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Ghelijck nu de vreese van strenghe wetten in de verkeerdelick laetdunckende beghinners soo veele te weghe broght, dat sy haer selven ten minsten binnen de schreve hielden, soo wrocht d’Aemulatie (aldus wordt den naer-ijver ofte naevolghenslust gemeynlick gheheeten) noch vele krachtigher inde leersaeme Scholieren, wanneer sy niet alleen door een goedaerdighe ghesegghelickheyd bleven by ’t ghene sy van haere ghetrouwe onderwijsers ontfanghen hadden, maer wanneer sy boven dien d’aller beste wercken haerer meesters en ander Konstenaeren door een rusteloose eergierigheyd sochten t’overtreffen. De naevolghenslust is krachtiger dan de straffe en vreese die uyt de wetten ontstaet, seght Tacitus Annal. III. Cap. 15.

[Suggested translation, Marije Osnabrugge:] Just like the fear of severe laws stirred so much in the conceited beginners, that they at least kept themselves within the limits, as such the Emulation (as one commonly calls the envy or desire to imitate) is far more powerful in the studious Pupils, when they would not just stay within the kind reasonability of that which they had received from their loyal teachers, but when they would moreover try to surpass the very best works of their masters and other artists because of a restless pride. The desire to imitate is more powerful than the punishment and fear that springs from the laws, says Tacitus (…).

Junius discusses the advantage of competition amongst artists. He coins the term ‘aemulatie’ and its equivalents ‘na-ijver’ and ‘naevolghenslust’ to describe the need and habit of artists to try to surpass the (best) works of other artists, including their masters. In particular, he suggests that emulation may be the source of greater progress than following the strict rules of the trade. [MO]

aemulatie · naer-yver

Conceptual field(s)

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