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Visual Resources, Vol. 19, No. 4, pp. 307-320 Routledge I{ .p.., am,, '.

Written Paintings: Real and Imaginary Works of Art in De Lairesse's Schilderboek'

Lyckle de Vries

The aim of De Lairesse's Groot Schilderboek (1707) was to translate the laws of international classicism into practical rules for studio use. Its text is interspersed with descriptions of imaginary paintings, meant as inspiring examples for young artists. These written paintings are of the author's own invention. In two cases, however, a Roman sculpture can be recognized as the source of inspiration. In the process, the emotional content of the mythological figures was changed drastically. De Lairesse campaigned for the improvement of genre painting. One of his imaginary examples was a tea party. Willem van Mieris illustrated this subject in one of his works without, however, closely following the Schilderboek's text. De Lairesse's most elaborate "written painting" is meant to emulate Jan Steen's topsy-turvy families. He tried to create perfect genre paintings by combining the best elements from the work of his predecessors, while eliminating their shortcomings.

Keywords: Lairesse, Gerard de, 164C-1711; Het Groot Schilderboek; Art education; Classicism; Genre painting; Artists' writings

The most successful Dutch painter of the last third of the seventeenth century was Gerard de Lairesse. He was active in Amsterdam from 1665 to 1690, the year in which blindness forced him to lay down his brushes and etching needles2 The stage sets he made were widely admired and remained famous until they went lost in the fire that destroyed the Amsterdam theatre in 1772. De Lairesse's most important paintings, apart from his theatrical work, were monumental canvases, integrated into the interior architecture of stately patrician homes on the canals of Amsterdam. William 111, Prince of Orange, was one of his patrons, and a number of his etchings glorify the deeds of this stadhouder and future King of England. When he had stopped painting, De Lairesse lectured on art for a small circle of learned connoisseurs. From this activity resulted the voluminous Schilderboek, which he dictated to his sons and was published in1707. A small treatise on the art of drawing had already appeared in 1701.

Although the Schilderboek is nowadays mostly discussed in the context of art

ISSN 0197-3762 print; ISSN 1477-2809 online/03/040307-14 O 2003 Taylor & Francis Ltd DOI: 10.1080/0197376032000143185

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theory, it was first and foremost an attempt to translate the laws of international classicism into practical rules for studio use. For this reason, the extensive text is interspersed with long descriptions of paintings-that is, imaginary paintings meant to give stimulating examples. Pupils who were not satisfied with the training they received, or established artists who wanted to break away from their "schilderachtig" manner, could, supposedly, find more inspiration in suggestive examples than in theoretical rules.3

When he dictated his book, De Lairesse could no longer visually consult his print collection, but his memory had been sharpened through his handicap, as he stated more than once. A well-known example can sometimes be recognized in one of his imaginary paintings, even though the description is never very precise. This may be for two reasons. Possibly, De Lairesse's visual memory was not as accurate as he claimed it was. More probably, he did not want to describe his examples without improving them, because he hoped to present his readers with a collection of perfect images, better even than the best prints could offer. Furthermore, his "written paintings" may be considered demonstrations of emulation; precisely as he himself had done, his readers should not just follow well-chosen examples, but compete with them.

The ultimate examples for any artist, according to De Lairesse, were plaster casts and prints after classical sculpture. He himself was an avid collector,4 and in some of his descriptions one recognizes the outlines of a Greek or Roman statue. When he proposes a set of four paintings illustrating the story of Apollo and Daphne, he advises his reader to depict Apollo's disappointment after Daphne's transformation as follows: "he sighing and lamenting went to lean against the Oak, . .. his Elbow in one Hand, and his Face supported by the other; his Legs across; in this Posture he remains a while musing and silent" (1: 105; Fr. 80). This attitude is to be found in Franqois Pemer's well known print collection, as well as in Jan de Bisschop's I ~ o n e s . ~ The sculpture illustrated there, however, is of a female figure which de Bisschop identifies as Sabina, Perrier as Veturia Martii Coriolani mater, in Hortis Medeceis [sicI6 (Figure 1). These names help to understand the drama that could be read into this figure, which may seem somewhat unexpressive to modern eyes.

It is easier for a modem spectator to recognize the expressive power of the so-called "Dying Gaulu7 (Figure 2). Initially I thought that a print after this sculpture, again from Perrier's Aldervermaerdste Statuen (Most Famous Statues), had served as an example for De Lairesse's imaginary Hercules on the Pyre.' I now believe that the Barberini Faun was De Lairesse's source of inspiration9 (Figure 3). This rather impudent sleeping figure shows no motion or emotion, but is in accordance with the peaceful facial expression the Schilderboek prescribes: "discovering Resignation, unattended with Pain" (11: 96; Fr. 414). Apart from some minor shifts between left and right, the attitude of the dying hero, described in great detail, seems to agree rather well with that of the Satyr who is sleeping off his drunkenness. Apparently, classical forms could be seen as empty formulae, having no meaning outside the context an artist decided to give them.''

Whereas Apollo and Daphne demonstrated how emotions could be expressed through movements, the Life of Hercules was given as a subject that perfectly combines with the interior architecture of the Doric order (11: 95-105).11 The quotations from classical sculpture, discussed here, were integrated into elaborate compositions of which the other parts were thought up by De Lairesse himself. In

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FIGURE 1 A Standing W o m n ("Veturia Martii Coriolani m t e r in Hortis Medeceis") from Francois Perrrier's Aldervermaerdste Statuen (1638), pl. 76 (Photo: Royal Library, The Hague).

both cases, he applied an example from antiquity to a subject he considered highly important. The expression of emotions though movements is amply treated in Book I1 of the Schilderboek, which discusses composition. De Lairesse wanted his readers to understand how two ideals could be united: the expression of strong emotions and the depiction of classical beauty.

The series of imaginary paintings illustrating the life and death of Hercules can

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FIGURE 2 A Dying Gaul ("Mirtnillo deficieits in Hortis Ludovisianis")frorn Francois Perrrier's Aldervermaerdste Statuen (1638), pl. 91 (Photo: Royal Library, The Hague).

be found in Book VTII on architecture. This part of the Schilderboek discusses some fasades of modern houses, but its main subjects are the depiction of buildings in paintings, and the interior architecture into which monumental paintings could be integrated. As such, Book VIII forms a unity with the next two books. Book IX treats ceiling paintings and Book X is about sculpture (i.e., the depiction of three-dimensional sculpture in paintings, as well as the imitation of stone reliefs in grisaille canvases). Together these three books center on De Lairesse's speciality as a painter of monumental wall paintings and ceilings, integrated into interior architecture, constructed of wood but preferably imitating stone columns and capitals.12 This part of the treatise is placed between chapters on other specialities such as landscape (VI), portrait (VII), still life (XI), and flowers (XII). Ideally, these minor art forms should be integrated into the best possible work: history painting with life-size figures, permanently placed in a monumental framework of classical architecture.

Certain aspects of De Lairesse's book, such as his plea for greater decorum in genre painting, were to have great influence. As an artist, however, his influence remained rather limited. The number of his pupils and followers was small, which is partly to be understood as a result of changing fashions in interior decoration. When building activity on the new canals of Amsterdam subsided, the demand for wall paintings with life-size human figures in private homes rapidly declined. It was not before the second quarter of the eighteenth century that Jacob de Wit would renew the genre's popularity. His style, however, had different roots.

Although the Schilderboek was widely read, De Lairesse's "written paintings" were never to be executed on canvas or panel. In Book III, called Of Things Antique and Modem (I: 167-201; Fr. 126-154), the author proposed all kinds of rather

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FIGURE 3 A Sleeping Drunken Satyr (the "Bnrberini Faun"), Munich, Stnatliche Antikensammlungen und Glyptothek (Photo: Museum).

unrealistic measures for the improvement of genre painting; one of these being the upgrading of its repertory. A large number of subjects that genre painters could and should depict are enumerated here, chosen from contemporary life and understood as the illustration of present-day customs and manners. Many more can be found in Book VIII, Chapter 8, wluch explains what kind of painting should be situated in which part of the house (11: 71-78; Fr. 394-399).

Ideally, genre painting should no longer be practiced, but De Lairesse realized that his Dutch compatriots were not ready for this revolutionary decision.13 Part of the next best solution is the elimination of all things vulgar and common. In De Lairesse's opinion, the traditional function of genre painting-propagating moral values-ould no longer be accepted as an excuse for the depiction of things to be

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exposed and ridiculed, such as misbehavior and sins. This kind of art, therefore, is acceptable only when it illustrates the manners and customs of the upper classes. Genre scenes are thus reduced to examples of civilization and good taste. As such they could exert a beneficial influence on the behavior of common people who would be stimulated to imitate socially and morally desirable conduct.14

Assemblies for publick Worship, Pleadings in Courts (I: 175; Fr. 132) and other such subjects found their way into richly illustrated books, much less into cabinet paintings, since the repertory of Dutch genre painters in the eighteenth century was largely determined by tradition and the desire to emulate the great masters of the previous century. One of the few to follow the suggestions of the Schilderboek was WiLlem van Mieris. He seems to have picked up De Lairesse's idea to depict a tea party, without, however, closely following the Schilderboek's text15 (Figure 4). The Schilderboek tells of a young lady who tries to postpone the departure of the friend who is visiting her by pouring her a fresh cup of tea. The visitor, however, refuses to accept it because a servant is coming to fetch her. This Example of lntreating and Refusing (I: 183-184; Fr. 138-139) was meant to demonstrate that a genre painter has to master the expression of emotions through bodily movements and facial expres- sions just as thoroughly as a painter of biblical and mythological subjects. De Lairesse even went so far as to apply the topos of the speaking painting to this imaginary genre scene. Unfortunately, Fritsch replaced: Het is of men haar hoort zeg@n . . . [it-is as if one hears her say . . .] simply with: as if she said . . . . (I: 183; Fr. 138).16

The most important difference between De Lairesse and van Mieris is the latter's elimination of psychological tension, narration, and the progression of time. In the real painting, no one is caught in the act of entering, rising, or stealing a lump of sugar. There is no visible conflict between the two young ladies either, not even a sign of interaction. The attitudes of the main figures seem to diverge for aesthetic reasons only. The contrast between inside and outside, visitor and hostess, is missing as well. The woman on the right pours the tea, which indicates her being at home; the woman on the left is no visitor either, as her house shoe and embroidery frame make clear. As she is looking intently into her empty cup, she may be trying to tell the future from the leaves. If van Mieris was stimulated by reading the Schilderboek to paint a tea party, he certainly did not share De Lairesse's view that genre painting should be as similar to history painting as possible. In this respect, he was no exception.

My last example serves to illustrate not how readers reacted to the Schilderboek, but how its author reacted to the art of his contemporaries and predecessors. After having proposed an Allego y of Virtue, De Lairesse asks his readers to consider the subjects of a good household and a disorderly one. The words in which De Lairesse characterizes these opposites strongly evoke Jan Steen's topsy-turvy families, even though his name is not mentioned at all. The author may not have been aware of Steen's good families, which presently are known under the title of Grace before Meat.17 Yet Steen's disorderly families have been proverbial ever since Houbraken wrote his Groote Schouburgh, and probably even earlier." Some of these are still known under a modern version of their old title Bedurven Huishouwe~z, but the same kind of mischief is to be seen in his representations of families celebrating traditional holidays such as Twelfth Night, as well as in illustrations of proverbs such as "As the old birds sing, so the young ones will ~hirp." '~

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FIGURE 4 Willem van Mieris, Le The, Paris, Muste du Louvre (Photo: Rtunion des M u s k s Nationaux).

In this "written painting," one of his most elaborate, De Lairesse does not refer to one specific work by Steen's hand, but he enumerates essential elements of various Huishoudens. He describes an unruly family as Jan Steen should have painted it. This example was meant, once more, to stimulate his readers to imitation. This would help them to emend the traditional shortcomings of genre painting in Holland as exemplified by Steen. It is one of the very rare cases, if not the only one, where De Lairesse follows the tradition of genre painting by

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FIGURE 5 Anonymus after Philip T i d e m n , Verbeeldinge van een Vanitas mepresentation of Vanity), illustration in G. de la h i resse"~ Schilderboek (1707), opposite 1: 189 (Photo: Royal Library, The Hague).

composing a warning example of how not to behave, as opposed to giving an example worth imitating. He calls it a "Representation of Vanity" (I: 189; Fr. 144).

This "written genre scene" was translated into a print by De Lairesse's pupil and friend Philip Tideman (Figure 5). Problems with the production of prints for the Schilderboek were the main reason for serious delay in its publication and, even so, most of its illustrations are of a poor quality. Not all prints have a signature, and those that do show many different names. The title print and three illustrations in which the human figures had to be depicted with great care were drawn by Tideman and etched by others.20 One of these is the Vanitas under discussion.

The print shows a room in which a young lady is grooming herself. Meanwhile, an elderly man busies himself with a celestial globe, two children are blowing bubbles, a maid is cleaning, and an elderly lady inspects the contents of a cupboard. The verbal description begins with the room and its furniture, not with the figures. This is not a matter of convenience, but of principle. In Book 11, called Of Ordonnance or Composition (I: 43-164; Fr. 31-125), De Lairesse advises artists who want to design a composition, to begin with "first the Plan, next the Stone-work and then the Figures for By-works" (I: 72; Fr. 54). In this respect, De Lairesse sides with a limited number of genre painters such as De Hooch and Vermeer, who used mathematical perspective in their interior scenes. As a rule, a painter would design a group of interacting figures first, providing them with a background or placing them in a three-dimensional setting afterward. Artists as different as Ter Borch, Dou, van Mieris, and Steen had this working method in common.

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Part of the room's perspective is a "doorkijkje" (a look-through).21 The view from an interior space through an open door or window into a different part of the house, a garden, courtyard, or street was made popular by Samuel van Hoogstraten, who used his genre scenes to demonstrate his command of perspec- tive. This aspect of his work was emulated by many genre specialists, notwith- standing the fact that most of them did not take the time and trouble to construct their spaces with rulers and compass. In De Lairesse's opinion, such a demon- stration of mathematical prowess was to be highly estimated, as his "written painting" makes clear.

Lighting and perspective cannot be separated, as Book V of the Schilderboek expounds. When an artist is elaborating the effect of artificial lighting in a night scene, he has to combine the sketch of his Ordonnance with a planurn again: "a Plan, to shew the Places of the Figures and other Objects" (1: 314; Fr. 243). In the painting under discussion, there are two sources of light: a large window on the right (left in the print) and the open door into the garden.22 This again reminds one of De Hooch. Since the kind of light is not specified, we may assume that the author's advice is for "gemeen licht" (common light). This is the usual light in studios with windows placed high up in a wall facing North. It gives no sharp contrasts and its shadows are soft with gradual tran~itions.~~ The use of sunlight would have enhanced the similarity with De Hooch's interiors even more. The Schilderboek does not object to this choice, and gives ample instructions for its application.24 In any event, the character, strength, and direction of the light should be determined before any figure is introduced into the empty room.

The next element indicated is not the young woman, but the table at which she sits. Together with her attributes, she makes a traditional personification of vanity, and so do the children blowing bubbles. The order in which the figures are introduced is from one side of the room, via the back wall, to the other side, and from there to the foreground. This again goes against the traditional working method of Dutch painters. When designing their compositions, they would nor- mally begin by drawing the main protagonist on the foreground, adding the visible parts of secondary figures beside and behind the main figure. This risked mistakes in scale, proportions, and anatomy, as a brief inspection of some paintings by Jan Steen will make clear. Yet he was not the only one to work in this order, just the one who cared least about being found out. De Lairesse seems to suggest that the artist should sketch in complete background figures first and then place others in front of them (i.e., paint or draw the ones over the others).25

The colors should enhance the spatial effect of a composition; therefore, their use is subject to the laws of perspective. This is why De Lairesse tells his readers in great detail which colors to use in the figures' clothing. Of course, the children, close to the window, are dressed in white and pure blue. Both women on the right, farthest away from the window, wear greyish and faded colors. The robe of the man in the background is of a dark purple, whereas the dress of the woman in front is white with a reflection of bright red and a girdle of pure blue. The theory behind this practical example is expounded in Book V: "Of Lights and Shades" (I: 244-342; Fr. 189-264). The description of the Vanity is followed by a page- long apology in which De Lairesse tries to prove that t h s composition is the only acceptable solution to the problem he had posed himself. Since he based

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his solutions on rational rules, he could very well "make the Disposition of an Ordonnance ... ," notwithstanding his blindness (I: 190; Fr. 145).

Thanks to the illustration, readers of the Schilderboek do not have to rely on their imagination only. The printmaker followed the text with great care, but some details cannot be determined in writing. When he drew his figures, Tideman had to rely on his experience as a creative artist. His print echoes the work of fijnschilders, such as Eglon van der Neer, Caspar Netscher, Godfried Schalcken, Ary de Vois, and Jan Verkolje. The overall picture is that of a Jan Steen subject, played out by Verkolje figures in an elegant interior from De Hooch's Amsterdam period. De Lairesse believed that he could create perfect genre painting by combining the best elements from the work of his predecessors, while eliminating their shortcom- ings. I think it is highly improbable that the formula could ever work, but since no Dutch painter ever tried it, we do not know this for sure. Thus De Lairesse created in the second half of his career a large number of works that were destined to remain "written paintings."

NOTES

1. The Roman numerals and the abbreviation "Fr." refer to the various volumes of De Lairesse's Schilderboek and its translation by J. F. Fritsch, included in the Appendix at the end of this article.

2. On the artist, his theory, and his place in Dutch art, see L. de Vries, Gerard de Lairesse: An Artist between Stage and Studio, Amsterdam, 1998. For a thorough catalogue of his paintings and prints, see A. Roy, Gkrard de Lairesse, 164&2721, Paris, 1992. See also L. de Vries, [review of] "Alain Roy, Gtrard de Lairesse, Paris, 1992," Oud Holland 109, 1995: 113-114.

3. One of De Lairesse's main objectives in writing his treatise was to fight the general Dutch predilection for "schilderachtig" paintings. This word is best translated as "painterly," not "picturesque." On the term, see B. Bakker, "Schilderachtig: Discussions of a Seventeenth-century Term and Concept," Simiolus 23, 1995: 147-162. On De Lairesse's vocabulary, see L. de Vries, "Gerard de Lairesse: The Theorist as an Art Critic," in M.C. Heck et al., eds, Thtorie des arts et crtation artistique duns I' Europe du Nord du XVle nud debut du XVlIIe siecle, actes du colloque international organis6 ... par le Centre de Recherches en Histoire de 1'Art pour 1' Europe du Nord, Lille, 2002, 291-298.

4. According to Van Gool, Bonaventura van Overbeek came back from Rome with a large quantity of reproductions in various techniques after ancient sculpture and Italian art, which he made available to De Lairesse, who had never traveled to Italy himself. J. van Gool, De Nieuwe Schouburg ... , vol. I, The Hague, 1750, 156157, facsimile edition, Soest, 1971.

5. Franqois Perrier, Eigentlyke Afbeeldinge, van Hondert der Aldervermnerdste Stntuen, of Antique- Beelden, Stnande binnen Ronzen ... , The Hague, 1638, pl. 76; J. G. van Gelder et al., Jan de Bisschop and his Icones 6 Paradigmata, Doomspijk 1985, vol. 2, pl. 43.

6. Present whereabouts are unknown. 7. Now in Rome, Museo Capitolino. 8. De Vries, Gerard de Lairesse, 189-191. 9. The best copy of the Sleeping Satyr, the so-called "Barberini FRUII", is in the Staatliche

Antikensammlungen und Glyptothek in Munich. 10. The attitude of the Barberini Faun can be recognized, for example, in the sleeping Endymionin,

one of De Lairesse's etchings. See Roy, Gtrard de Lairesse, cat. no. G 105. 11. The Tuscan order is "grof en eenvoudig" or "grof en robust", IT 49, 78: "plain and simple" or

"rough and massy", Fr. 375,400. The other orders are not characterized in a similar way by De Lairesse himself, but a laudatory poem by J. Goeree gives the usual descriptions, 11: 4-6. He sees the Doric order, associated with Hercules, as "van bednarder roeezen,/En een beklonke vastigheyd": of a more sedate character [in comparison to the Tuscan order], and of a well-settled solidity. The poem was omitted in Fritsch's edition.

12. No more than one of these "zanl- en kamerschilderingen" survives more or less unchanged. See De Vries, Gerard de Lairesse, 49-63; L. de Vries, "Het Hof van Holland," Spiegel Historiael 37, 2002: 41-22, 460.

13. According to De Lairesse, the social position of an artist determines the kind of art he produces, I: 182, 185; Fr. 138, 140.

14. When the young De Lairesse did not yet have access to the patriciate of Amsterdam, he

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studied the behavior of elegant people in the streets and sketched it in his "Pocket-book; which an History-painter ought always to have about him, wherever he goes", I: 56; Fr. 41.

15. W. van Mieris, Le Tht , panel 42 X 34 cm, Paris, Musk du Louvre, inv. no.1548. 16. Fritsch did not translate the first part of h s phrase as "One seems to hear her saying," but

simply as "as if she saidr'-Prny, dear Isabel! One Dish more. 17. The best known examples are: Philadelphia, John G. Johnson Collection, cat. no. 514; London,

National Gallery, inv. 2558; Belvoir Castle, Grantham, Duke of Rutland Collection. 18. "Toen nnm hy toevllccht tot het Penceel. 'T eerste dnt hy nzaakte was een zinnebeeld van zyn bedorven

huishouwen. 'T vertrek lag buiten orde overhoop, de Hont slobberde uit den Pot, de Kat fiep met Spek heen, de Kinderen buitelden ongehavent over de Vloer, Moer zat gemakkelyk in een zetel en zag dit werk aan, en om de klucht had hy zig zelfdanr by afgemaalt, met een roemer in de hand, en een Aap op de schoorsteen die dit alles met een lnngen bek begluurde." No more than De Lairesse's description, can this passage be identified with one specific painting. It combines characteristic elements of a number of Steen's compositions. A. Houbraken, De Groote Schouburgh ... , 2nd edn., vol. 111, Den Haag, 1753, 15, facsimile edition, Amster- dam, 1976.

19. Some of the best known examples are: In Weelde Siet Toe, Vienna, Kunsthistorische Museum, inv. no. 791; As the Old Birds Sing ... , The Hague, Mauritshuis, inv. no. 742; Twelfth Night, Kassel, Staatliche Museen; As the Old Birds Sing ... , Amsterdam, Rijksmuseum, inv. no. C 229.

20. According to De Lairesse's Voorreden arrn de Konstbeminizende Lezers, Preface for the Art-loving Reader; not in Fritsch's edition, Tideman had offered to draw all illustrations, breaking this promise when well-paying commissions began to take up his time. The placement of Tideman's prints in the book seems to indicate that he began with those illustrations the author considered to be the most important or most demanding: the title print and illustrations opposite pages I: 189, 11: 247, 11: 248. All prints were replaced by copies in Fritsch's edition.

21. This translation was proposed by the editors of The Burlington1 Magazine. Fritsch speaks of a Visto or an Offskip, Fr. 144, 146. As Michael Hoyle rightly remarked, these words do not indicate the framing device implied in the Dutch word "doorkijkje."

22. De Lairesse defends his Dutch compatriots against the most rigid classicists who did not allow the use of more than one source of light in a composition, I: 284-286; Fr. 22b222.

23. I: 247-250, 275; Fr. 189-192; and different places in Book V. 24. I: 276-278, 332-334; Fr. 214-215, 26Ck262. 25. De Lairesse wanted his readers to work in clearly distinguished phases. First the composition

was to be put together in a drawing. Then the painting on canvas or panel was to be prepared in a layer of monochrome paint; h technique is called "Doodvenuen" or "dead-coloring", I: 12-13; Fr. 6. The final phase is "Het Opschilderen" or "the second coloring", I: 1S14; Fr. 7. Whereas the painter works on all aspects of his composition simultaneously when he is dead-coloring, he should be working from the background forwards when he finishes his work in full color. In his "Verbeeldinge vaiz een Vanitas", De Lairesse explains how the composition of a genre painting should be put together, not how the composition, once it has been determined, should be executed in consecutive layers of paint. It goes without saying that most Dutch painters did not follow the Schilderboek's advice in this matter.

Appendix: quotes from the Schilderboek in Dutch and English

G. de Lairesse, Groot Schilderboek . .. , Tweden druk . . ., Haarlem, 1740, indicated with number of volume and page; facsimile edition, Doornspijk, 1969 [G. de Lairesse, The Art of Painting . . . , Translated by Iohn Frederick Fritsch, Painter, London, 1738, abbreviated as "Fr."; a photocopy of this first English translation was kindly made available by Prof. Dr. Peter Hecht]

I: 105: Als Apollo zyn voorzegging geeindigd had, knikte Dafne hem toe, tot een teeken dnt zy daar nlede te vreeden was: rnaar hy, nu haar mend willende zien, vond dezelve rliet me&. De Boom alleen, waar ann haar boog en kooker is blyven hangen, nloet hem troosten. H y zuchte en kermde: gnat zich leunen teegeils den Eikenboom, die half dor, heel oud en gescheurd is, vat zyn elleboog met d' eene hand, en lnat het anngezicht in de andere hangen, de bee1101 over elkanderen geslaagen, blyft dus eel1 wyl zonder spreeken staan. De Waaternimfen zitten daar rondom, . . .

Fr. 80: When Apollo had fmished his Prophecy, Daphne gave a Nod as a Token of her Assent to it; but while he is gazing at her Mouth, he sees her no more; the Tree alone (on which her Bow and Quiver hang) must now be his Comfort; he siglung and lamenting went to lean against the Oak, which was half withered, old and rent, his Elbow in one Hand, and h~ Face supported by the other; his Legs across; in this Posture he remains a while musing and silent. The Water nymphs are sitting round about, ...

11: 9.596: In het midden des Stuks, een weinig aan de regter hand, ter zyde van het oogpunt, zag men een groote houtstnpel van holcten dwars over malkander leggen, niet als afgekapt, maar nfgescheurd, zonlmige hier en daar

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de wortelen en bladeren noch aan hebbende. De bovenste houten waren dun, en de onderste heel zwaar, leggende de zelve paralel ann het Stuk. Hier was het dat die rampzaalige Held en Geessel der Gedrochten dwars over zypzen uitgespreiden leeuwenhuid, heel uitgestrekt, heen lag; zyn hwfd nu de regter, en de voeten naar de linker zyde, wat achtmaarts gekeerd; zyn borst voorover. Het aangezicht, een weinig opgebeurd en nu vooren hellnlde, zag Inen op zyde tegen de regter wang, toonolde een vreedzan~n wezen, wnder de minste pynelyke trekken. Zyn linker arm vertoonde zich heel opgehaald, en de hand achter onder zyn hoofd; de andere arm regt uit, een weinig na vooren, op het hout rustende, met de hand half toe, en het binnenste naar zyn lyf gekeerd. De regter knie was gantsch opgetrokken, haalende de voet naar zich. Het nndere been wns afhangende verbeeld, even of hy zich wat hooger op wilde helpen.

Fr. 414: In the middle of the Piece, a little to the right, near the Point of Sight, was seen a large Pile of rough Wood lying cross-wise, not as chopped, but rent asunder, having Roots and Branches. The upper Wood was small, and the under very large, lying parallel with the Piece. Here the unhappy Herw, the Scourge of Monsters, was lying extended over his Lion's Skin, with his Head to the right, and Feet to the left Side tumed somewhat backward, and his Breast leaning over. His Face little rising, and bending forwards, was seen in profile from the right Side, discovering Resignation, unattended with Pain. His left Arm was quite raised, with the Hand behind, under his Head; the other Arm lay out a little forward on the Wood, with the Hand half shut, and the Inside towards his Body. His right Knee was wholly drawn up, with the Foot inclining towards it; the other Leg was represented hanging off, as if he would lift himself somewhat higher.

1: 175: Aanwyzinge om het burgerlyke of cierlyke Modem we1 uit te beelden. De geduurige veranderingen der zuaereldsche zaaken geeven ons overvloedige stof buiten Geschiedenissen, Verdichtselen en Zinnebeelden de Modesche trant betreffende, ja on1 nimmer verlegerl te zyn, als Dienstpleegingen in Tempels en Kerken, Regtspleeging in Randsvergaderingen, Speelen in Schouwburgen, manieren van doer1 in de Huishoudinge gebruikelyk, en wat diergelyks mew is: a1 ' t geen ons d@ig, minnelyk, droevig, of andersins, naar de toevallen zyn, te vooren komt.

Fr. 132: Method for representing what is City-like, or elegant Modern. The continual Changes in wordly Things afford us plentiful Matter for modem Manner, without recourse to History, Fables or Emblems; even so much as to be endless; as may be gathered from the Assemblies for publick Worship, Pleadings in Courts, Plays, Family-occurrences, and the like: All which we perceive to be either majestic, amorous, sorrowful, or otherwise.

I: 183: Voorbeeld van Verzwk en Weigering. Hier ziet men twee Jufers aan een tafel Thee drinken. De jongste zit in haar huisgewaad; en de andere is een vriendin, welke haar bezoekt. leder heeft hoar kopje 01 schooteltje; doch dat der jongste staat voor hanr volgeschonken. Z y heeft het trekpotje noch in de hand, om dat der andere desgelyks vol te schenken, maar deze het zelve omgekeerd hebbende, zet het op de tafel. Z y word door de andere vriendelyk genoodigd, noch een kopje te willen drinken. Het is of nletz haar hoort zeggen: Ey lieve, lzabel, noch maar een kopje, bid ik u. Maar deze, die door een Knecht word afgehaald, weigert het, en slaat de hand aan de trekpot, om haor het schenken te verhinderen, schynende te zeggen: Ik bedank u hertelyk, schenk niet meer. Deze twee hertstogten doen twee tegenstydige beweegingen in ' t geheele ligchaam, handen, voeten, en gelaat voortkomen. De Moeder, zuelke den Knecht, met de hoed onder den arm, ter kamer in laat, houd de deur, halfopen, in de hand, en wyst hem zyne luffrouw nun. Door de opening van de deur ziet men eol slee staan, met dewelke hy haar koint haalen. O m nu dit uitscheiden van Thee drinken noch duidelyker te verbeelden, kan een tweede luffer naast lzabel aan tafel gevoegd worden, welke nu de deur ziende, schynt te willen opstaan, zettende haar theekopjen netr. Den Knecht zou men met een briefjen in de hnnd konnen doen naderen, en de Moeder aan de deur staan kyken. Ook kan men bekwaamelyk een kleen longetje by de tafel stellen, ' t welk steelsgewyze een klontje suiker uyt het schaaltje neemt, ziende ernstig op de Zuster, of zy zulks gewaar word.

Fr. 138-139: Example of Intreating and Refitsing. Two Virgins are seen at a Table, drinking Tea; the youngest is in her Within-door Dress, and the other, a Friend paying her a Visit; each has her Cup and Saucer; that of the youngest stands filled before her, and she has the Tea-pot in her Hand, in order to fill the Cup of the other, who, having turned it down, sets it on the Table; she is friendly intreated by the other to drink another Dish; as if she said,-Pray, dear Isabel! One Dish more; but a Servant entring the Room to call her away, she refuses it, with her Hand on the Tea-pot, to hinder Wing, seeming to say,-1 thank you hearti1y;fill no more. These two Passions cause two contrary Motions in the whole Body, Hands, Feet and Face. The Mother, who is letting in the Servant with his Hat under his Arm, holds the Door half open, and is shewing him his Mistress; the opening of the Door discovers a Sledge (the usual Carriage of Holland), with which he is come to fetch her. Now, in order to express more plainly this Rising from the Tea-table, we may place another Virgin at it, near Isabel; who, looking towards the Door, seems to rise and set down her Cup: The Man we may make approaching his Mistress, with a Letter in IS Hand; and the Mother, standing at the Door, and

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looking: A little Boy may also properly stand at the Table, who, stealing a bit of Sugar out of the Box, is watching ~ L S Sister, to see whether she observes it.

I : 188: De zin van dit Tafereel 1 = allegorie van de deugd] is ligt te bwatten: en begeeren de Liefiebbers meerder aanleiding tot stof, zy ovenueegen m a r eens, by voorbeeld, waar in een goede of kwaade Huishouding bestaat; en zy zullen bevinden, dat 'er vierderley Perswnen zyn: te weeten, in een goede Huishouding, een verstandige en ontzagchelyke Vadec een zorgvuldige en goedaardige Moeder; de Kinderen gehoormm en buigzaam; de Dienstboden eerbiedig en getrouw. De Man stelt de wet; de Moeder leertze aan haare Kinderen; en deze; nwens de Dienstboden, gehoormmenze. Daar en boven straft de Vader; de Moeder matigt; de Kinderen lieveil en vreezen. Ook geeft een milddandige Huisvader uit een onbekrompene beurs tot onderhoud van zyn Gezin. De zorgvuldige Vrouw weet zuinig, doch deftig, het zelve te besteeden. Alles is daar in vrede en order, want zy hebben eenen God, eene wet, zaligheid en eer: en de Deugd is hun aller betrachting.

In tegendeel ziet men van een kwaade Huishouding, dat de Vader zorgelws, en de Moeder kwistig is; dat de Jongens baldadig, en de Dochters ligtvaardig zyn; de Dienstboden luy en ongetrouw. De Vader ziet na niemand om, de Moeder geeft aan de Kinderen wat hun lust; de Meisjens zyn dertel en hovaardig; de Jongens stoeijen en dobbelen; de Dienstboden weken te grypeil met hunne handen van nlle kanten, denkende in ontroerd water is goed vissen; Knechts en Meisjens kruypen by malkander, zuipen en sletnpen dagelyks, en alles teert van den hwgen boom af, tot dnt men eindelyk de hond in de pot vind.

Fr. 143: The Sense of this Table [ = Picture of Virtue] is easy: But if the Curious want further Scope, let them consider only, for Instance, in what a good and bad Family consists, and they will find, that there are four Sorts of People: Namely, In a good Family, a prudent and respected Father; a careful and good-natured Mother; obedient Children; and humble and honest Servants: The Father gives Law; the Mother enforces it to the Children; and both they and the Servants obey: Again, the Father punishes; the Mother reconciles, and the Children love and fear: A good Father is also liberal in the Support of his Family; the careful Mother manages with Frugality, yet with Honour: All is in Peace and Order, and Virtue their Aim.

In a bad Family we contrarily see the Father careless; the Mother lavish; the Boys wanton; the Girls pert; and the Servants idling and dishonest: The Father indolent; the Mother unreasonably indulgent to the Children; the Girls saucy and proud; the Boys rampant and gamesome; and the Servants catching at what they can lay hold of, thinking it best to fish in troubled Waters, and feast daily at their Master's Expence.

I: 189-190: Verbeelding van een Vanitas. Dit gezicht verbeeld e m zaal, die haar licht ontfangt door een groot venster ter rechter zyde. In k t midden van de kamer, achter tegen de muur aan, ziet men een tafel, waar op een goote hemelsspheer staat, op dewelke zich eenige henlelstekenen vertoonen. Onder aan de voet dezer globe legt een open boek. Ter linker zyde van het zichtpunt ziet men, door e m deur die met trappen afgaat, een plaats met een hoek van eenfontein; en aan de zyde, naar het zichtpunt loopende, verscheydene vaazen en borstbeelden van voornaame helden. Ter linker zyde der kamer, voor aan, staat een kabinet, op en1 bordes van twee treeden op te gaan, aan wetnyde met een laage baluister geslooten. In het midden des Stuks, voor aan, stellen w y een ronde tafel met alderhande vrouwengereedschap, als spiegels, mantjes, doosjes, enz. Aan het uenster vertoonen zich tzuee Kinders, een jongetje en een meisje. De Jongen, met e m schelp in de hand, leunt op de dikte van ' t venster, en blaast uit een riet of pyp eenige waterbellen. Het Meisje, op een voetbank geklommen, steunt op haare regter hand, en wyst met de andere, om h w g oopen, a1 lagchende na een waferbet, die in de kamer zweeff, waar nu de jongen om kykt, houdende het riet of de p y p met zyne regterhand in de schelp. Ter regter zyde van de achterste tafel stant een oude Patroon in gedagten, hebbende een vinger tegen het voorhoofd, en de linkerhand met de passer op de globe. Aan het kabinet, dat half open stunt, vertoont zich een oude Vrouw, nn vooren ziende, het hoofd een weinig op zy hellende, tenuyl zy in haare handen vryft. By de baluister, aan geene zyde der trap, legt een Dienstmaagd op haare knien, veegende de gemelde baluister met een doek, by haar hebbende een zandbak, een pot met water, en een styve boender. De kas is vol zilverwerk. Aan de ronde tafel, voor aan, zit een jonge luffer, welke zich v w r de spiegel palleert. Z y heeft den boezem vry uer ontbloot, en is luchtig gekleed in fyn lynwaad en zyde. Met de linker hand haalt zy haar regterzydse hairlok over den boezem, ziende haar zelve zylings in de spiegel; terwyl zy met de regter hand een paarlsnoer uit e m doos krygt. De kamer is van ligt pizaans marmer,

De mantel van den ouden Man is donkers paars; het kleed van ' t fongetje in het venster wit: en dat van 't Meisje, schoon blaauw. De luffer, die aan de tafel zit, is in ' t wit, en ligt rood webschyn met blaauw, als mede een schoon donker-blaauwe strik om het lyf Het kleed van de oude Vrouw is groennchtig blaauw, doch wat vuil of verlept, en de mouwen ligt geel. De Meid is in ' t ligt graauw, en heeft om haaren hals een paarlsnoer. Voor de trap leggen een paar voetzoolen. De ronde tafel is met een donkergroen kleed overdekt. De vloer is met steenen verdeeld, of kan ook we1 van hout zyn.

Fr. 144-145: Representation of Vanity. This Ordonnance exhibits an Hall, which receives its light horn a large Window on the right Side: Behind against the Wall stands a table, on which is a large celestial Globe: At the foot of this Globe lies an open Book: On the left Side of the Point of Sight is seen a Door-way going down with Steps, a Visto,

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with Part of a Fountain, and on the Side which runs to the Point of Sight several Vases and Busts of famous Heroes: On the left Side of the Apartment is a Closet, asscended to by two Steps, between two Hand-rails: In the middle of the Piece forward, we place a round Table, deck'd with all Sorts of women's Furniture, as a looking-glass, Boxes, &c. At the Window are seen two Children, a Boy and Girl; the Boy, with a Shell in his hand, is leaning on the Frame of the Window, and blowing Bubbles thro' a Reed or Pipe; the Girl, who is got on a Foot-stool, supports herself on her right Hand, and, laughing, points with the other at a flying Bubble. Upon which, the Boy looks back, holding the Reed or Pipe with his right Hand in the Shell: On the right Side of the hindmost Table stands a Philosopher in Study, with a Finger at his Forehead, and holding a pair of Compasses on the Globe in his left Hand: By the Closet, which is half open, stands an old Woman looking forwards, with her Head sidling, and rubbing her Hands: By the further Hand-rail of the Steps a Maid-servant is kneeling, and whiping the said Rail with a Cloth, having by her, a Box with Sand, a Pot with Water and a stiff Rubbing-bmsh. The Closet is full of Plate: At the round Table forward sits a young Lady, dressing at the Glass; her Bosom is open, and she is loosely dressed in fine Linnen and Silk; with her left hand she is bringing a Right Hair-lock over her Bosom, viewing herself side-ways, and, with her right Hand, taking a Pearl-Necklace out of a Box: The Apartment is of light Pisan Marble.

The Philosopher's Garment is of dark Violet: That of the Boy at the Window, white; and of the Girl, blue: The Lady is in white, and light red Changeable with Blue; and she has a beautiful dark blue Girdle about her Waist: The old Woman's Garment is greenish blew, somewhat faded, and the Sleeves faced with light Yellow: The Maid-servant is in light grey, and has a Pearl-Necklace about her Neck: By the Steps lie a Pair of Sandals: The round Table is covered with a dark green Carpet: The floor is of Stone and divided into Squares: It may also be of wood.

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