Through the adoption and endorsement of the ‘antique’, that was “followed by the most polite nations”, Gerard de Lairesse (1641-1711) aspired to reach out beyond the borders of the Northern Netherlands. His success with the grand and important elsewhere would eventually put contemporary Dutch art on the artistic map of Europe – or so he hoped. In that respect, the Groot schilderboek (1707) had an important role to play, and it was to do so marvelously well. It is little known, though, that De Lairesse’s encyclopedic treatise on art was translated into Portuguese in 1801. This job was entrusted to the Brazilian friar and botanist Jose Mariano da Conceicao Veloso, who was at the time the director of the Arco do Cego – the most important printing center to introduce new techniques to the Portuguese printing scene, that could accommodate ever-growing print runs. De Lairesse’s writings, however, not only contributed to the modernisation of printing industry in Portugal. In 1808 the Grande livro dos pintores crossed the ocean and landed in Brazil, where it played a significant role in (re)starting the printing industry. This article will trace the fascinating journey of the Groot schilderboek from Portugal to Brazil and assess its place in the modernisation of printing business in these two countries. In order to demonstrate the significance of De Lairesse’s musings in this process, the author will briefly scrutinise the Portuguese printing scene of the long eighteenth century (1683-1808), discuss the printing enthusiasts who stood behind the translation and various Portuguese editions of the Groot schilderboek, as well as the role of De Lairesse’s treatise in the training programme of aspiring print makers associated with the Arco do Cego. I will ultimately follow its crossing to Brazil, all in hope of shedding additional light on the purely practical side of the Groot schilderboek that has oftentimes gone unnoticed.

中文翻译：

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Gerard de Lairesse 葡萄牙语：里斯本和里约的 Groot schilderboek

Gerard de Lairesse (1641-1711) 通过采用和认可“最有礼貌的国家”追随的“古董”，渴望走出荷兰北部的边界。他在其他地方的盛大而重要的成功最终将荷兰当代艺术置于欧洲的艺术地图上——至少他希望如此。在这方面，Groot schilderboek (1707) 可以发挥重要作用，而且做得非常好。然而，鲜为人知的是，De Lairesse 的百科全书式艺术论文于 1801 年被翻译成葡萄牙语。这项工作委托给巴西修道士和植物学家 Jose Mariano da Conceicao Veloso，他当时是 Arco do Cego 的馆长——向葡萄牙印刷界介绍新技术的最重要的印刷中心，这可以容纳不断增长的印刷量。然而，De Lairesse 的著作不仅为葡萄牙印刷业的现代化做出了贡献。1808 年，Grande livro dos pintores 漂洋过海，降落在巴西，在（重新）启动印刷业方面发挥了重要作用。本文将追溯 Groot schilderboek 从葡萄牙到巴西的迷人旅程，并评估其在这两个国家印刷业务现代化中的地位。为了证明德莱瑞斯在这个过程中的思考的意义，作者将简要回顾十八世纪（1683-1808）漫长的葡萄牙印刷场景，讨论支持翻译的印刷爱好者和各种葡萄牙语版本的格鲁特希尔德伯克，以及 De Lairesse 的论文在与 Arco do Cego 相关的有抱负的版画家培训计划中的作用。我最终将跟随它穿越到巴西，所有这些都是希望对 Groot schilderboek 的纯粹实用方面有更多的了解，而这方面经常被忽视。