ANALOGIE (n. f.)

ANALOGIA (lat.)
TERM USED IN EARLY TRANSLATIONS
/ · ANALOGIA (lat.) · ANALOGY (eng.)

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6 quotations

Seulement une occurrence du terme « analogie » dans le Grondt, qui revient une fois dans les Levens (fol. 208v), également comme synonyme de « proportie ». [MB]

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. »

Seule occurrence du terme « analogie » dans le Grondt, qui revient une fois dans les Levens (fol. 208v), également comme synonyme de « proportie ». [MB]

proportie · gelijkmatigheid

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 I. The Historical content, that is often called the Invention or also the argument.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]

harmonie · gelijkmatigheid · proportie · symmetrie

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

Wat nu de Konst-maetighen proportionele uytdruckinghe der ghevondener stoffe belanght, de selvighe wordt in verscheydene autheuren verscheydenlick ghenaemt; docht voornaemelick wordtse in Philostratus en vele andere schrijvers door de naemen Symmetrie, Analogie ofte Harmonie te verstaen ghegheven; dies heeft oock den jonghen Philostratus dese dry benaeminghen bequaemelick t’saemen ghevoeght. De oude wijse Mannen hebben mijnes dunckens, seght hy {in proemio Iconum}, vele gheschreven van de Symmetrie der Schilder-konste, mids ons eenighe sekere wetten ontrendt d’Analogie vanalle bysondere leden voorstellende, even als of het niet ghenoegh en waere dat de Konstenaers eenigh lichaemelicke beweghinghen bequaemelick nae haer begrijp souden uytdrucken, het en waer saecke dat sich de Harmonie haeres wercks binnen de naturelicke maete besloten hield, want de Nature (wanneerse ons naemelick een rechtsinnighe en welghestelde beweghinge vertoon) en wil gheenssins erkennen het ghene van sijnen eyghenen aard en maete beghint af te swerven. Ghelijck wy dan uyt dese woorden ghenoeghsaemlick verstaen dat de Griecksche naemen van Symmetrie, Analogie, Harmonie even het selvige beteyckenen, soo is het evenwel t’eenemael onseker ende onghewis wat Latijnschen naem dat men daer voor heeft. Het woordt Symmetrie heeft gheenen Latijnschen naem, seght Plinius Lib. XXXIV.nat.hist.Cap.8.. Nochtans schijnt den jonghen Plinius dit woordt uytghedruckt te hebben met den naem Congruentia ofte AEqualitas, dat is, medevoeghlickheyd ofte ghelijckvormigheyd. Indien nu het hoofd ofte eenigh ander deel, het welck van sijne statue afgheruckt is, voorghestelt wierd, seght hy {Lib. II. Epist.5.}, ghy en soudt misschien de medvoeghlickheydt ende ghelijckvormigheyd des gantschen wercks daer uyt soo lichtelick niet konnen afnemen, niet te min soudt ghy daer uyt konnen oordeelen of die ghedeelte in sich selven aerdigh ghenoeg is.

[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.

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 analogy: αναλογια. [MO]

harmonie · congruentia · aequalitas · medevoeghlickheyd · gelijckvormigheyd · symmetrie

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 154
term translated by ANALOGY 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. 255-256

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

Quotation

Wat het woord Analogie belanght, eenighe hebben ’t woord analogie, seght A. Gellius {Noct. Attic. Lib. ii. Cap.24.}, in ’t Latijn Proportie ghenaemt. Soo schijnt oock den gheleerden Quintilianus de selvighe benaeminghe niet quaed te vinden; die ’t woord Analogie nu onlanghs uyt het Griecksch in ’t Latijn hebben overgeset, seght hy {Lib. L. orat. instit. Cap.6.}, noemen ’t een Proportie. (...) Ten eynde dan dat wy ons selven niet al te langhe met een al te sinnelicke oversettinghe van dese dry woorden souden bekommeren, soo sullen wy ’t hier by laeten blijven, dit maer alleenlick daer by voeghende, dat de Schilder-konstenaers dese woorden Analogie ende Harmonie schijnen ontleent te hebben van die Proportie dewelcke by de Tel-konstenaers en de Singh-konstenaers wordt waerghenomen; want dese Analogie ofte Proportie en is anders niet dan een sekere ghetal-wet, nae welckers voorschrift de Konstenaers alle haere wercken aenstellen.

[Suggested translation, Marije Osnabrugge:] What the word Analogy is concerned, some have called the word analogy Proportion in Latin, says A. Gellius {…}, As such the learned Quintilianus does not appear to find this term wrong; those who have recently translated the term Analogy from the Greek to the Latin, he says {…}, call it a Proportion. (…) In order for us not to busy ourselves too long with a reasonable translation of these three words, as such we will leave it to this, only adding to it, that the Painters appear to have borrowed these terms Analogy and Harmony from the Proportion that is observed by the Math-artists [NDR: mathematicians] and the Sing-artists [NDR: singers]; since this Analogy or Proportion is nothing else but a certain law of numbers, after whose instruction the Artists set all their works.

In continuing the discussion about the terminology regarding the principle of proportion, Junius states that analogy (analogie) is often translated as proportion (proportie) by Latin authors. He goes on to explain that analogy, proportion and harmony (harmonie) are closely related to mathematics and music and that it boils down to a law of numbers. In the Latin edition (1637), Junius also cites the Greek term: αναλογια. [MO]

proportie · harmonie

term translated by ANALOGIA in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 155
term translated by ANALOGY 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. 257

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion

Quotation

Maer wat hoegrootheyt 't zy dwerg-of Reusachtig, de overeenkomst of Analogie der deelen maekt de welschapentheyt. Zoo dat het schijnt datze veelerley kan zijn, en de zelve in de natuer verborgen, ontstelt gemeenelijk onze oordeelen, gelijk Durer zeyt; want men bevind somtijts twee menschen zeer schoon en fraey, van de welke d'eene met d'andere niets gemeen heeft, noch van maet noch van gestalte, en nochtans is 't niet openbaer, wie van beyden volmaekst is. Zoo duister is ons verstant, vervolgt hy, wie zal dan de waere schoonheid beschrijven?

[BLANC J, 2006, p.136]Mais que la taille du corps soit celle d'un nain ou d'un géant, c'est bien la comparaison ou l'analogie des parties entre elles qui constitue la conformité en tant que telle. Sans doute est-ce pour cette raison qu'elle peut paraître variée et que, dissimulée dans la nature, elle puisse géneralement troubler nos jugements. C'est ce que constate Dürer: il arrive de trouver deux hommes très beaux et charmants, qui n'ont rien de commun l'un avec l'autre, tant dans leurs mensurations que dans leur apparence, alors même qu'il n'est pas évident lequel des deux est le plus parfait. Notre entendement étant si obscur, poursuit-il, est-il possible de décrire ce qu'est la vraie beauté?

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion
CONCEPTS ESTHETIQUES → beauté, grâce et perfection

Quotation

TErpsichore heeft van 't wel verwen, Melpomene van lichten en schaduwen gehandelt. Zoo resteert'er noch van der zelver overeendrachtige ordening en meedevoeglijke schikkinge te spreeken. Welke geheymenis der konst wy gewoon zijn met het woort Houding uit te drukken; 't welk in het koloreeren eeven het zelve beteykent, als in de konst der maetschiklijkheyt de woorden Simmetrie, Analogie, Harmonie, en Proportie; zijnde ook als de overeenstemming en bekoorlijke zangwijze in de Muzijk. Want het begrijpt in zich een zuivere vergaderinge van samenstemmende kracht: het wel schikken der koleuren, 't welk wy de Tuilkonst noemen: en de ordentlijke schikking van lichten en schaduwen: nevens het voorkomen, wechwijken, ronden, en verkorten;[...].

[BLANC J, 2006, p.445] Terpsichore a traité du beau coloris, Melpomène des lumières et des ombres. Il reste encore à parler de leur ordonnance unie et de leur disposition conjointe. Il est habituel de parler de ce secret de l'art en l'appelant "économie", ce qui signifie, pour le coloris, à peu près la même chose que les mots de symétrie, d'analogie, d'harmonie et de proportions pour l'art de la proportion, ou que l'unisson et la séduisante mélodie pour la musique. Cette économie suppose en effet une certaine pureté et une forte entente dans le rassemblement des couleurs, une bonne façon de les disposer -que nous appelons l'art des bouquets- et une disposition convenable des lumières et des ombres. Il faut ajouter à cela les avancées, les échappées, les modelés et les raccourcis.

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
L’HISTOIRE ET LA FIGURE → proportion