DOI Heft:
Nr. 3
DOI Artikel:Martin, John Rupert: Portraits of Poussin and Rubens in works by Daniel Seghers
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17136#0073
6. Jan Meyssens, Porlrait of Rubcns.
ged in 1671 was undoubtedly preceded by a long period of divided opinion and inner dissen-
sion. It is not difficult to believe that reports of this controversy came early to the cars of
Daniel Seghers in Antwerp.
The attributes held by Poussin in bis self-portrait of 1649 (Eig. 3) no doubt signify the
importance to the artist of Theory and Practice, the crayon alluding to manuał dexterity
and the book to the speculative aspect of painting. It is puzzling to see that in the picture
by Seghers (Fig. 2) the book has been omitted. It is possible, however, that a similar signi-
ficance attaches to the inscription Tria ego which appears above the artist's head (Fig. 7).
Unfortunately, the motto is so drastically abbreviated that it is difficult to say precisely
what is meant by it. We know only that three things are recommended by the artist.
The most obvious solution would be to assume that the inscription refers to the famous
definition of Lodovico Dolce, who divided painting into invenlione, discgno, and colorito.™
Since Poussin would certainly have given his approval to this definition, the inscription
12. L. Dolce, Dialogo delia pittura, Yenice, 1557.
73
ged in 1671 was undoubtedly preceded by a long period of divided opinion and inner dissen-
sion. It is not difficult to believe that reports of this controversy came early to the cars of
Daniel Seghers in Antwerp.
The attributes held by Poussin in bis self-portrait of 1649 (Eig. 3) no doubt signify the
importance to the artist of Theory and Practice, the crayon alluding to manuał dexterity
and the book to the speculative aspect of painting. It is puzzling to see that in the picture
by Seghers (Fig. 2) the book has been omitted. It is possible, however, that a similar signi-
ficance attaches to the inscription Tria ego which appears above the artist's head (Fig. 7).
Unfortunately, the motto is so drastically abbreviated that it is difficult to say precisely
what is meant by it. We know only that three things are recommended by the artist.
The most obvious solution would be to assume that the inscription refers to the famous
definition of Lodovico Dolce, who divided painting into invenlione, discgno, and colorito.™
Since Poussin would certainly have given his approval to this definition, the inscription
12. L. Dolce, Dialogo delia pittura, Yenice, 1557.
73