppassende geen valsche ommetrekken te maken, die het beloop der Leeden breeken of doen verliezen, en ook door Schaduwen die al te veel gehakt, en dieper als het naakt van ’t Lichaam dat zy bedekken, konnen wezen, maar de kleedinge moeten zodanig geschikt zyn, dat zy geen kleedinge zonder Lichaam gelyken, dat’s te zeggen ophoopinge van stoffe zonder steunzel. Altyd moet men schoone en grootse partyen van ployen zoeken te krygen, zo veel ’t mogelijk is, en dezelve met goed oordeel plaatzen en stellen. Op de verkortende partyen moeten veel meerder plooyen komen, als op de plaatzen die niet verkorten. In verbeeldinge van velerhande figuren, moetmen vooral in agt neemen verandering in de Kleeding te brengen: te weeten de Stoffen van verscheide soorten, zwaar of licht, naar de waardigheid en overeenkominge der Beelden, tyden, plaatzen en gewoontens: werkende of eenvoudig, volgens de welvoegelijkheid der voorvallen, die min of meer grootsheid nodig hebben, om de bevalligheid en welstand van ’t geheel.

terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

schaduw

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

dag

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

EFFET PICTURAL → perspective
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

[suggested translation, Marije Osnabrugge:] The clothing which one hangs around the figures should be arranged in such a way in folds around the limbs, that one does not see any folds that are covered with dark shadows on the parts that are lit by the greatest light, nor those who receive a light that is too strong: however paying attention not to make false contours that break the direction of the limbs or derogate them, and also by the shadows that have to be too cut-up and deeper than the nude of the body they cover, but the clothing should be arranged in such a way, that it does not appear to be clothing without body, that is to say a pile of fabric without support. One should always attempt to obtain beautiful and large parts with folds, as much as possible, and place and compose them with good judgement. On the foreshortened parts there have to be much more folds than on the places that are not foreshortened. In the depiction of multiple figures one should especially consider to bring variety in the clothing: that is fabrics of different types, heavy or light, according to the status and accord of the figures, times, places and customs: moving or simple, after the propriety of the situations, that need more or less grandiosity, for the gracefulness and harmony of the whole

Conceptual field(s)

VOor eerst diendmen zich te oeffenen met schetzen en herschetzen op wit papier, niet om schoone plooijen te zoeken; maar om een wisse en zeekere manier (wel met de Natuur en reeden over eenkomende) te kunnen vinden: ziende alleen na een algemeen beloop der voornaamste partyen. Beginnende alsdan met het stellen van een fraaje staande Aktie, als deze nu wel geteekent, vast met de pen omgetrokken en met een zeer flaauwe schaduwe aangewezen is, zo kan men het generaal beloop der plooijen luchtig met roodaard daar over heen schetzen, […]

terms translations

[suggested translation, Marije Osnabrugge:] First of all one should train oneself in sketching and re-sketching on white paper, not to search for beautiful folds, but to find a sure and certain manner (coinciding well with the nature and reason): focusing only on a general course of the principal parts. At that moment beginning with the arranging of a beautiful standing action, once it is drawn well, traced firmly with the pen and accentuated with a very weak shadow, then one can lightly sketch the general course of the folds over it with red earth, […]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] First of all one should train oneself in sketching and re-sketching on white paper, not to search for beautiful folds, but to find a sure and certain manner (coinciding well with the nature and reason): focusing only on a general course of the principal parts. At that moment beginning with the arranging of a beautiful standing action, once it is drawn well, traced firmly with the pen and accentuated with a very weak shadow, then one can lightly sketch the general course of the folds over it with red earth, […]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] First of all one should train oneself in sketching and re-sketching on white paper, not to search for beautiful folds, but to find a sure and certain manner (coinciding well with the nature and reason): focusing only on a general course of the principal parts. At that moment beginning with the arranging of a beautiful standing action, once it is drawn well, traced firmly with the pen and accentuated with a very weak shadow, then one can lightly sketch the general course of the folds over it with red earth, […]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] First of all one should train oneself in sketching and re-sketching on white paper, not to search for beautiful folds, but to find a sure and certain manner (coinciding well with the nature and reason): focusing only on a general course of the principal parts. At that moment beginning with the arranging of a beautiful standing action, once it is drawn well, traced firmly with the pen and accentuated with a very weak shadow, then one can lightly sketch the general course of the folds over it with red earth, […]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] First of all one should train oneself in sketching and re-sketching on white paper, not to search for beautiful folds, but to find a sure and certain manner (coinciding well with the nature and reason): focusing only on a general course of the principal parts. At that moment beginning with the arranging of a beautiful standing action, once it is drawn well, traced firmly with the pen and accentuated with a very weak shadow, then one can lightly sketch the general course of the folds over it with red earth, […]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Stelt dan uw Leeman en schikt daar de lappen op naar u schets: dezelve op verscheidene wyze vast hegtende, en trekkende van de eene zyde naar d’andere, tot dat gy eerst uw voornaamste plooyen hebt, binnen de welke alsdan de andere kleinder met schikken zullen gevonden worden.

terms translations

[suggested translation, Marije Osnabrugge:] Then position your manikin and arrange the cloths on it according to your sketch: attaching them in various manners and pulling from one side to the other, until you first have your principal folds, within which the other smaller [ndr: folds] can then be found by means of arranging.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Then position your manikin and arrange the cloths on it according to your sketch: attaching them in various manners and pulling from one side to the other, until you first have your principal folds, within which the other smaller [ndr: folds] can then be found by means of arranging.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis

Korton heeft zich niet binnende paalen van Matigheid gehouden, maar zonder onderscheid, de ruimten der ploojen ingevoerd; want de rokken of eerste onderkleêren (hebbende meer vryheid, en by gevolg haar eerste hoedanigheid, het zelve niet zo onderworpen zynde als de geslooten deelen) kunnen onmogelyk vol plojen wezen. Echter gebeurd het veeltyds dat eenige konstenaars, (van wat studie het ook mogen zyn,) wanneer zy in een ander iets zien dat hen behaagt, niet alleen het zelve zullen zoeken naar te bootsen; maar gemeenlyk tot buytenspoorigheid en overtolligheid vervallen: By voorbeeld, een naakt Schilder die de kloekheid van Karats wil opvolgen, zal meest, al zyn beelden ’t zy die oud of jong zyn, als een Herkules verbeelden, hakkende hier en daar stukken uit als of ’t een rotssteen was.

terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

In the German translation, this term is captured within the description 'ohn bedächtiglich'. [MO]

overtolligheid
matigheid

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

buitensporigheid · overtolligheid

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

In the German translation, this term is captured within the description 'ohn bedächtiglich'. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

In the German translation, this term is captured within the description 'ohn bedächtiglich'. [MO]

buitensporigheid
matigheid

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] Pietro da Cortona did not stay within the limits of moderation, but filled the spaces of folds without distinction; because the skirt or first undergarments (having more freedom and thus their first appearance, not as suppressed as the closed parts) can impossibly be full of folds. However it happens often that some artists, (of whichever study they may be) when they see something in another that pleases them, will not only attempt to imitate it; but commonly fall into excessiveness and redundancy: For example, a painter of the nude who wants to follow the prowess of Carracci, will often depict all his figures whether old or young as a Hercules, cutting out pieces here and there as if it were a rock.

Conceptual field(s)

MANIÈRE ET STYLE → école

In waare Geschiedenissen of Historien luistert het wat naau, en een vernuftig Meester zal hem wel wachten de betamelykheid te buiten te gaan, om de Lichamen van Man of Vrou, al te veel t’ontblooten, en voornamentlyk eerbare Vrouwen, op dat het niet tot een verkeerden zin mogt geduid werden, tegenstrydig met de waarheid, maar wel zo dat men behoorlyk onderscheiden kan welk een Lichtvaardig of Deugdzaam mensch zy. Inzonderheid de Bybelze Historien, of die van Plutarchus, Titus Livius en anderen.

terms translations

[suggested translation, Marije Osnabrugge:] In true histories [ndr: in the Dutch text, two synonyms are provided] it is very important – and a clever master will be careful not to surpass the decency – to not uncover the bodies of men and women too much, and especially honorable women, so it will not be interpreted the wrong way, in contrast with the truth, but in such a way that one can easily distinguish who is a frivolous or virtuous person. Especially in the biblical histories or those of Plutarchus, Titus Livius and others.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

[suggested translation, Marije Osnabrugge:] In true histories [ndr: in the Dutch text, two synonyms are provided] it is very important – and a clever master will be careful not to surpass the decency – to not uncover the bodies of men and women too much, and especially honorable women, so it will not be interpreted the wrong way, in contrast with the truth, but in such a way that one can easily distinguish who is a frivolous or virtuous person. Especially in the biblical histories or those of Plutarchus, Titus Livius and others.

historie

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
terms translations

[suggested translation, Marije Osnabrugge:] In true histories [ndr: in the Dutch text, two synonyms are provided] it is very important – and a clever master will be careful not to surpass the decency – to not uncover the bodies of men and women too much, and especially honorable women, so it will not be interpreted the wrong way, in contrast with the truth, but in such a way that one can easily distinguish who is a frivolous or virtuous person. Especially in the biblical histories or those of Plutarchus, Titus Livius and others.

geschiedenis

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
terms translations

[suggested translation, Marije Osnabrugge:] In true histories [ndr: in the Dutch text, two synonyms are provided] it is very important – and a clever master will be careful not to surpass the decency – to not uncover the bodies of men and women too much, and especially honorable women, so it will not be interpreted the wrong way, in contrast with the truth, but in such a way that one can easily distinguish who is a frivolous or virtuous person. Especially in the biblical histories or those of Plutarchus, Titus Livius and others.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] In true histories [ndr: in the Dutch text, two synonyms are provided] it is very important – and a clever master will be careful not to surpass the decency – to not uncover the bodies of men and women too much, and especially honorable women, so it will not be interpreted the wrong way, in contrast with the truth, but in such a way that one can easily distinguish who is a frivolous or virtuous person. Especially in the biblical histories or those of Plutarchus, Titus Livius and others.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Het is een gewenste zaak, wanneer Jongelingen hun bekwaamheid kunnen begrypen en hun verstand weeten te gebruiken, het goed en voordeelige van het kwaad te onderscheiden: daar in tegendeel, wanneer zy die groote gaaf misbruiken, het dikwils komt te gebeuren, dat zy ongevoelig aan het einde van ’t verkeerde pad geraken, en menigmaal hun ramp niet gewaar worden, voor het te laat is.

terms translations

[suggested translation, Marije Osnabrugge:] It is desired, when young men understand their talent and know how to use their mind, to distinguish the good and beneficial from the bad: however, when they misuse this great gift, which happens frequently, they unwittingly end up at the end of the wrong path and oftentimes are unaware of their affliction before it is too late.

gave

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] It is desired, when young men understand their talent and know how to use their mind, to distinguish the good and beneficial from the bad: however, when they misuse this great gift, which happens frequently, they unwittingly end up at the end of the wrong path and oftentimes are unaware of their affliction before it is too late.

bekwaamheid

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] It is desired, when young men understand their talent and know how to use their mind, to distinguish the good and beneficial from the bad: however, when they misuse this great gift, which happens frequently, they unwittingly end up at the end of the wrong path and oftentimes are unaware of their affliction before it is too late.

Conceptual field(s)

L’ARTISTE → qualités