GELIJKMATIGHEID (n. f.)

TERM USED IN EARLY TRANSLATIONS
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4 quotations

Quotation

Analogie Proportie, oft maet der Lidtmaten eens Menschen Beeldts. Het derde Capittel.
1 Proporty, oft ghelijckmaticheyt puere,
Is (ghelijck Plutarhus verhaelt in reden)
Een schoon heerlijck cieraet in der Natuere,
Dees Proporty in ghebouw oft figuere,
Noemt Vitruvius (als Constigh van zeden)
Een seker over-een-comingh der leden,
Oft eyghenschappen als ghebouws in orden,
Als sy wel beleydt nae der Conste worden.

[D'après NOLDUS 2008, p. 43:] Analogie, proportion ou dimension des parties d’une figure humaine. Le troisième chapitre. 1 La Proportion, ou belle régularité est (comme Plutarque le dit sous ce rapport) une magnifique parure de la Nature. Cette proportion, en architecture ou en figure est appelée par Vitruve (Artiste de nature) « une certaine correspondance entre les parties ou éléments d’une construction bien ordonnée s’ils sont réalisés selon les bons principes de l’Art. »

analogie · proportie

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

Quotation

Soo namen dan d’oude Meesters dese vijf hoofd-stucken in haere Schilderyen op ’t aller nauste waer. I. Den Historischen inhoud, die veeltijds d’Inventie ofte oock ’t argument ghenaemt wordt. II. De ghelijck-maetigheyd, diemen doorgaens henen de Proportie, symmetrie, analogie, en harmonie noemt. III. De verwe ofte ’t Coleur; en daer in plaghten sy ’t licht en schaduwe, als oock ’t schijnsel en duysternisse naukeurighlick t’ onderscheyden. IV. Het leven; ’t welck in d’Actie en Passie bestaet, ofte (om duydelicker te spreken) in de bequame afbeeldinghe der eyghenschappen die men in de onroerende dingen verneemt, als oock in de levendighe uytdruckinghe der beweghinghen diemen in de roerende dinghen speurt, wanneer deselvighe yet merckelicks doen of lijden. V. De schickinghe, die men ghemeynlick de Dispositie ofte Ordinantie plaght te heeten.

[Suggested translation, Marije Osnabrugge:] As such the old Masters observed these five chief principles very closely in their Paintings. I. The Historical content, that is often called the Invention or also the argument. II. The uniformity, which one commonly calls the Proportion, symmetry, analogy and harmony. III. The colour or the colouring; and in this they tend to carefully distinguish the light and shadow, as well as the sheen and darkness. IV. The life; which exists in the Action and Passion, or (to speak more clearly) in the skilled depiction of the characteristics that one discerns in the unmovable things, as well as in the lively expression of the movements that one perceives in the movable things, when these do or suffer something considerable. V. The arrangement, that one commonly tends to call the Disposition or Ordinance.

In the introduction to the third book, Junius introduces the five main principles (hoofdstukken) that the old masters followed in their work. The second of these principle is ‘gelijkmatigheid’ (uniformity), which can also be called by one of its synonyms: Proportion, Symmetry, Analogy and Harmony. In the second chapter of Book Three the differences between these synonyms are discussed at length in the following chapters. [MO]

proportie · symmetrie · analogie · harmonie

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 130 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 221
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 130 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 221

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
L’HISTOIRE ET LA FIGURE → proportion

Quotation

In Vitruvius wordt het woord Symmetria schier overal Commensus gheheeten, dat is een afmetinghe, ofte maetvoeghelickheyd, ofte ghelijck-maetigheydt.

[Suggested translation, Marije Osnabrugge:] In Vitruvius the word Symmetria is almost everywhere called Commensus, that is: measurement, or proportion or uniformity.

Junius mentions that Vitruvius used the term Commensus instead of Symmetria, he then clarifies this term with equivalent words in Dutch: measurement (afmeting), maetvoeghelickheyd (proportion, cfr. WESTSTEIJN 2016, p. 373 for this translation) and uniformity (gelijkmatigheid). Indeed, it is still difficult to translate these terms to English. [MO]

commensus · symmetria · afmetinghe · maetvoeghelickheyd

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 155 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 256-257
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 155 in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p. 256-257

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

Quotation

De tweede of konstige kunde der gelijkmatigheyt, of proportie der menschelijke leeden, die men de volmaekte schoonheyt noemt,[...] Deze verkiest het schoonste uit veelderley schoon [ndr: in de natuur]: en't valt een mensche te zwaer om in zijn leeven uit te vinden.

[BLANC J, 2006, p. 137] La connaissance de la régularité ou de la proportion des membres du corps humain comporte une deuxième partie : ce qu'on appelle la beauté parfaite. [...] Cette beauté parfaite consiste dans le choix des plus belles choses parmi toutes celles que l'on trouve en variété [ndr dans la nature]. Autant dire qu'une vie d'homme suffit difficilement pour en faire la connaissance.

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → beauté, grâce et perfection