RKD STUDIES

Bibliography G — H

... nommen von Hans Geisenheimer‘, Beiheft zur Jahrbuch der Königlich Preussischen Kunstsammlungen 32 (1911), p. 34-61...

... isch Jaarboek 1 (1947), p. 170-176...

... ish Print Trade', Print Quarterly 13 (1996), p. 363-376...

... ischen Malerei des 17. Jahrhunderts, Amsterdam 1983 (ed. princeps Haarlem 1942)...

... son Digital: Denmark. Dutch and Flemish painting in European perspective...

... Sman, Gerson Digital : Italy. Dispersal and Legacy of Dutch Pai...

... l of fire''', The British Art Journal 2 (2000), no. 1, p. 3...

... ish portrait painter', The Burlington Magazine 73 (1938), p. 125...

... of Portland, K.G., G.V.C.O. A catalogue raisonné', The Walpole Society 4 (1914-...

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... y (describing more than 500 painters) (2 vols.), London 1926...

... isseur: an illustrated magazine for collectors 93 (1934), p. 170-172...

... ish landscape painters (in oil) from the XVIth century to the XIXth century (8 vols.) Leigh-on-Sea 1957-1961...

... ist Exiles in Tudor and Stuart England, Aldershot 1996...

... ish Museum) 1998...

... is Castle', Proceedings of the Society of Antiquaries of Scotland 116 (1986), p. 429-445...

... an de schilderijen en teekeningen van Joris van der Haagen, Voorburg 1932...

... is en kunst 60 (1937), The Hague 1938...

... d draughtsman, with a catalogue of his engraved work’, The Volume of the...

... istoria 2 (1936), p. 145-146...

... eological Society, 3rd series, 23 (2012), p. 223-226...

... ish Art Journal 10 (2009), no. 2, p. 65-66...

... is Drebbel, Leiden 1961...

... istory of country house and garden view painting in Britain 1540 – 1870, London 1979...

... is’, Oud Holland 17 (1899), p. 171–185...

... ise Painter-Stainers: its hall, ictures and plate, London 1913...

... ist, gentleman and gardener, London (Tate Britain) 2005-2006...

... ision, London (Courtauld Gallery) 2012, p. 26-39...

... ission, 1579/80’, in: O. Dimitrieva, T. Murdoch (eds.), Treasures of the Royal Courts: Tudors, Stuarts and the Russian Tsars: ...

... wife and son', in: Ch. Dumas (ed.) et al., Connoisseurship: Essays in Honour of Fred G. Meijer, Leiden...

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... The Burlington Magazine 48 (1926), p. 83-84...

... ister of the attestations or certificates of membership, confessions of guilt, certificates of marriage, bethrothals, p...

... ister of the attestations or certificates of membership, confessions of guilt, certificates of marriages, be...

... arleton 1610-1625 (unpublished PhD thesis), Nottingham Trent University 1999...

... artment of prints and drawings in the British Museum (5 vols.), London 1915-1932...

... ish Landscape’, The Burlington Magazine 51 (1927), p. 292–297...

... -Engraving in England’, The connoisseur : an illustrated magazine ...

... iss.), Hamburg 1935...

... ischen Kunstgeschichte: Arnold Houbraken und seine "Groote Schouburgh", The Hague 1893...

... ische opmerkingen omtrent Oud-Hollandsche schilderijen in onze musea’, Oud Holland 22 (1904), p. 27–38...

... Jahrhunderts, nach dem Muster von John Smith's catalogue raisonné (10 vols.), Esselingen a.N. 1907-1928...

... ish Masters,’ The Burlington Magazine 60 (1932), p. 300–307...

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... and Flemish artists in Britain 1550-1800, Leids Kunsthistorisch Jaarboek 13 (2003), p. 43-56...

... ish painters and paintresses (2 vols.), Doornspijk 2000...

... x27;s Great Theatre of the Netherlandish Painters and Paintresses, Den Haa...

... iston et al., The Suffolk collection : a catalogue of paintings, Swindon 2012...

... is circle, New Haven 1985...

2.4 Landscape painters in the second half of the 17th century

... trips through Cornwall [5-7]; others depict Stonehenge [8] and the surroundings of Canterbury [9], where he spent three months as the guest of Arnold Braems (1602-1682) in Bridge.253 He is credited with a number of paintings showing the surprise attack on the English fleet near Rochester (June 1667) (Geneva and Amsterdam as ‘R. Nooms’?) [10-11].254 In the 1640s Schellinks and Doomer were together in France. This time, however, Schellinks travelled as a companion to the young Jaques Thierry II (1648-1709) on a journey to which we have already referred on several occasions....

... large, carefully executed views of London in the Copenhagen Gallery [12-14].257 A signed landscape painting with Hampton Court Palace in the background is in the collection of Sir William Worsley in Hovingham Hall [15].258...

... ontained ‘een tekeningh de beurs van London’. However, since no artist’s name is inscribed on the drawing we cannot be sure whether Houbraken’s statement that he painted the London Stock Exchange is correct [18].260...

... Queen Anne of England. 262 Mention should be made in conclusion of Constantijn Huygens II (1628-1697), who as secretary to William III (1650-1702) included drawings in his ‘Dagverhaal eener Reis naar Engeland’ [= diary of his trip to Engeland], and of Jacobus Houstraet (c. 1630-after 1671), whose ‘lantschap met de bergh van Doeveren’ was sold in Amsterdam in 1669.263 This group of artists is not that significant for our study, however, since their works were not very well known abroad and they will, therefore, not have had any influence....

... o the next century. Looten sold many of his decorative wooded landscapes, which were well received at court, too; James II (1633-1701) had three of them. However, Pepys, who knew the artist and visited him, said he had ‘no good pictures’. Be that as it may, Griffier’s style of painting was held in great esteem not only by the Dutch artists who came to England but also by the first 17th century English landscape artists....

... e of Pieter de Molijn perhaps, who was born in London. Nowadays, Streeter’s pictures strike us as being very primitive and handcrafted and in many respects even more old-fashioned than the style embodied by Jan Looten [28-29]. He is somewhere in between Alexander Keirincx and Jan Looten, as it were.267...

... and old fashioned. The line leading from Hollar to Place in England came to a temporary end. There is nothing we can say about the art of Richard Farrington (c. 1625-after 1664), since we have yet to come across any work by this artist, who lived in Dordrecht for a long time but returned to London in 1664 [32-33]. Could he have been the first to make Aelbert Cuyp’s landscapes known in England?269...

... ng scenes from this region [37-41].274 He spent only two years in England, though. Daniël de Bondt (active 1659-1672), of whom it was laconically said in 1671 that he ‘woont in Englant’ [lives in England], drew in the manner of van de Vinne.275 Incidentally, van de Vinne’s father Vincent Laurensz. van der Vinne I (1628-1702), who was renowned for his diaries, carried out commissions for English clients. He provided the designs for a book on art and science that was due to be published by Richard Blome but never appeared. The British Museum possesses various studies and engravings made in preparation for this failed enterprise, some of them with a dedication to Henry Pierrepont, 1st Marquess of Dorchester [42].276...

... bly well. Edema painted views of Sir Richard Edgcumbe’s (1640-1688) estates at Mount Edgecumbe in Devon [48-51]. It was here that he met Willem van de Velde II, who was enjoying Sir Richard’s hospitality for a while. Jan Wyck, who had likewise been summoned here, supplied the staffage for Edema’s panoramic views. These do not rank among his best works, however.279 The paintings of forests in Hampton Court (in stock), on the other hand, are proficient, decorative works in the style of Jan Looten and Allaert van Everdingen [52-55]....

... II (1698-1773?) who painted ‘antique ruins’ and little bathing nymphs, a pictorial theme that had not been addressed since van Poelenburch was in England. A certain John [Jan] Stevens (died 1722), who was ‘said to have been a Dutchman’, painted in the manner of Griffier. Horace Walpole counted him among the successors to Adriaen van Diest.281 Henry Ferguson (1665-1730), who earned a living by undertaking menial work for Lely and Kneller, must also have painted little pictures of ruins.282 The art of Griffier and others like him, whom we have already mentioned, ultimately had its origins in Jacob Ruisdael and Allaert von Everdingen and occasionally in the darker and more chaotic variations of a Roelant Roghman or Jan Looten....

... ful execution’, while Pepys, who ordered a number of copies in 1669, compared the prospects of Greenwich with nature and deemed them ‘very like and very pretty’. The paintings, which are now in Greenwich and Hampton Court, stand out from the usual topography thanks to their aesthetic light and pleasant, painterly colouring [63-64].285 Johannes Vorstermans appears a little rougher and less refined, if a non-inscribed view of Greenwich (National Maritime Museum) is anything to go by [65]....

... e on into the 18th century, during which the Dutch panoramic approach was taken up again by English vedute and sporting painters. Robert Griffier was in Ireland in 1696 and then spent some time in Amsterdam, where he was active as an art dealer selling copies he made after Jacob van Ruisdael, Adriaen van de Velde and Philips Wouwerman, which ultimately entailed him leaving Holland and returning to England. Many of his panoramic views are very English in their approach to landscape and the way they are enlivened by riders and hunters [69].290 He clearly pursues the path taken by Danckerts and Vorsterman. A view of London on Lord Mayor’s Day in 1748 is particularly attractive (collection of the Duke of Buccleuch) [70]....

Volume 2, page 60-69

... e Cappadocians a scale surrounded by seven crosses.The Macedonians a pin club between two horns.The Lybians three hares.The Medes three crowns or two bars lined diagonally.The Boeotians a Sphinx.The Cimbren had a wild oxe, or bull, and the--------this (when someone was paid off with money to remain silent when he ought to speak) this turn of phrase arose: The oxen have bitten off his tongue, or the owl prevents him from speaking....

... t closer provenance. Even so I assume that they borrowed it all from ancient authors, and not at all that they invented it.They who have sniffed their way through the ancient records--------* The Armenians sometimes also carried a ram on their field banners.† Lion) Red on a gilded shield, azure blue tongue and claws.‡ Chronicles: Book 6, Chapter 6. Pieter Schrijver in his introduction to Beschryvinge van alle de graven van Holland, page 61, and Simon van Leeuwen, Korte Besgryving van het Lugdunum Batavorum nu Leyden, page 420....

... a bipartite intention, be it by worship of demigods or slight of Imperial honour. See the illustration of the coin with the inscription DEO SERAPIDI to the god Serapis, shown in Oudaan page 254 in Plate 2.Seeing that the Romans were inclined to take over such customs from other peoples, this also explains why one discovers such a multitude of depictions and marks on their army banners.The Persians already had the eagle† amongst their military decorations in ancient days, as Xenophon indicates about Cyrus and Curtius in the life of Darius. It was with the Romans the common and important military sign. Gajus Marius (says Pliny...

... he Romans under Constantine carried the name of Christ on their military banners instead of the old imperial standards is confirmed by Prudentius, where he says:Carried the purple banner, interwoven with shining gold,As sign of the name of Christ, written in the centre.This change originated in the rumour of Constantine’s celestial vision, which the Spaniards later changed to the images of saints and painted their standards and banners with our Lady, St. George, or some other saint.--------* They say that the Minotaur or the bull child of Pasiphaë, which dwelled in the maze of Dedalus, was one of the Roman military ensigns to indicate that even the deliberations...

... s native city of Leiden keeps in memory up to the present with two commemorative stones, on one of which the count’s arms, a lion with a shield is depicted on one and the imperial arms, a double eagle, on the other, and again to this day.The Romans carried not only eagles but also right hands, wolves, Minotaurs, horses, swine, dragons, moons and faces of emperors and commanders on their standards.The military ensigns (says Arianus) are eagles and portraits o...

... ld globe, to which these words of Isodorus may allude: They say that...

... inst the Arabs, when they had emissaries beg him not to march through their lands under the sign of the swine. Thus the Romans (as should be observed by a painter) carried the swine on their army banners only for a while, like the old Batavians did with the cat until they, released from the Roman yoke, they again lived in freedom (of which the cat is an emblem).It should also be mentioned that in times of peace the Romans were wont solemnly to decorate the mentioned standards and army ensigns with wreaths....

... ince painters also often take biblical material for their subjects, we have also shown the banners and field ensigns of the XII tribes of Israel (to fill the background of our print illustration, following the drawings shown by Willem Goeree on page 428 of part IV of his Mosaïze historie), and it order that the same carried under their main banners1 Main banner.B.ZEBULON.A. JUDAC. ISASCHAR.2 Main banner.E. SIMOND. RUBENF. GAD...

... accabees. See p. 69 of Willem Goeree, De Kerklyke en Weereldlyke Historien.With this we shall end. But should we come to notice that our diligence concerning this topic gives satisfaction to art practitioner, we will likely expand on such matters (seeing that this has only, as the proverb says: skirted around things).Certainly if a painter might believe that such accomplishments are of no use and that...

... f battle, of which many were devoured and others squeezed to death by them.As far as I’m concerned, I judge such to be most useful competences (to evade all ridicule) for those who have joined the practice school of Pictura, especially to be trained in the depiction of histories. If they ignore my sound advice or can’t be bothered to read this, I may as a consequence rightly regret the trouble of so much research.We have repeatedly complained that the time of birth of some commendable Dutch...

Volume 3, page 150–159

... the city of Apollonia in Macedonia, on the border of Empire, according to Lucius Ampelius with the inscription Dionisoo Dooron, gift to Bacchus. Thus the commendable draughtsman and etcher Jan de Bisschop shows various---------* Ivy, the ivy leaf was dedicated to, or associated with Bacchus, the oak with Jupiter, the laurel with Apollo, the olive with Minerva, the myrtle with Venus, the pine...

... ransported by a magnanimous disposition, he wanted to be seen as the son of Jupiter Hammon, will not think it strange that he gave his portrait a similar appearance to that of Jupiter (for the Africans honoured a horned image of Jupiter Hammon).But in general one should know that--------were wrapped up or hung with festoons of vegetation. Now the reader will have noticed that it is not all the same with which vegetation one decorates the altars, seeing that the custom of the times paid special attention to that, and priests and sacrificial servants were always wreathed and also the altars hung with such green as belonged to the gods to which they were sacrificing....

... undered). It pleases us for the same reason to introduce the celebration of the birthday of the god of wine in its entire elegance, dress, head decoration of the field and garden nymphs, their way of celebrating and how the sweet-toothed satyrs jump about them, as in a painting in living colours, first by the Phoenix pen of Ovid, now by his translator Arnold Hoogvliet in Dutch verses.See there the penned scene, pleasing, bustling, full of emotions, full of changes and so rich in thought that one could compose various scenes, and where every object pointed out as with the finger: especially where Priapus in an unexpected...

... o banquet joyfully;Sat down in the grass and youthful greenEach had made his own wreath and flower festoonGod Bacchus gave the wine and amidst the lusty toastingGave water to the creek to mix with the scarce wineThe feasting company was at last completedWith river najads, the one neatly decorated and dressedThe other with loose and unkempt hairThis served since knees and thighs were exposed,And with gathered dress up to the lap;And the other with the neck and pale bosom exposed;...

... len asleep in the shade of a tree.Then came Priapus (who tread softly on his toes)To where the pale nymph lay, and slept, along the lonesome path.And settles by her side without her awakeningIn the grass while he avoided the sound of his breath.He laughed in his fist, and firmly approaches the goalOf his love and had already lifted, quietly and sweetly,Her long dress from her maidenly feet:Just when the growling of Silenus sounded untimelyAnd brays gutturally, through which the young nymph, amazed,Jumps out of her sleep and escapes the hands of the garden god,And by her flight awakes all of the gods...

... ey went.But Bacchus shut up the swarm in one of the hollow trees,And then created the first fruit of the honeycomb,When the satyrs and Silenus, no matter how bald and old,Fell in love with the taste, for which they all struggled in the forest,When the old one found honey where he heard the buzzingIn an elm, he hid it from all of satyrdomUntil he finally climbed on the back of his donkeyHanging on to the trees, and to greedily grasp after delicaciesIn the nest and damages and hurts the bees...

... historical depiction, excels over others and, on the contrary, yhow others who have less sense and incompetently, semi-literately and stupidly grope around, and those who when requested for their way of proceeding and do that on lose ground so that it is ridiculous, will appear from these examples.In the digression on page 174 of my second book I mentioned an artist who had depicted in a print where Abraham had sent off his maidservant...

... r waffle stands. Well defended.Those who out of curiosity do research about this in olden writings and consult linguists (as I also need to do) will discover that the Tentoria from which the name tents is derived, carry that name because they were stretched with cords and poles, which were mostly covered with skins of animals, called Pelles in Latin. In Livy there is often mention of skins with which the solders covered their tents in the winter. Klaudianus said of Stilikon that he has often carried on under the skins....

... the soldiers were made of skins and Isodorus, speaking about such tents s...

... as people in that time were accustomed to drink before and also during weddings, and that this was not white but red wine is apparent from this, that no other wine is mentioned in the Holy Scriptures, for which he adduced the spot in Isaiah 63, verse 2, Proverbs 23, verse 31 and many others. The learned man took great satisfaction in these good reasons, and was surprised by the well-practiced understanding of the painter.Then there was also an artist who rendered allegorically the situation of the Netherlands in the years 1567 and 1568, with a damaged...

Volume 3, page 140-149

... ways the greatest masters in art.In order to arrive at a conclusion from the examples and all the arguments for and against, we say this: first, that common intellects have sometimes excelled in some part of art or another. Secondly, that it can happen that great intellects adept at many sciences and accomplishments that are needed to be a good history painter, are not always overachievers in art according to their intellect and accomplishments. But this is always...

... composing and painting but his alert spirit does not rest until the work is completed. David sits depressed on a high throne. Through an arch in the distance one sees the dry, bare and thirsty agriculture pine. Up in the vault of the splendid marble and cedar court, one sees some angels who, according to the inventiveness of the most intelligent painters, are each busy in competition to depict precisely what is to the point. One netseems to pass the judgment of the brothers from a half rolled up sheet. Another indicates...

... on the shoulder of her lady’s maid, announces with a laughing face that, having set to musing by sorrow, does not know what she is saying. But he already equally rigid knows of no mercy. Nor is he distracted by tears or moaning.Certainly there is no one who reads who does not have to agree that such a depiction requires understanding and as a consequence Rubens was a man of developed sensibility.But not withstanding that this way of...

... oly material is more confining and binding for poets of the stage than are the profane histories or heathen decorations, regardless of the old and famous precept of poetry, expressed by Horace, in his Poetry, with these verses:The Painter and Poet both received the power,To live off anything that each finds serviceable.And even clearer in the dedication to the Batavische Gebroeders in which we will at once see that all those who would treat the arts as required have to be sensible and closely observant.One should (he speaks about poetry)...

... l moderation and respect, while with the profane histories, even more in heather embellishments, one may sail more freely but always between the piers of probability.Certainly we must conclude that the grizzled father exercised his intellect in his association with the Amsterdam painters when we hear him chat thus about art on firm ground and his own unusual observations.He aimed for knowledge and knew no delusion.His tree bore fruit from beginning to end....

... eturn! Here the princess of the realm is silent.Her heart collapses, The sorrow consumes her strength.She sinks alone and without aid in the sand.But Theseus calls: farewell: and leaves the land,Hardened and deaf to Ariadne’s laments.3) Bacchus, the son of Jupiter and Semele, saved from the flame which consumed her. Before he was carried to term Jupiter stuck him in his thigh, from which he was later born in Nise, a city in Arabia, and placed under the upbringing of the mountain nymphs. But Macrobius and others...

... es from the press, with which the juice is pressed from the grapes.6) Long Spear. Named Thyrsus, thickly covered with vine leaves or ivy. Nonnus says this.A Thyrsus was his spear, thickly covered all overWith leaves from vinyards: the shaft was of iron.And Euripedes: He gave the Thyrsus in the hand,Full of climbing herbs on all sides.7) Silenus. Some poets say that he raised Bacchus, but most say that he only steadily accompanied him with his donkey, which was later deified. To...

... ened, Nocturnum after the night. He himself was therefore called Nycteleus by the Greeks.10) Secret, öpyia. That is the secret equipment of Bacchus.11) Closed chests. The Greeks called those locked chests of Bachus xiσαs Tubullus: Et levis occultis conscia cista sacris.That is: And also next to the light chest,Which knew his hidden things.That the ancient heathens had the habit of carrying their gods around in splendidly decorated chests, beneath covered tents, is not only clear for the turn of phrase with Amos chapter 5, verse 26, but also from the testimony of Apuleius and Plutarch. Pausanius also speaks of such a...

... ars from the severe punishment that was meted out when someone who knew the secret passed it on to others through carelessness.Appius Coecus was robbed of his eyes because he had made the secrets of Hercules’ sanctuary known to the slaves.12) Maron, a priest of Bacchus or one of his following to whom, Athenaeus says in the 6th book, the wine which the Latins called Vinum Mareoticum owes its name.13) Staphilus and Botrus, friends of Bacchus. According to Nonnus, the first got his name from the Greek word which means grapes. The latter means Denuded of Feathers, because drunkards are generally naked and bare.14) Greek word METHE a name for drunkenness15) Cymbals. Nonnus everywhere attributes cymbals to Bacchus, as also the hammers....

... lf spheres, of which the outer rounding had a handgrip or belt which encircled the hand. During the dancing and jumping they were slid or struck against each other, by which changes in sound were made to join them to the tones of the singing or strings.16) Evan was one of the names of Bacchus, but because the priests, priestesses and all who helped celebrate the feast were want to call out Evan Evoë, found everywhere in all his feast poems, they were called Evantes....

Volume 3, page 90-99

... had thus far drawn on his own, his wife, looking on, said to her husband, tapping him on the shoulder: Wijnants your master is born. Time confirmed this prediction.He practiced art for some years with Wijnants, after which he diligently stuck to drawing and painting cows, oxen, sheep and landscapes, daily carrying his equipment outside in the field, which he kept on doing once a week to the end of his life. The multitude of his art...

... art practitioners in particular, to whose works his brush added great lustre, as can be seen in the works of Jan van der Heyen, Frederik de Moucheron and others. His portrait is found in Plate D 12.Among the commendable students that he nurtured with his art lessons, appears DIRCK van BERGEN. He painted oxen, cows, sheep, figures and landscapes, glowingly and clearly coloured like those of his master but not as detailed, with the trees and landscape more gloomily foliated, but other than that...

... itself in Plate D. 2, was born in Heidelberg in the year 1639. His father, Johannes Netscher, was originally from the city of Stuttgart (from where he was necessitated to take flight to Heidelberg because of the severe wars and famine) and was a stone sculptor. He married Elizabet Vetter, daughter of a burgomaster of Heidelberg, against the wishes of his father and grandfather, whereby he fell out of their favour. The mother, the father having died, burdened with four children, three sons (of which Caspar) was the youngest) and a daughter, was further forced by the excess of soldiers...

... eir time.Dr. Arnold Tulleken, a religious, commendable and rich man, later took in Caspar, who was a good-looking boy and one who evinced a great spirit, with the intention of teaching him Latin and of turning him into a medical doctor. This project was under way and had good results until he got to the third school, when the love of drawing in him broke out strongly and he covered all the paper he could obtain, including his essays, with little men and beasts,...

... it at a higher price. This unreasonable treatment did not appeal to him, being a means to extinguish the spirit and desire of artists instead of fanning it. He therefore decided (now being twenty years old) to undertake a journey to Rome and at the first opportunity went on a ship with cargo for Bordeaux, taking along a letter from Doctor Tulleken to his nephew Neny [= Noeij], merchant there, to thus continue his journey via France to Italy. Arrived there he got to know one Godijn, a mathematician...

... e, including almost all of the potentates who came to The Hague, which caused his purse to swell and his fame to grow. Hence Charles II, King of England, who coveted his art, had ambassador William Temple request several times that he come to his court, which he declined politely because he loved his tranquillity, had no taste for courts, and feared the discomforts of the sea, but also because he had been plagued by stones since his twenties and in later years most lamentably with the...

... portrait as well as landscape paintings as subjects for his reflection.His first instructor in the art of drawing was Jacques Backereel, of the family of Backereels, which we commemorated at the beginning of the sixteenth [sic] century, with whom he stayed from his eleventh to his sixteenth year, daily practicing art diligently. Then, discerning that knowledge of the art of perspective is essential for a painter, he let himself be instructed by Nicholaas Fierlants of Den Bosch....

... eeing his diligence and competence, taught him the rudiments of perspective. Genoels remained in Antwerp painting with Millet for some time and in a short time improved remarkably in art and married the daughter of Laureys Franck, his cousin. What else he witnesses about Franck we will commemorate in his biography.It did not take long before Genoels had an opportunity at hand to paint some large works to serve as cartoons for Monsr. Gi. de la Noire [= Guy de Lanoy] Tappissier. These were...

... the heads of the painters’ guild of the suburb wished to force him to comply with the laws of their artists' guild. He consulted about this with the oft-mentioned de Sève, who advised him to report to the Royal Academy and go to the Gobelins to Charles Le Brun, the director of the Academy, to show him something of his brushwork, which he did. The latter at once asked him if he wished to paint something for the King [= Louis XIV], for which he would be paid according to the merit of his work and...

... try etching. He made 26 small as well large landscapes in copper, of which I know 12 (but he etched these in Rome), which are handled loosely and inventively. But Adriaen Frans Boudewijns etched two of the largest, one with pumpkins after a painting, and the other after a drawing made for it. In that time Jan van Huchtenburg was the battle painter in Paris, with whom he maintained an acquaintance.There for some time, he was sent at the command of the King to make a drawing of the Castle of Mariemont in Brussels, to be woven in a tapestry [9], on which journey the mentioned Huchtenburg and Boudewijns accompanied him to Amiens and from there to Lille, Tournai,...

Volume 3, page 120-129

... s that the patron of the house wanted it thus so that it would be applicable to his factory, or weaving mill of silk fabrics.† Mask. The earliest known inventor of the same and also of changes of actors and scenery is Aeschylus of Athens, a contempory of Pindar. See Basil Kennett, Griekse digteren, p. 38. Aeschylus..... built a firm placeOn light beams, and was the inventor of stagesOf Gryns, and cloating ....Says Andries Pels in his Gebruik én misbruik des toneels....

... d that stands next to her carrying the lion skin and club of Hercules on his shoulders.The two young maidens who have flowers in their lap and laurel wreaths in the hands and offer and sacrifice them to honour, are intended to indicate how by a pleasant durability Honour, obtained by virtue and bravery is eternalized. The same is also indicated by the Jerusalem feather, or palm branch (which is raised by an infant), for which in our Emblemata, a small work that...

... h we allude in the above-mentioned book with the depiction of a patient, burdened and kneeling camel, with this application:Patience and silent forbearance,They support those who bear the weight of the cross.Learn from this beast of burden (which for carryingOffers its back and lies down)How everyone must adjust to his fate,With tough patience, and satisfaction....

... who lustily and happily grub about an open vase full of gold and silver coins, and are greedily and assiduously stirring that pot of savings to rid the discs of mould. And so it goes. ForThose who gape at shining gold,And seek their rest in money,Find that care constantly torments them:Both in the greedily scraping together,As in the possession of their wish;And though it yields neither satisfaction,Nor rest, but produces restlessness after the labour,It still remains the goal of mankind....

... great advantages, which is also why in the times of old fables they versified that Jason obtained the golden fleece on the advice and with the aid of Medea meaning he robbed rich booty that was worth gold.The small scene above this piece depicts how Jason has captured the golden fleece after he had killed the guardian dragon who had tried to prevents this, which applied morally teaches how with help and assistance from the heavens the dragon of evil passions and...

... ng child standing next to her lap,--------* Winged. This means being skilled at charity, so that it does not happen as is told about a ruler who, aware that his philosopher friend was sick and needy, held back with charity until it was in vain, for when his servants brought him food, he had already died of deprivation.§ Open hands. This means ready generosity. One reads in the old histories that when emissaries of Bearn had received orders to elect one of the sons of Mr. Willem van Moncade as their ruler, they welcomed him with open hands as he came to be greeted, because they took that for a sure sign of generosity....

... 26to whom Charity hands a few coins, by which it is gladdened, which clearly announces that the virtu...

... with the explication of the preceding work, we will say nothing more about the present one other than that it was artful in conception, well-drawn, naturally coloured, inventively gotten up and broadly and fluidly painted. But that would not be the only reason. But as I discovered that De Lairesse explained and described several of his scenes in his book of painting, and no one knows better than the maker himself what he intended to depict, I have deemed it needless to expand any further.It would have been preferable if he had reflected more thoughtfully on the figure of poverty (painted by him) and had instead adopted the emblem of frugality...

... im witness that he conducted himself contentedly in his misery and amused himself by playing a tune on the flute or the violin, at which he was marvellously accomplished.He was especially knowledgeable concerning iconology, or the representation of concepts, and what was used in history, or in ancient times, with respect to feasts, decorations, pomp, religion and burial ceremony, with their apparatus and appropriate accessories, and with respect to this he consulted the poet...

... llustrate the subjects to which he refers in his discourses. The first serves as introduction to the second and deals with the art of drawing, just as the second does with the art of painting, along with everything that belongs to it.He died in Amsterdam in the year 1711 and was interred by the Society for the Arts in the Leiden cemetery on the 28th of July.The art-loving Arnoud van Halen, who has great respect for his art, seeing after long waiting that none of the Amsterdam poets had commemorated the man’s passing with an epigraph...

Volume 2, page 180-189

... does not now know about our misery!See Priam there. Here bravery in the old isCrowned with honour and price. Here our sorrow is lamented,And one finds no one who does not bear sorrow about this.Let go of all your fear: this knowledge will finally,(when all know about our misfortune) serve us best.Thus he speaks and blends his sorrow with the sadness of the airOf noble paintings, and releases sigh upon sigh,Whereupon the tears descend down his cheeks:...

... found himself amongst all those Greek men,And among the soldiers that came to defend TroyFrom the East, and saw here Agamemnon, the Ethiopian,With all his standards.Spurred on by these praiseworthy examples, we have in the service of art practitioners introduced the opposite print depiction with heads of old philosophers and numismatic portraits of world rulers (treated in the best known way).*--------* Best known. The printed medals that one still sees in books are still not depicted in accordance with their true nature, according to art. Usually one sees them only in a single contour, as if sketched, as with Joachim Oudaan...

... e (nor I, intentionally) has depicted them as they ought to be depicted. But what constitutes the correct illustration, and what manner of treatment needs be used with respect to them, will remain unspoken until I have the opportunity to manage a large publication, when I shall be able to argue clearly that no one has ever considered what should be observed for the correct depiction of medals.A bird catcher (says Baltasar Gracián) tosses no more seed than is needed to catch his bird....

... m above out of a window, looking up and with his own features, by which he is known amongst numismatists.Or does he desire tragic material and wish, for example,--------* Forbearance. It consisted of his only saying to her in return, without any anger or cursing: I had expected that a shower would follow on a storm of abuse. And if anyone, surprised by this, asked him how he could possibly bear this? He answered: can you prevent the cackling of the fowl that cross the yard?...

... re, an emblem of purification and tribulation, to Reason, seeing that it is not true Reason unless it is thriven of prejudices and error. Breast plate and spear, emblems of bravery and power, have been applied to her because she is able to control not only the passions of others but also her own. The head of Medusa on the steel shield means that just as by its display the enemies of Perseus were petrified, so everything that runs counter to Reason is silenced or after a little resistance, flees and concedes the battle....

... indicated the path by which each artist can seek out what is of use to him (in case our leads should please him). And why the portrait of Marc Anthony here, and of Alexander Lysimachus and others, wearing ram’s horns are shown on their coinage we will explain in our presentation concerning the feast of Bacchus.This is enough said, and we wish to close our digression with Mister David van Hoogstraten, who in his...

... f the city hall of Amsterdam, who was a friend of his father and associated with him, often went to visit him when he was in his home at Randenbroek near Amersfoort and on those occasions saw the products of Matthias’ intellect. He offered his service to the youth out of his fondness for art, taught him the fundaments of art and brought him so far by his teaching in a time of six years that he could proceed on his own wings. Some young lads who got wanderlust in their heads, of which Otto Marseus van Schrieck was one, encouraged others, including our Matthias and Hendrik Graauw,...

... s story, declared that she often cried over his chilled bones when she recalled with what tender love he adored his children. He rarely went to an inn or into company but, when healthy, was busy and diligent at his profession day and night, for the gout plagued him so tremendously that he was often unable to do anything in the way of art for two, three, or more months per year when, as Jan Pietersz. Zomer, broker in art in Amsterdam, who knew him to the last of his life,...

... ons who also handled art, and four daughters, of which Alida Withoos, the second, also painted flowers, fruit and animals in oils and water colours, and is still alive.Johannes Withoos, the eldest, had been in Rome for a long time. He painted landscapes in water colours and brought with him from Italy a store of sketches and drawings with entertaining views, both landscapes and pleasure gardens, with the intention of passing his life in Holland. But a certain incident tempted him to the court of the ruler of Sachsen-Lauenburg [= Julius Franz Duke of Sachsen-Lauenburg], where he died in the year 1685....

... ed with great pain for six years on end.HENDRIK GRAAUW was born in Hoorn from commendable parents, but I was not able to trace the year of his birth. But since he was later a student of Jacob van Campen together with Matthias Withoos, who was also his travel companion, I found reason to bring him on stage next to Graauw in the year 1627.His first teacher of art was Pieter de Grebber of Haarlem. He then went to Jacob van Campen, architect of the city hall of Amsterdam, with whom he remained for fully eight years, doing nothing during that time but draw and arrange all sorts of subjects until Prince Johan Maurits of Nassau-Siegen having returned from the West Indies,...

Volume 1, page 140-149

... Paters, I saw a whole chapel hung with his paintings, amongst which were wreaths and swags of flowers so intelligently and artistically grouped together according to the requirements of the colours that I said to the company I had with me: It is inconceivable that Glicera, concubine of Pausanius, so famous with the Greek authors for flower arranging, could have assembled them with such virtuosity. There was also in his time a Pater Johannes van der Borcht of the Order of Friars Minor, who practiced engraving....

... re those by Seghers gladly received by all lovers of the art of flower painting because they were seen to flower so beautifully in the autumn of the fifteenth [sic] century, both by the common and the great, especially Archduke Leopold Wilhelm and Frederik Hendrik, Prince of Orange, who greatly venerated him for two of his pieces. One sees his portrait as painted by Jan Lievens in print [2-3], which we followed in our plate G.The great poet Joost van den Vondel, tempted by seeing Daniel Segher’s flower pieces, composed the following verse...

... ot only made of copper and silver but also decorated with all kinds of artful figural work and foliage, which they presented to particular gods as pleasing gifts.Amongst the various ones that Heroditus saw in Thebes in Boeotia, he recalls a splendid tripod in the temple of Apollo Ismenios, which features the inscription in Kardian letters;The ruler Laodamus dedicated this tripodLoaded with artwork to the great god Apollo....

... n memory of their use on Roman coins, of which we show correct...

... w to make use of such embellishments when fitting (to add lustre to his work), and he would have deserved even more fame if he had imitated antiquity in this respect.We judge that we have thus far said enough with respect to heathen offerings and their attributes, although we have only considered the "fringe" (so to speak) of the curtain. Our aim did not reach further: and one deems a matter complete when it satisfies the intent. ...

... would have reduced him to poverty were it not that two sisters of his, having died, made him heir to the annual income from their inheritance.In the year 1634 he left for Brabant and there married a young girl of low descent who passed her time with needlework but was beautiful and had good sense. After the passing of some years he came to live in The Hague with his wife and two daughters. Pieter van Ruijven, painter in Delft, has told me that he knew him in 1677 or 78, being by then a man of 87 or 88 years with a long unkempt beard. Speaking of Van Linschoten's art,...

... sloot Gate, hangs a work of art by him depicting an alchemist in his workshop, inventively thought out and painted, especially the breast and arms of the male figure, which are not only fleshly and naturally painted, but also firm and artfully drawn. And there are more like it in the houses of the oldest families of Delft.Now we come to LUCAS de WAEL, born in Antwerp in 1591. All that comes from cats wants to hunt mice says the old Dutch proverb. Thus it was also with this Lucas, whose father was a painter. For...

... . In Rome, where he lived for several years to practice after the best models, he was called the Friesian eagle on account of his high flight in art.How closely he paid attention to everything is clear from his Kabinet der statuen, in which the makers of the sculptures are identified and the places where they stand are shown. This book was printed in Amsterdam in the year 1702.One can see his portrait in plate F, next to Frans Hals....

... station and worth.The visible ghosts live on earth.Thus you remain with us here below,With Noyen sitting by your side.You know how to charm his tongue,With the best of divine rhymes.He is used to wedding his poetryTo your painting,You suck his poems with your ears,His eyes kiss your lute.His son’s son, also named Wybrand, still practices the art of painting. He had Jan Anthonie de Coxie as teacher when he lived in Amsterdam....

... entery, which killed a large part of the army at that time.GERARD van HONTHORST was born in Utrecht in the year 1592. He learned the rudiments of art with Abraham Bloemaert and then headed for Rome, where he had improved so greatly in a few years that the most fastidious connoisseurs and lovers of the art of painting took great pleasure in his art, especially his night lights. Just as he was later sought out for his outstanding art, both in portraits as well as compositions, by various cardinals, the King of England, Charles I, the King of Denmark and finally the prince of Orange at the time....

Volume 1, page 100-109

... l. Ovid says in his tenth book of the Metamorphoses.Indutaque cornibus aura victima,Which is;The sacrificial animal having the horns gilded.§ White bulls. The sacrificial animal in honour of some upper god must not only be selected for lack of any deficiency but it must also be pearly white. And by contrast it should be jet black if it were to serve as a sacrifice for spirits and subterranean godheads, as Ludolf Smids noted acutely in his commentary on Ovid’s works, as we will also show in greater detail when we deal with these things in particular....

... ime certain rules were introduced, for we read with R. Maimonides that if someone, being and Israelite, hears another Israelite take God’s name in vain, he must tear his clothes. But if he hears it from a heathen, that is not essential. And thus the apostles erred in this by following their impulse too far. We have answered this objection in the commentary on the life of Den Kruisheld, Paulus, p. 55. Here it is only to the point that we show (to lead the curious youth on the right path) the manner of the tearing of clothes....

... g cloth thrown over their heads and naked at the chest, in contrast to the way of tearing clothes which only belonged to the High Priest, who was only allowed to tear from below upward, as the Jewish masters distinguish precisely in their writings. Thus we read: The high priest tears from below, but a common priest from above. Misna tit, Horajoth, chapter 3.In view of these directions our most commendable art practitioners erred when they depicted the high priest Caiaphas tearing his clothes from the chest downward....

... coins which are contemporary to what they commemorate, and not do like the painter Rembrandt, who (as Andrie...

... Romans approaching the Gods were wont to honour them with covered head, to bear witness to humility of mind. And it is not beyond possibility, as observed by Joachim Oudaan, that the Apostle Paul forbade men to prophesy with uncovered head, to contrast the practice of the Christians to that of the heathens and thus make it manifest, just as this was the intention of Moses, which we demonstrated in detail, using Spencer [= Philipp Jacob Spener?] in the Brieven van Philaléthes.This head cover or upper priestly hat, ...

... rding to the new translation by Vondel, given to the Netherlands by Mr. David van Hoogstraten: I wish I had been in Crete, when I attended the feast of Ceres in Eleusis. Then my desire fell (although not for the first time) on you, and love settled in the marrow of my bones. Thou wert dressed in white, and wreathed in flowers: and thy pale visage flushed with blushing modesty.II. Depicts the hat or the head gear of a Flamen, priest of Jupiter, as is clearly indicated by the bolt of lightning stitched on it. And because in many instances it was too inconvenient for the upper...

... .4, next to which we depict it, not inappropriately with VI. the Quiver with skinning knives, which the slaughterers carried hanging from their belt, as tracked down by the antiquarian Guillaume du Choul, Councillor of the King of France, and Bailiff of the mountains of Dauphiné.From him we have also borrowed the Candleholder, above which a bowl-like hollow item is to be observed, suited to burning incense, which, in all probability, Joost van den Vondel must have been looking at in the preceding verse, since he speaks of an incense candleholder. It must have served the same purpose as the incense vats, and platters; or may have served as a lamp to give light; seeing the scallop bowl...

... es or hearths, we have also drawn this Lamp. VIII. for her strange form and appearance, to be of service to the art practitioners if they sometimes show some statues of the Gods, in temples, or covered portals, as it was the practice of the same Romans to hang burning lamps both by day and by night. Of which lamplight the priests, who kept night vigil in turn, also made use. It is also useful for those who wish to show household gods on their altars,...

... me. The pelvic bones of the slaughtered sacrificial animals later served to represent piety and religion, and were placed in front of the altar XI.§ These altars were round--------* Thus seen on the back of a coin of Caesar, shown in Table CXIV, fig. 4, in Oudaan’s Roomsche mogentheid.§ Altar. Heathen writings mention an altar of great height, which Apollo had piled up from some pelvic bones or horns of butchered sacrificial animals, which Daniel Heinsius uses thus in his Hymnus oft Lof-sanck van Bacchus....

... to a bull and sheep every five years in Rome by the disciplinarian of the field of Mars, to Venus at weddings---------They say that in olden days Phoebus madeA great and high altar, flanked on all sidesWith horns that his sister brought him from the field,Who had felled many a horned beast at Delos.A comical poet applied the following rhymed lines to this,As once men in general,Collected the horns together.Which often the beloved women,Placed as plumes on their heads;With that one could at the very least, believeMe, well be able to build an altar,As high as in the land of Egypt,A pointed cenotaph was ever planted....