Table of the Foundation of the Art of Painting¹

The first number refers to the folio: a to the recto; b to the verso. The second number, in parentheses, refers to the page in this edition of the Grondt.

A.

A.B. Book would be useful to young Painters / fol. 8.b. (221)

Poorly made backgrounds [i.e., achter-uyten] disfigure / fol. 16.a. (242)

Pay heed [i.e., Acht hebben] to the life in coloring flesh-tints / fol. 49.a. (331)

Albrecht Dürer’s Stuffs as an Example / fol. 42.b. (314)

Learn to sort colors from the flowers [i.e., Aen den Bloemen] / fol. 45.b. (321)

Be not bound to a bad manner [i.e., Aen een quade maniere] / fol. 49.b. (333)

Impetus to the art of Painting / fol. 5.a. (211)

Subtle actions [i.e., Aerdighe actien] in dancing, springing, and others / fol. 14.a. (236)

Subtle contrivance [i.e., Aerdighe versieringhe] from the life of Timanthes, as portrayed by Sannazzaro / fol. 20.a. (253)

Native quality [i.e., Aerdt] of the Italians / fol. 7.a. (216)

That arms and legs not perform a like action, ‘twere necessary for a picture / fol. 13.b. (234)

Homeward bound [i.e., Afcomende] from Italy, one must seek to earn money in other Lands, if one would be welcomed home / fol. 7.a. (217)

Affects, what they are / fol. 22.b. (260)

Affects, how to portray them / fol. 23.a. (260–261)

To portray Affects well, the Soul of the Arts / fol. 27.a. (272)

Affects are portrayed by the great Masters, more than they know / fol. 28.b. (275)

Aldegrever, copious in folds / fol. 43.b. (315)

One must give one’s colors every sort of light and fire / fol. 31.b. (283–284)

All’s good, which stands well / fol. 40.a. (307)

All created things teach how to sort colors / fol. 45.b. (322)

To portray all things gracefully / fol. 15.b. (241)

Everything has its color from God / fol. 50.a. (335)

That the Painters always picture bad weather, as some folks say / fol. 35.b. (294)

Annals of the Indians, how they were held in memory / fol. 52.a. (339)

Antique [i.e., Antijcke], beautiful Horses in Venice and Rome / fol. 40.b. (307)

Antique little figures of Women with fine, fluttering drapery / fol. 44.b. (319)

Apelles did wonders with four colors / fol. 35.a. (293)

Apelles desired to have the judgment of Animals / fol. 40.a. (307)

Aristides, the first who portrayed affects / fol. 23.a. (260)

Hatches [i.e., Artseringhen] to be drawn from above / fol. 10.a. (224)

Atabaliba thought that Books must speak / fol. 51.b. (339)

Aurora, what she is / fol. 29.a. (277)

B.

Little Brooks, how to picture them / fol. 36.b. (297)

Figures [i.e., Beelden] many heads tall by Michelangelo, that they be seen to stand well / fol. 11.b. (229)

How to plant a Figure [on the ground] / fol. 12.a. (231)

How a Figure shall move itself / fol. 12.a. (231–232)

How to give form to a Figure according to its nature and age / fol. 14.b. (237)

A Figure principled and honorable in character / fol. 14.b. (237–238)

Good Figures and Ordonnance make for a beautiful Harmony / fol. 16.b. (244)

To allow Figures to be cut off at the frame, not good, in my estimation / fol. 17.a. (245)

To distribute Figures, high and low / fol. 18.a. (247)

Figures high and low according to their station / fol. 18.a. (247–248)

Depict [i.e., Beeldt] the people remarking something lamentable in the History / fol. 18.a. (248)

Figures in the clouds / fol. 29.b. (278–279)

Advisable to begin with a good Master / fol. 9.a. (222)

Civility must have a home amongst Painters / fol. 3.b. (207)

Civility [i.e., Beleeftheyt] is equal to any task / fol. 3.b. (207)

Courteous [i.e., Beleeft], modest, and painter-like must be synonymous / fol. 3.b. (207)

Apelles as an Epitome of Civility / fol. 4.a. (208)

To overshadow Mountains [i.e., Berghen] and Cities / fol. 35.a. (293)

To distinguish Mountains and valleys by color / fol. 36.b. (296)

To make leaves [i.e., Bladen], hair, and stuffs is a thing of the spirit / fol. 37.a. (299)

Flowers [i.e., Bloemen] show how to sort colors / fol. 45.b. (321)

Peasant houses [i.e., Boer-huysen] and Huts / fol. 36.b. (297)

To picture Trees [i.e., Boomen] and dark Woods / fol. 37.a. (298–299)

To arrange Trees well / fol. 37.b. (299)

Tree trunks and branches / fol. 37.b. (299)

Treetops not to be roundly trimmed / fol. 37.b. (299)

Little Figures [i.e., Bootskens] in the Landscape / fol. 37.b. (300)

To paint Fire [i.e., Brandt], an Art / fol. 31.b. (284)

C.

To avoid sharp highlights [i.e., Cantighe hooghsels] / fol. 48.b. (330–331)

To make Cartoons / fol. 15.b. (241–242)

Cartoons must be heightened / fol. 16.a. 47.b. (242, 328)

The Cartoon is beneficial / fol. 47.b. (328)

Color of Clothing according to a person’s respective character and age / fol. 42.b. (313)

Clothing according to persons’ estate / fol. 42.b. (313)

Small Figures [i.e., Cleen Beelden] beside large Trees, good / fol. 37.b. (300)

To portray downheartedness [i.e., Cleenmoedicheyt] / fol. 28.a. (273)

To give Cliffs their proper color / fol. 37.a. (298)

Column as an Example of highlights and projection / fol. 48.b. (331)

To avoid Confusion of folds / fol. 43.b. (315)

Coignet’s fires and lights were fine / fol. 32.b. (286)

Coignet used drops of gold to make candles glow / fol. 32.b. (286)

To avoid what is contrary to the Arts [i.e., Consten teghendeel] / fol. 2.a. (204)

One cannot adorn the exterior of an artful Painting [i.e., Constige Schilderije] too lavishly / fol. 54.a. (345)

Copious and simple Histories / fol. 17.b. (246)

How Crayons are made, and whereto / fol. 10.a. (224)

How to portray Crying / fol. 25.b. (267–268)

Crosswise action / fol. 12.b. (232)

Cubit of the Ancients, how long / fol. 10.b. (227)

D.

Demon artful in affects / fol. 26.a. (268)

To make Devout Figures prominent in Histories, and to place them in the foreground / fol. 19.a. (249)

What in one is fine [i.e., Die in een fraey is], is often fine in all / fol. 28.b. (275)

To fashion well-beseeming animals [i.e., Dieren welstandich] is a worthy task / fol. 38.a. (302)

Animals must be rendered after the life, and subtly / fol. 42.a. (312)

A Maiden [i.e., Dochter] must be ten Years younger than [her] Married Counterpart / fol. 6.b. (215)

Darkness diminishes difference amongst colors / fol. 50.a. (335)

To incorporate a view into the History [i.e., Doorsien] / fol. 16.a. (242)

The Ancients [i.e., D’oude] flayed Horses, for instruction’s sake / fol. 40.b. (308)

A carrying Figure [i.e., Draghende Beeldt] / fol. 13.b. (235–236)

Sorrow [i.e., Droefheyt], Death, and Sickness, inhabit the entry to Hell / fol. 26.b. (270)

Evil fruits of drunkenness [i.e., Dronckenschaps] / fol. 2.b. (205)

One must avoid drunkenness / fol. 3.a. (206)

A double brow despised / fol. 25.a. (266)

Foolishness [i.e., Dwaesheyt] of those who wish to be admired for their evil deeds / fol. 3.a. (206)

E.

A single receding view [i.e., Een eenich verschietende insien] in the Landscape / fol. 36.a. (296)

Simple History [i.e., Eensaem Historie] and boisterous, not to be prized / fol. 17.b. (246)

How to amplify a simple History / fol. 20.b. (254)

First [i.e., Eerst], to read and consider what one wishes to paint / fol. 15.b. (241)

To set each color [i.e., Elcke verwe] in its [proper] place / fol. 47.a. (326)

To color each Figure [i.e., Elck Beeldt], in accordance with its exposure to the elements / fol. 49.a. (331–332)

Euphranor wrote about colors / fol. 52.a. (340)

Examples of Paris and Actaeon / fol. 6.a. (214)

Example of a bronze Hart / fol. 14.a. (236)

Example of a tired figure / fol. 14.b. (237)

Example of good Ordonnancers / fol. 16.b. (243)

Example of simple Histories, compared to Comedies and Banquets / fol. 17.b. (246)

Example of ordering copiously and curiously, from the Poet Sannazzaro / fol. 19.a. (249–250)

Example of embellishment and amplification in a sacrifice of Abraham / fol. 20.b. (254)

Example of the annunciation of Zuccaro / fol. 20.b. (254)

Example of a Marian figure by Rosso / fol. 20.b. (254–255)

Example of ingenuity in portraying something / fol. 21.a. (255)

Examples of Stratonice / fol. 23.b. (261–262)

Example of Timanthes and his Iphigenia / fol. 26.a. (268)

Example of an old Painting, in my day on the Capitoline / fol. 27.a. (271)

Example of a Massacre of the Innocents by Bruegel the Elder / fol. 27.a. (271–272)

Example of anger and sorrow portrayed, to arouse the Painters / fol. 27.b. (272)

Example of Saul by Lucas van Leyden, to portray madness / fol. 28.a. (273)

Example of Giotto, to portray terror / fol. 28.a. (273–274)

Example from Pliny / fol. 28.a. (274)

Example of the pain of death, fear and disquiet, portrayed by Aristides / fol. 28.a. (274–275)

Example of a person blowing on a flame / fol. 31.a. (282–283)

Example of a Bride led to the bridal bed / fol. 31.a. (283)

Example from Ariosto, of Ruggiero and Alcina / fol. 31.b. (283)

Example of a night-scene by Raphael / fol. 32.a. (285)

Example of Bassano’s night-scenes / fol. 32.a. (285)

Examples of some small night-pieces by Coignet / fol. 32.b. (286)

Example of Plato’s cave / fol. 32.b. (286–287)

Example of Venus, Bacchus, and Ceres, done by Goltzius / fol. 33.a. (287)

Example of a Kitchen by Long Peter / fol. 33.b. (288–289)

Examples of Sunshine / fol. 33.b. (289)

Example of Italian Landscapes, also in print / fol. 36.a. (296)

Example of prints by Bruegel / fol. 36.a. (296)

Example of the Landscape of Ludius, with fine embellishments / fol. 37.b. 38.a. (300)

Examples of the nature of Horses / fol. 38.b. (302)

Example of a [painter] who depicted Horse-froth / fol. 40.a. (306)

Example of Horse-froth in Rome / fol. 40.a. (306)

Examples of fine Antique Horses, in Venice, and Rome / fol. 40.b. (307)

Example of Dog-froth / fol. 40.a. (306)

Example of Animals by Bassano / fol. 41.a. (309–310)

Example of foreshortened Animals, by Pausias / fol. 41.b. (310)

Example of Animals by Nicias / fol. 41.b. (310)

Example of the Bull in Rome / fol. 41.b. (310–311)

Example of the Heifer by Myron / fol. 41.b. (311)

Example of Dürer’s Stuffs, and Mabuse’s little cloths / fol. 42.b. (314)

Example of Lucas van Leyden’s stuffs / fol. 43.a. (314)

Example, too, of Italian Painters of Stuffs / fol. 44.a.b. (318)

Examples of Flora’s drapery / fol. 44.b. (319)

Example of Europa’s fluttering drapery / fol. 45.a. (320)

Example of sorting colors, the dawn, and the star-studded sky / fol. 45.b. (322)

Example of something beautiful amidst a great deal of gray by Bruegel / fol. 46.a. (323)

Example of painting gray stuffs by Raphael da Rezzo / fol. 46.a. (323)

Example of Dürer’s work or panel in Frankfurt / fol. 48.a. (329)

Examples of painting cleanly at one go, Jan van Eyck, Lucas, and Bruegel / fol. 48.a. (329)

Example of Titian’s works which looked good, seen first from close by, and [then] far off / fol. 48.a. (329–330)

Example of learning how to heighten and deepen from a Column / fol. 48.b. (331)

Example of Jacob’s spotted cattle / fol. 51.a. (337)

Example of the effects of colors, from animals / fol. 51.a. (338)

Example of the Phoenix / fol. 51.a. (338)

Example from Flowers / fol. 51.b. (338)

Example from Women / fol. 51.b. (338)

Properties [i.e., Eyghenschappen] of Horses / fol. 38.v. (302)

Necessity of understanding the ovoid [i.e., Ey-rondt] and the cross / fol. 8.b. (221)

F.

Fable of the old man, the time, from Ariosto / fol. 4.a. (209)

Politely to reveal the faults [i.e., Fauten] of fellow youths / fol. 5.b. (212)

To portray cruelty [i.e., Felheyt] and rage / fol. 27.b. (273)

Good drapery of Flora in Rome / fol. 44.b. (319)

Velvets and silks [i.e., Fluweelen en sijden], how to paint them / fol. 44.a. (318)

Why Fresco [is] impractical here in [our] land / fol. 47.b. (327)

Fresco must be [painted] on and with stone-based [i.e., lime] plaster / fol. 47.b. (327)

G.

An advancing motion [i.e., Gaende actie], and a standing posture / fol. 14.a. (236)

To paint figured Stuffs [i.e., Gebeelde Lakens] and Damasks / fol. 45.a. (320)

Yellow [i.e., Geel] the most eminent color / fol. 53.b. (344)

To place no opposing colors [i.e., Geen strijdighe verwen] side-by-side looks good / fol. 45.a. (321)

No visible things [i.e., Geen sienlijcke dinghen] uncolored / fol. 50.b. (336)

The heads of clerical figures [i.e., Geestlijcker beelden hooft] not to be much turned / fol. 12.b. (233)

Likeness [i.e., Gelijckenis] of painting and a field of flowers / fol. 17.b. (247)

The Common eye [i.e., Gemeen ooghe] will be made content / fol. 49.a. (332)

To paint ploughed and unploughed fields [i.e., Geploeghde en ongeploeghde velden] / fol. 36.b. (297)

Form [i.e., Gestalt] and beauty of the Horse / fol. 39.a. (304)

To squander hard-won goods [i.e., Gewonnen goedt] [is] no art / fol. 4.b. (210)

Smoother [i.e., Gladder] and softer are the shes, or female animals, than the male / fol. 41.a. (309)

It is helpful to glaze [i.e., Glasseren] / fol. 44.a. (317)

To be thankful to God for his gifts / fol. 6.a. (213)

God can take his gifts away from us / fol. 6.a. (214)

Praise of a good Marriage / fol. 6.b. (215)

Praise of Gold / fol. 52.b. (341)

Yellow denotes Gold / fol. 52.b. (341)

From where Gold has its name / fol. 52.b. (341–342)

Gold is misused / fol. 53.a. (342)

Why Gold is greatly valued / fol. 53.a. (342)

Wherefore Gold is used / fol. 53.a. (342)

By whom Gold was first interwoven / fol. 53.a. (342)

What Gold signifies in Scripture / fol. 53.a. (343)

What Gold signifies on its own, and combined with other colors in heraldry / fol. 53.a.b. (343)

To ornament with Gold, proscribed by some / fol. 53.b. (344)

Certain flat things heightened with Gold appear too dark / fol. 54.a. (345)

Gracefulness to be observed / fol. 14.b. (237)

Rough fabric [i.e., Grof laken] above, and fine beneath / fol. 43.a. (314)

Grounds must be interlaid, one upon the other / fol. 36.a. (295)

Grounds not to be pushed too hard against each other / fol. 36.a. (295)

Great Masters simple in ordering, like Princes, who speak tersely / fol. 17.b. (246)

Large houses [i.e., Groote huysen] [set] in the foreground [look] out-of-place / fol. 36.a. (295)

Great diligence and prizeworthy to paint Horses / fol. 40.a. (307)

Large flat expanses of silk [i.e. Groote vlacke lappen sijde], and stuffs, sometimes look good, and monks’ cowls / fol. 44.a. (317)

Whence the Fable of the Golden Fleece [i.e., Gulden Vlies] originated / fol. 52.b. (341)

Golden bough of Maro [i.e., Virgil] / fol. 53.a. (343)

H.

Sharply defined foregrounds [i.e., Harde voorgronden] in the Landscape / fol. 35.b. (295)

Sharply defined roofs not to be painted with vermilion or minium / fol. 37.a. (298)

Entwinements or entanglements [i.e., Haspelinghe oft haspelen] inadvisable in the History, lest Figures obstruct each other / fol. 18.b. (248)

Full figures [i.e., Heele Beelden] to be brought into the History, as far as is practicable / fol. 18.b. (248)

Neither to praise nor dispraise oneself [i.e., Hem selven] / fol. 5.b. (213)

To observe the sheen [i.e., Het glimmen] of Horses / fol. 39.b. (305)

History or ordonnance, what it is / fol. 15.b. (240)

History encompasses all parts of Art / fol. 18.a. (248)

Some paint Histories, difficult to recognize / fol. 19.a. (249–250)

To know in advance the History in the Landscape is good / fol. 37.b. (300)

Histrionics are gestures, as used by Comedians and Tragedians / fol. 23.a. (261)

How far [i.e., Hoe hooge] the Figure shall reach, stoop, and turn / fol. 13.b. (235)

To fill the Corners [i.e., Hoecken] at either side of the panel / fol. 16.a. (242)

Not to hang the head [in the same direction as] the body / fol. 12.a. (231)

To turn the Head otherwise than the body / fol. 12.b. (232)

Overweening pride [i.e., Hooghmoedt] ill-advised / fol. 6.a. (214)

Highlight and shadow not too close / fol. 9.a. (222)

Execute the Highlights with the art of drawing / fol. 9.a. (222)

I.

Indians go naked, shame teaches [to wear] clothes / fol. 42.b. (313)

In a small picture [i.e., In een cleen stuck] not to paint Figures too large or too compressed / fol. 15.b. (241)

In bad things one sometimes sees something good / fol. 5.b. (212)

In life, a simple, easy sweetness / fol. 9.b. (222–223)

In life one finds everything / fol. 9.b. (223)

To portray Inner affliction/ fol. 26.b. (269)

Lovemaking at a young age [i.e., Jonck vrijen] ill-advised / fol. 6.a. (214)

For the poets, Iris is the rainbow / fol. 30.b. (281)

Italian proverb, that Flemings cannot paint good Figures / fol. 7.a. (217)

Italians fashion Cartoons, as large as their pictures / fol. 15.b., 16.a. (241–242)

Italians infrequent, but artful in Landscape / fol. 36.a. (296)

K.

To portray Candlelight [i.e., Keers-lichten] / fol. 31.b. (284)

Example of Kitchen-scenes by long Peter / fol. 33.b. (288–289)

Neither to cavil [i.e., Kijven] nor to fight befits Painters / fol. 3.b. (207)

Children [i.e., Kinderen] five heads high / fol. 11.b. (229)

Child of three Years has [reached] half its height / fol. 11.b. (229)

How Knees are turned when sitting / fol. 13.a. (233–234)

Form of Cows [i.e., Koeyen] / fol. 40.b. (308)

Cows and Oxen always have similar coloring / fol. 41.a. (309)

Cows or Oxen with long heads deplorable / fol. 41.a. (309)

L.

How to portray Laughter / fol. 25.b. (267–268)

Fabrics [i.e., Laken], a great source of well-being / fol. 42.a. (313)

Fabrics of various creases and folds / fol. 42.b. (314)

Fabrics after the life / fol. 43.a. (314)

Stuffs [i.e., Laken] have more the nature of spirit than do foliage or hair / fol. 43.a. (314)

To bind Fabrics from above / fol. 43.a. (314–315)

Subtly to round the edges of fabrics [with flourishes] / fol. 43.b. (316)

Example of Italian stuffs / fol. 44.a. (318)

Antique Stuffs [are] of little worth / fol. 44.b. (318–319)

To avoid Lampblack in nudes / fol. 49.b. (333)

Lampblack causes [colors] to degrade / fol. 49.b. (333)

Youths [i.e., youthful painters] must accustom themselves to Landscape / fol. 34.a. (291)

The Landscapist distributes his grounds / fol. 35.b. (295)

To steer clear of Conceit [i.e., Latendunckenheyt] / fol. 5.b. (212)

Not to paint wrung Limbs / fol. 13.b. (235)

A Figure’s Limbs subtly to be fitted to its action / fol. 14.a. (237)

First to read [i.e., Lesen eerst] and consider one’s History / fol. 15.b. (241)

The Body [i.e., Lichaem] likened to a Temple / fol. 20.b. [sic, 10.b.] (226)

Not to cover over the beauty of the Body / fol. 13.a. (233)

The Body more beautiful than clothing / fol. 42.b. (313)

Marriages of Flighty Painters [i.e., Licht Schilders] / fol. 6.b. (215)

Loose Women deleterious / fol. 7.a. (216)

Cunning [i.e., Listicheyt] of Erasistratus the Doctor / fol. 23.b. (262)

Praise [i.e., Lof] of the art of Painting / fol. 3.b. (207)

‘Twere to be wished that Lead white were as dear as Ultramarine / fol. 49.a. (332)

Loosely to ordonnance / fol. 15.b. (241)

Lucas [van Leyden’s] and Albrecht [Dürer’s] prints, as examples of good drapery / fol. 43.b. (316)

M.

Example of Mabuse’s little cloths / fol. 42.b. (314)

Proportions of a Man and a Woman, what differs / fol. 11.a. (228–229)

Maro’s golden bough signifies wisdom / fol. 53.a. (343)

To avoid Massicot in flesh-tints / fol. 49.a. (334)

[Lengthwise] measurement of the Human [body] to be marked out on a [plumb] line / fol. 11.a. (228)

Measurement of stooping, reaching, and turning / fol. 13.b. (235)

Where the most Artists [are], [there] virtue is most undone, goes against the nature of the Arts / fol. 3.a. (206)

Masters’ faults not lightly to be exposed / fol. 5.b. (212)

Memory[,] mother of the Muses / fol. 9.b. (223)

To avoid Minium, Spalt green, and Orpiment / fol. 50.a. (334)

A Man is ten faces high, and reaches [from side to side as far as] he is tall / fol. 10.b. (226)

A Man is eight heads high / fol. 10.b. (226)

A Man’s face is three noses high / fol. 10.b. (227)

A Man’s foot is one-sixth of his height / fol. 10.b. (227)

A Man is four Cubits high / fol. 10.b. (227)

A Man’s navel is at his midpoint / fol. 10.b. (227)

One can encompass a Man within a circle and a square / fol. 11.a. (227)

A Man likened to a Column / fol. 12.a. (231)

Men and animals move forward with the same action / fol. 12.b. (232)

A Man’s body more beautiful than any clothing / fol. 42.b. (313)

Overmuch Measurement not useful to Painters / fol. 11.a. (228)

Mezzatint [Middle-tint], what it is / fol. 9.a. (222)

Michelangelo attended more to Figures than to ordonnance / fol. 16.b. (243)

A Minute[,] how much it is / fol. 11.a. (228)

The Moderns whitened very thickly, and used cartoons, drew on a white ground, primed with oil[-color], and painted all in one go / fol. 47.b. (328)

Modern pictures look quite flat / fol. 48.b. (331)

To portray Maternal affection / fol. 24.b. (264)

Taking pains [i.e., Moeyte] to arrange precisely [is] advantageous in painting / fol. 47.a. (326)

To describe the Dawn [i.e., Morghenstondt] / fol. 29.a. (277–278)

Muscles must be fathomed fully, but activated sparingly, only when appropriate / fol. 10.a. (224)

N.

Night-scene by Raphael in the Vatican / fol. 32.a. (285)

Night-scenes by Bassano / fol. 32.a. (285–286)

To mix nude and clothed persons in the History / fol. 17.a. (244)

To make a nude figure stand out with fluttering drapery / fol. 44.b. (319)

To consult prints [i.e., Nae print], for their handling, or plaster casts, where bright lights and dark shadows are to be found / fol. 9.a. (222)

To consult after the life [i.e., Nae t’leven] / fol. 9.b. (222–223)

To strive for good disposition [i.e., Nae welstandt], and to modify it / fol. 12.b. (233)

To adapt to the size of the panel [i.e., Nae grootte des penneels] / fol. 15.b. (241)

Nature inclines each youth to something special [to himself]/ fol. 1.b. (202)

Nature is beautiful on account of her constituent circumstances / fol. 11.b. (230)

Nature teaches Laws / fol. 12.a. (230)

Nature is beautiful due to her variety / fol. 16.b. (244)

Nature demonstrates the affects / fol. 23.a. (261)

Nature indicates how to sort colors / fol. 45.b. (322)

Netherlanders were not prone to color well / fol. 49.a. (332)

Precisely rendered works [i.e., Nette dingen], that yet retain their spirit, are a pleasure to see / fol. 48.a. (329)

First to accustom oneself to precision [i.e., Netticheyt] is advisable / fol. 48.b. (330)

To belittle no one’s work [i.e., Niemants werck licht beschimpen] / fol. 5.b. (213)

No one is free of the passions / fol. 22.a. [sic, 22.b.] (260)

Not to sit nearby what one portrays / fol. 9.b. (223)

Not to be too reckless in turning a Figure / fol. 13.b. (235)

Portrayal of Envy [i.e., Nijdicheyts] / fol. 27.b. (273)

Usefulness [i.e., Nut] of diligence and labor / fol. 5.a. (211)

O.

To embellish shoresides [i.e., Oevers] with irises and other plants / fol. 36.b. (297)

Oil-paint was Woman’s work to Michelangelo, Fresco Man’s work / fol. 47.a. (327)

Differentiation of actions [i.e., Onderscheyt der actien], according to the natures and estates of Men / fol. 15.a. (238)

Amongst many thousands [i.e., Onder veel duysent] [,] one [achieves] fame / fol. 4.b. (209)

Instruction [i.e., Onderwijs] for the journeys of Youths / fol. 7.a. (216)

Vices [i.e., Ondeuchden] come with punishments / fol. 2.b. (205)

Improper Painters [i.e., Ongheschickte Schilders], unworthy of the name / fol. [sic, 3.a.] (206)

To make sketches [i.e., Ontwerpselen] of [one’s] inventions / fol. 15.b. (241)

Ignorance [i.e., Onverstandt], mother of unrest / fol. 3.b. (207)

To endure ignorant judgment [i.e., Onverstandich oordeel] / fol. 5.a. (212)

To paint stormy weather [i.e., Onweder], thunder and lightning / fol. 35.a. (293)

The Eye [i.e., Ooghe], messenger of the heart / fol. 25.a. (265)

The Eyes, storeroom of desires / fol. 25.a. (265)

To attend to the judgment of common folk [i.e., Op ghemeen volcx oordeel letten] / fol. 5.a. (211–212)

Not to puff oneself up on account of Art [i.e., Op Const] / fol. 6.a. (213)

To pay attention to the sense of the History [i.e., Op den sin der Historie te letten], but also to good disposition / fol. 18.b. (249)

To pay attention to the forms of every kind of light [i.e., Op ghedaenten van alderley lichten] / fol. 31.a. (282)

How not to fold or crease drapery in the round or pressed flat [i.e., Op rondt oft vlack] / fol. 43.a. (315)

Attend to projection [i.e., Op t’afsteken te letten] / fol. 46.a. (323)

Ordering is no less than necessary / fol. 15.a. (240)

Ordonnance very necessary to Painters / fol. 15.a. (240)

To order groups [of figures], and leave open ground [amongst them] / fol. 16.a. (243)

Horizon [i.e., Orisont] [,] what it is / fol. 35.a. (293)

Parents [i.e., Ouders] must take notice of the inclination of a Youth / fol. 1.b. (202)

Ancient Painters [i.e., Oude Schilders] wrote Books about their Art / fol. 9.a. (221)

Ancient Painters’ Books have perished / fol. 9.a. (221)

Old Painting on the Capitoline, artful in its affects / fol. 27.a. (271)

P.

The face of Paris portrayed with various affects / fol. 24.b. (265)

Compass [i.e., Passer] in the eye, and not in the hand / fol. 11.b. (229)

Passion scenes on slate by Bassano / fol. 32.b. (286)

Form and beauty of Horses [i.e., Peerden] / fol. 39.a. (304)

To portray Horses of various Nations / fol. 39.b. (305)

Coloring of Horses / fol. 39.b. (305)

Attitude of Horses / fol. 39.b. (305)

Froth of Horses / fol. 39.b. (305)

Pen-work of Goltzius, Bacchus, Ceres, and Venus / fol. 33.a. (287)

The Phoenix has golden plumes / fol. 33.a. (287)

Plato’s cave, by Cornelis Cornelisz./ fol. 32.b. (287)

Pliny had written his own Book on Horses / fol. 38.b. (303)

Folds [i.e., Ployen] arise from something that projects / fol. 43.a. (315)

To portray Poetic Hell-scenes [i.e., Poeetsche Hellen] / fol. 31.b. (284)

Pythius was the father of Apelles / fol. 45.a. (319)

Q.

Difficult [i.e., Qualijck] for Painters to distinguish laughing from crying / fol. 25.b. (267–268)

R.

Consideration [i.e., Raminghe], how the face of Paris was painted by Euphranor / fol. 24.b. (265)

Reflection of Sunlight sometimes makes more than one Sun appear / fol. 30.a. (279)

Reflection amidst greenery / fol. 33.a. (288)

Reflections in water / fol. 33.b. (289)

Reflection described by Ariosto / fol. 33.b. (289–290)

Rainbow reflection of the Sun / fol. 29.b. (279)

Through reflection a Rainbow makes more bows / fol. 30.a. (279)

Rainbow in the waterfall near Terni / fol. 30.a. (280)

Rainbow at Tivoli, in the ponds / fol. 30.b. (280)

Rainbow[,] from where it has its colors / fol. 30.b. (280–281)

Colors of the Rainbow / fol. 30.b. (281)

The Rainbow teaches how to sort colors / fol. 31.a. (282)

Rhetoric not recommended / fol. 5.a. (211)

The arm reaches upward [i.e., Reyckenden arem] from the highest shoulder / fol. 13.a. (234)

Richly to fill the ordonnance / fol. 17.a. (245)

To order in a Ring with the scopus in the middle / fol. 17.a. (245)

Smoke [i.e., Roock] of various colors / fol. 31.b. (284)

All things are redder in the rising and setting of the Sun / fol. 29.a. (278)

Journey to Rome [i.e., Room-reysen] ill-advised, why / fol. 6.b. (215)

To paint boulders [i.e., Rootsen], rocky substrates, and waterfalls / fol. 37.a. (298)

Raw linen folds and creases / fol. 42.b. (314)

S.

To avoid pocket-folds [i.e., Sack-ployen] / fol. 43.a. (315)

The noble poet Sannazzaro writes subtly about painting / fol. 20.b. (253)

Some paintings resemble a chess-board [i.e., Schaeckberdt] / fol. 18.b. (249)

One cannot make Painters [i.e., Schilders] / fol. 1.a. (201)

The art of Painting [i.e., Schilder-const] is biddable / fol. 1.a. (201)

Painters ever dear to the great / fol. 3.a. (206)

The Painter must attract people’s hearts through his good life, just as his painting attracts [their] eyes / fol. 3.b. (207)

The art of Painting[,] nursemaid to all good Arts / fol. 8.b. (220)

For young Painters no [course of] instruction had been prescribed in our language / fol. 9.a. (221)

A Painter dislikes the figure [he has painted], not knowing the reason why / fol. 11.b. (230)

Painters and Poets have a like power / fol. 18.b. (249)

Example of the Painting in the Temple of Pales / fol. 19.a. (250)

The Painter draws great advantage from many colors / fol. 27.b. (273)

The Painter fine at one thing, is also oftentimes fine at all things / fol. 28.b. (275)

Painters must attend to many [kinds of] reflection / fol. 33.b. (288)

The Painter’s brush must listen to the Poet’s pen / fol. 45.a. (320)

Scipio and Alexander praised, wherefor / fol. 51.b. (338)

To paint fine weather / fol. 35.b. (294)

To accustom oneself to a fine brushstroke for leaves [i.e., Schoonen slach van bladen] / fol. 37.a. (299)

Beauty of gems [i.e., Schoonheyt der ghesteenten] / fol. 52.a. (340)

Beauty of the new Jerusalem / fol. 52.a. (340)

Shoulder lowest, where the hip swivels outward / fol. 13.a. (234)

Shoulder raised highest, where the arm reaches upward / fol. 13.a. (234)

To bring the Scopus in the middle when one orders [the History] / fol. 17.a. (245)

The art of Writing [i.e., Schrijf-const] suckled by the art of Drawing / fol. 8.b. (220)

Usefulness of the art of Writing / fol. 51.b. (338–339)

Sea or water, a mirror of the Heavens / fol. 29.b. (278)

Certain order in the blazoning of Coats of Arms / fol. 54.b. (346)

Seven motions or movements / fol. 15.b. (241)

What the Seven colors mean in heraldry / fol. 54.b.(346)

Seven colors likened to the seven Planets, each so to be clad in its [respective] color / fol. 54.b. (346)

Seven colors like the seven days of the week / fol. 54.b. (346)

Seven colors like the seven Virtues / fol. 54.b. (346)

Seven colors like the seven ages of men / fol. 54.b. (347)

Neither to compliment nor to disparage oneself [i.e., Sich selven] / fol. 5.b. (213)

To portray the sick and the dead / fol. 26.b. (270)

Silver construed as white, what it signifies / fol. 54.a. (345)

Fortresses [i.e., Sloten] on clifftops / fol. 36.b. (297)

Smalts and blues need to be congealed in order not to discolor / fol. 50.a. (334)

Gently to draw on the lit side [i.e., Soet op den dagh te trecken] / fol. 9.a. (222)

Sweetly to blend / fol. 49.b. (333)

Without nature [i.e., Sonder natuere] one cannot become a Painter / fol. 1.b. (201–202)

Beauty of the Sun [i.e., Sonnen schoonheyt] not to be attained with colors / fol. 35.b. (294)

How to paint the Sphinx / fol. 21.b. (257)

Adage of Coornhert [i.e., Spreeckwoordt van Coornhert], on time / fol. 2.b. (204)

Adage, more the Painter, the wilder [the man], must be banished / fol. 3.a. (206)

Adage, where the love is, there the eye / fol. 24.a. (264)

Stances and actions according to the vigor of the Figures / fol. 14.b. (238)

Bulls [i.e., Stieren] [have] shorter horns than cows or oxen / fol. 40.b. (308)

Briskly to set [something down] on panel [i.e., Stracx op panneel stellen] is a Master’s work / fol. 46.b. (325)

To avoid a Heavy manner [i.e., Swaer maniere vermijden] / fol. 16.a. (241–242)

Black [i.e., Swart] [the color] of joy to the Javanese, and white of sorrow / fol. 52.a. (340)

T.

Tame Beasts / fol. 38.b. (302)

To learn Drawing in Rome [i.e., Teeckenen leeren te Room], and painting in Venice / fol. 7.b. (217)

Drawing, father of painting / fol. 8.a. (220)

Drawing, what it is / fol. 8.b. (220)

Advisable to draw on Paper with a [colored] ground, and after the model [in the round] / fol. 9.a. (222)

Drawing likened to the body, and painting to the spirit / fol. 46.b. (325)

Drawing likened to the figure [molded] by Prometheus, and painting to the heavenly fire / fol. 46.b. (325)

Drawing likened to a [musical] Instrument, and painting to song / fol. 46.b.(325)

Temple of Fame / fol. 4.b. (209–210)

Straightway [i.e., Ten eersten] to paint without drawing comports not with everyone / fol. 47.a. (326)

Too much of anything [i.e., Te veel eenderley] in a Landscape miscarries / fol. 36.a. (296)

Advisable to keep track of Time / fol. 2.a. (204)

Value of Time / fol. 2.b. (204)

Time passed returns not again / fol. 2.b. (205)

Woodcuts by Titian as Examples of Drapery / fol. 44.b. (318)

Titian’s youthful pictures looked good both from near and from far / fol. 48.a. (329)

Titian altered his handling [i.e., handelinghe] / fol. 48.a. (330)

Titian’s followers somewhat deceived / fol. 48.b. (330)

Tithonus’s Bride is Aurora / fol. 34.b. (291)

Life [i.e., T’leven] is the Painters’ lodestar / fol. 9.b. (222–223)

To make use of Life in drawing the Cartoon / fol. 16.a. (242)

Sloth[,] the mother of every vice, and nursemaid of poverty / fol. 2.b. (205)

The [human] face [i.e., Tronie] requires as many colors as a Landscape / fol. 49.b. (333)

Between Painter and Painter [i.e., Tusschen Schilder en Schilder][,] a great difference / fol. 1.a. (201)

V.

On the ground [i.e., Van grondt] or mezza-tint [i.e., middle-tint/tone] / fol. 9.a. (222)

On the roughness [i.e., Van de rouwheyt] of some nowadays / fol. 48.a. (329)

On the glow [i.e., Van’t gloeyen] of the flesh-tint / fol. 49.a. (331)

Fighting [i.e., Vechten] is praised by the ignorant / fol. 3.a. (205)

Many things [i.e., Veel dinghen] well made are a joy to see / fol. 18.a. (247)

To bring many faces [i.e., Veel tronien] into the ordonnance / fol. 18.a. (247)

To observe many aspects [i.e., Veel eygenschappen] of clothing / fol. 44.a. (317)

To portray bedewed fields [i.e., Velden] / fol. 34.b. (292)

To portray fruiting fields / fol. 36.b. (297)

Velum [i.e., Parchment], a frame with threads / fol. 9.b. (224)

Venetian painters as an example of finely [painted] silks / fol. 43.b. (316–317)

To improve [i.e., Verbeteren] by repeated underpainting in color / fol. 46.b. (326)

To foreshorten too much [i.e., Vercortinghe te veel], not praiseworthy / fol. 13.a. (234)

Foreshortening in the Landscape / fol. 35.a. (292–293)

To let the distant Landscape [i.e., Verre Landtschap] vanish into the air / fol. 34.b. (292)

Variety of Figures in the ordering / fol. 17.a. (244)

Various actions of Figures in the ordering / fol. 17.a. (244)

To observe the variety of leaves and colors [i.e., verwen] / fol. 37.b. (299)

To temper colors [i.e., Verwe temperen], [is] no waste of time / fol. 31.a. (282)

Colors that best accompany each other / fol. 45.a. 46.a. (320, 322–323)

Colors that like one another / fol. 45.b. (322)

Colors were created along with the World / fol. 50.a. (335)

Colors arose from out of the Elements / fol. 50.b. (335)

Color[,] what it is, and what it awakens / fol. 50.b. (336)

Colors are of two kinds / fol. 50.b. (336)

Color bestows diversity on things / fol. 50.b. (336–337)

Force and effect of Colors / fol. 51.a 52.a. (337, 340)

Colors transported Heavenward / fol. 52.a. (340)

Four colors likened to the four types of Men and the four Planets / fol. 54.b., and to the times of the Year/ fol. 55.a. (347)

How to place a Steady light [i.e., Vlack licht] that diminishes on both sides / fol. 18.b. (249)

Form of Flames [i.e., Vlammen ghedaente] according to the stuff by which they are fueled / fol. 31.b. (284)

Flesh-colored shadows [i.e., Vleeschachtighe diepselen] / fol. 49.a. (332)

To color in a fleshlike way [i.e., Vleeschich te coloreren] / fol. 49.b. (333–334)

Advised to labor diligently [i.e., Vlijt doen], to surpass the Italians / fol. 7.a. (217)

Praiseworthy, to be Universal / fol. 38.b. (302)

Brow [i.e., Voorhooft][,] accuser of souls, and book of hearts / fol. 25.a. (266)

Brow likened to Heaven / fol. 25.a. (266)

To detect early [i.e., Vroech te mercken], if someone will become a painter / fol. 1.b. (202)

Inadvisable to marry early [i.e., Vroech trouwen ontraden]. Early to marry well praiseworthy. Early to marry badly is harmful / fol. 6.b. (215)

Early to bed and to rise in the Summer / fol. 34.b. (291)

To portray a happy temperament [i.e., Vrolijck ghemoedt] / fol. 25.a. (266)

Women’s flesh fuller [i.e., Vrouwen ronder van vleesch] / fol. 11.b. (229)

A Woman’s feet together / fol. 13.a. (234)

Women’s actions not fierce / fol. 14.b. (238)

Women’s flowing Draperies / fol. 43.b. (316)

To paint Vulcan’s smithy / fol. 32.a. (284)

W.

Waterfall near Terni, which is beautiful / fol. 30.a. (280)

Water always in the lowlands / fol. 36.b. (297)

Re-reflection [i.e., Weerschijn] of nudes onto [adjacent] nudes and fabrics / fol. 33.a. (288)

To observe re-reflection and mixtures / fol. 43.b. (316–317)

To portray footways [i.e., Wegh] [trod] through the morning dew / fol. 24.b. [sic, 34.b.] (292)

The art of Living well [i.e., Wellevens const] must also be considered / fol. 3.b. (207)

To strive for Concinnity [i.e., Welstant te soecken] in the coloring of Horses / fol. 39.a. (304)

To paint laboring figures [i.e., Werckende bootsen] according to their labor / fol. 13.a. (233)

West-Indians knew of no writing / fol. 51.b. (339)

Laws [i.e., Wetten] best serve humankind / fol. 16.b. (243–244)

Eyebrows [i.e., Wijnbrouwen] showing a man’s thoughts / fol. 25.a.b. (267)

Wimples and veils of the Nymphs / fol. 45.a. (319)

To paint Winter and mists / fol. 35.a. (294)

Wonderful love of Seleucus for his son / fol. 24.a. (263–264)

Wondrous beauty of the Temple of Solomon / fol. 53.a. (342–343)

Movement of pleats and folds[,] in and out [i.e., Wt en ingaen] / fol. 43.a. (314–315)

End of the Register.