AMATEUR (fra.) · LIEBHABER (deu.)



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2 quotations


Oversulcks plaght oock die Schilderye, dewelcke gheen verwonderinghe in ’t herte der aenschouwers verweckt, nauwelick den blooten naem van een Schilderye te verdienen; even als de Konst-vroede mannen anders gheene voor oprechte Schilders aennemen, dan die haere diepgrondighlick gheleerde invallen op ’t aller overvloedighste, maetvoeghelickste, vermaeckelickste, levendighste, schickelickste, ende bevallighste weten uyt te drucken.

[Suggested translation, Marije Osnabrugge:] As such the Painting, which does not incite surprise in the hearts of the spectators, barely deserves the mere name of a Painting; just like the Art-loving men do not accept any other sincere Painters, than those who express their profound learned ideas in the most abundant, proportioned, enjoyable, lively, orderly and graceful manner.

This section is not included in the Latin edition of 1637. In the English edition, Junius describes this Dutch term as 'men of understanding'. [MO]


term translated by / 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.329

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Want gelijck wy ontrent het eynde van ’t vierde Capittel onses eersten Boecks hebben aenghewesen, dat de goede Konstenaers, die sich onder en tusschen ’t wercken de levendighe tegenwoordigheyd der dinghen voorstellen, haere stucken met een gantsch uytdruckelicke duydelickheyd plaghten te vervullen; soo staet ons hier mede aen te mercken, dat de Konst-vroede aenschouwers, die sich door ’t ghesicht van de ghekontrefeyte afbeeldinghe tot de bedenckinge der waerheyd selver laeten aenleyden, de kracht deser uytdruckelickheyd aller best maghtigh sijn te beseffen.

[Suggested translation, Marije Osnabrugge:] Because like we have pointed out towards the end of the fourth Chapter of our first Book, that the good Artists, who imagine the lively presence of things while working, tend to fill their pieces with a rather expressive clarity; as such we should remark here, that the Art-loving spectators, who let themselves be lead to the consideration of the truth itself through the sight of the portrayed depiction, are most capable in recognizing the power of this perspicuity.

This reflection on spectators is missing in the Latin (1637) and English edition. [MO]

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