BEGINSEL (n. n.)

ANFANG (deu.) · PRINCIPE (fra.) · PRINCIPLE (eng.) · RUDIMENT (fra.) · RUDIMENTUM (lat.)
TERM USED IN EARLY TRANSLATIONS
/ · ANFANG (deu.) · PRINCIPLE (eng.) · RUDIMENT (fra.) · RUDIMENTUM (lat.)

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6 quotations

Quotation

De beginselen dan deser konsten die sich met de Imitatie bemoeyen, vereyschen geenen on-eyndelicken arbeydt- maer bieden haer selven in 't teghendeel vaerdighlick aen, tevreden sijnde met seer gemaetighde ende niet al te swaere voor-schriften der behoorlicker proportie.

[Suggested translation, Marije Osnabrugge:] The principles of these arts that concern themselves with Imitation, do not demand endless effort, but by contrast offer themselves readily, content with very moderate and not too heavy instructions of adequate proportion.

term translated by RUDIMENTUM in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 5
term translated by PRINCIPLE in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 10

Conceptual field(s)

L’ARTISTE → règles et préceptes

Quotation

Dies worden oock d'eerste beginselen deser Konsten seer lichtelick an dieghene ghevat, dewelcke haeren wille ongheveynsdelick daer toe gheneyght vinden: ende soo wanneer yemant langhsaemlick daer in voordtvaert, deselvighe magh het sijn eyghene weder-strevigheydt danck weten: want wy sullen het eerste onderwijs kort ghenoeg vinden, indien wy maer alleen ons selven en andere niet en soecken moedt-willighlick wijs te maecken dat het eenen verdrietiglick langhen wegh is: Behalven dat oock een bequame maniere van onderwijsinghe alle dinghen noch al korter sal maecken. Nu daerenteghen soo is de eerste ende de meeste schuld in de Leer-Meesters, die 't fuselboeck soeckende haere Leer-jonghers wonderlick geerne ophouden,…

[Suggested translation, Marije Osnabrugge:] The first principles of these Arts are also easily grasped by those, who sincerely put themselves to it: and when someone slowly advances in it, he may thank his own opposition: because we will find the first education short enough, if we only try not to consciously deceive ourselves and others that it is a sad long road: Besides that, an adequate way of education will also make all things much shorter. By contrast, the first and most blame is then on the Masters, who strangely enjoy detaining their apprentices by causing delay,…

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 6 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 13
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 6 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 13

Conceptual field(s)

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

Quotation

‘t Is dan een Gift der natuere, die als een Zaet der Konste, de eerste beginselen instort, en den Constenaers bequaem maackt: Waarom vele onder de Oude wijsen twijfelden, of de Konst grooter baet vande natuere, dan vande leeringh hadt. Maer gemerckt datse geen van beyden misschen en kan, soo is light te gelooven dat de natuere veele vermagh, ende datse haere levende kracht daer in duydelijck kan doen uytblincken, selfs tot de neygingh van dees of gene bysondere verkiesinge van study; gelijck dat by Franciscus Iunius, in het vierde Capittel van sijn eerste Boeck, seer geleerdelijck getoont wert.

[suggested translation, Marije Osnabrugge:] It is a Gift of nature, which pours in the first principles as a Seed of Art, and makes the Artists capable: Why many of the Old wise men doubted, whether the Art has greater profit from nature or from the instruction. But as she cannot lack either one, it is easy to believe that nature can do a lot and that she is able to greatly let her living power excel, even for the inclination of one or another special choice of study; as is eloquently shown by Franciscus Junius in the fourth Chapter of his first Book.

Conceptual field(s)

L’ARTISTE → règles et préceptes

Quotation

{Teycken-Konst vereyst een gansch Mensche.} Nu vermits dese Konst van Teyckenen (het sy datse haer op-sicht heeft tot de Schilder-Konst, ofte op hare eygen volkomentheyt) sich seer wijt uytstreckt, en veel meer verborgentheyden in haer begrijpt, als veele wel duncken, en dat daer toe een groote kennis van alle dingen vereyst wert, (gelijck dat kortelijck in onse Inleydingh tot de Schilder-Konst getoont is, en noch breeder soo in dit, als in ons volghende Werck sullen aenwijsen;) soo moetmen weten, dat sy de sinnen en schrander oordeel van een gheheel Mensche vereyst, om die grondigh en verstandelijck te leeren verstaen, en die als een Man, die den naem van een Meester past, deftigh in ’t werck te stellen. Derhalven en kan ’t van niemandt tegen gesproocken worden, dat wy ten desen eynde een lichtverstanelijck onderwijsinge aen de jonge Leerlingen voorstellen, om daer in soo veel als moghelick is, de waere eygenschappen en bysondere waerneminghen deser Konste soo naeckt aen te wijsen, dat selfs de geringe verstanden met tijt en arbeyt, een goet stuck weegs in de eerste beginselen kunnen gebracht werden.

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → règles et préceptes

Quotation

[…] 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;

[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

term translated by ANFANG
term translated by RUDIMENT

Conceptual field(s)

L’ARTISTE → règles et préceptes

Quotation

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;

[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;

term translated by ANFANG
term translated by /

Conceptual field(s)

L’ARTISTE → règles et préceptes