[Suggested translation, Marije Osnabrugge:] What the Artificial proportional expression of the found material is concerned, it is called differently by different writers; but mainly it is described by the name Symmetry, Analogy or Harmony in Philostratus and many other writers; as such the young Philostratus has also capably connected these three terms. In my opinion the old wise Men, he says {…}, have written a lot about the Symmetrie of the Art of Painting, by proposing us some certain laws regarding the Analogy of the separate members, as if it were not enough that the Artists would express some movements of the body capably after their understanding, it was then necessary that the Harmony of their work would stay within the natural size, because Nature (namely when it shows us a rightful and well-composed movement) does not want to recognize at all that which is starting to stray from its own character and size. Just as we understand from these words that the Greek terms Symmetry, Analogy and Harmony more or less mean the same, as such it is likewise uncertain and unclear which Latin term is used for it. The word Symmetry, says Plinius Lib. XXXIV. nat.hist. cap. 8. Nevertheless the young Plinius appears to have expressed this word with the term Congruentia or AEqualitas, that is correspondence or uniformity. If the head or any other member, which is torn off a statue, is depicted, he says {…}, you would perhaps not easily deduct the correspondence or uniformity of the whole work, nevertheless you would be able to judge from it whether the part itself is good enough.

PHILOSTRATOS
PLINIUS, L'Ancien
PLINIUS, Le Jeune

Junius extensively discusses the different terms that are used to describe the aspect of proportion in a painting. This paragraph serves as the introduction for further exploration of the different terms, although some of them are only mentioned in this citation. The terms that are mentioned are: symmetry (symmetrie), analogy (analogie), harmony (harmonie), Congruentia, Aequalitas, medevoeghlickheyd and uniformity (gelijkvormigheid). Junius mentions the Greek origins of the first three terms and suggests that Congruentia and Aequalitas might be their Latin equivalents, as suggested by Pliny jr. The two Dutch terms are Junius’ own invention. This citation is of interest, as it shows Junius’ search for and understanding of artistic terms. In the Latin edition, Junius uses the Greek term for harmony: 'αρμονια. [MO]

[D'après DE LAIRESSE 1787, vol.2, p.29:] Il me semble que ces raports dépendent entièrement de la volonté de l’artiste, & que les seules choses qu’il faille absolument observer dans deux tableaux destinés à servir de pendans, se reduisent à un point de vue égal & à une parfaite uniformité entre les figures, lorsqu’on veut les pendre à une même hauteur : le reste est tout-à-fait arbitraire & même inutile. Car pourquoi ne seroit-il pas permis, après avoir satisfait sa curiosité à regarder un désert affreux, de récréer sa vue à voir une campagne fertile & agréable, ou de contenter son goût, en passant successivement d’un paysage ombragé, à un site ouvert, ou à une vue du Rhin ou de quelque marine. Il me semble que le mot Pendans donne assez à entendre que ce sont deux tableaux d’une même grandeur, avec une bordure semblable, qui recoivent le jour du même côté, soit qu’ils pendent l’un vis-à-vis ou l’un à côté de l’autre, à peu près également remplis d’objets, avec des figures de même grandeur, qui diminuent en égale proportion, en fuyant vers le point de vue. Quant à la composition, plus elle diffère dans les deux tableaux, plus il en résulte de beauté & d’agrément, parce que cela nous prouve la richesse d’idées du maître.