TONUS (n. m.)

AFSETSEL (nld.) · KRAFT (deu.) · LICHT (deu.) · SCHIJNSEL (nld.) · STÄRKE (deu.) · TON (fra.) · TONE (eng.)
TERM USED AS TRANSLATIONS IN QUOTATION
TON (fra.) · TONUS (lat.)
TERM USED IN EARLY TRANSLATIONS
TONUS (lat.)

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Quotation

Soo hebben wy noch voorder te letten op ’t ghene ons Plinius voorhoudt; dat daer naemelick nae ’t uytvinden van ’t licht en schaduwe, noch yet anders tot de Konst is toeghevoeght, ’t welck men ’t schijnsel ofte het afsetsel noemt, Dit schijnsel wierd Tonos ghenaemt, seght hy {Lib. xxxv. Cap. 5.}, om dat het tussen ’t licht en schaduwe tusschen beyden loopt, ende uyt beyde schijnt te ontstaen. Wat de verdrijvinge ende het verschiet der verwen belanght, het selvighe wierd Harmoge geheeten. Dies schijnt oock het woord Tonus alleenlick uyt te wijsen d’uytwerckinghe van een gheweldigher licht; wanneer naemelick het eene of het andere deel der Schilderye, ’t welck ghenoeghsaemlick schijnt verhooght te wesen, noch krachtigher verhooght wordt; mids te weghe brenghende het gene het welck ghenoegh scheen af te steken, nu maer alleen voor een schaduwe dient, om het ghene van te vooren af-stack noch meer afstekende te maeken. Doch hier van hebben wy in de voorgaende afdeylinghe ghehandelt.

[Suggested translation, Marije Osnabrugge:] As such we should pay more attention to that which Plinius tells us; namely that after the invention of the light and shadow, something else was added to the Art, which one calls the glow or the contrast [NDR: problematic translation of the term afsetsel], This glow is called Tonos, he says {…}, because it sits between the light and shadow and appears to originate from both. What the diminuition and the degradation of the colours is concerned, this is also called Harmoge. The term Tonus also appears to point to the execution of a mightier light; namely when some or another part of the Painting, which appears to have been heightened sufficiently, is heightened even more powerful, causing that that which appeared to stand out sufficiently, now only serves as a shadow, to make that which stood out before stand out even more. Yet we have talked about this in the previous part.

PLINIUS, L'Ancien

The suggested translation is problematic with regard to the translation of the terms 'afsetsel', 'verdrijving' and 'verschiet', which are translated here as contrast, diminuition and degradation (of colours). The user is advised to reconsider these translations carefully. [MO]

schijnsel · afsetsel

term translated by TONUS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 171 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. 279-281
term translated by TONUS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 171 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. 279-281

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière