文藝復(fù)興時期的繼往開來

Backward and Forward

By? V. M.? Hillyer

——V. M. 希利爾（仲秋? 譯）

V. M. 希利爾（1875—1931），美國著名兒童教育家、科普作家，創(chuàng)建了卡爾弗特教育體系。他為孩子們編寫了一套趣味盎然的歷史、地理、藝術(shù)讀物，即《寫給孩子看的世界歷史》《寫給孩子看的世界地理》《寫給孩子看的藝術(shù)史》。本文選自《寫給孩子看的藝術(shù)史》，該書寫于20世紀二三十年代。

In 1492 Columbus discovered America. Everyone knows that date. And so it is easy to remember when Renaissance architecture began in Italy. It was in the same century as 1492， the fourteen-hundreds. Some of the earliest Renaissance buildings of the fourteen-hundreds are the best. The picture below is a picture of the Riccardi Palace in Florence. It looks more like a fort than a palace and that is what it really was on the outside—a fort.

There was so much fighting going on that these palaces in Florence had to be built like forts. Notice the iron bars on the lower windows. Notice the heavy rough stones in the lower story. That kind of stone-work is called “rusticated”. The stones bulge out from the joints between them. This makes the building look strong and solid.

The top of the building is crowned by a ledge that sticks out all around the wall. Such a ledge is called a cornice. The cornice kept the building from looking like a plain box. The cornice finished off the top of a building just the way a capital finished off the top of a column. The windows have round arches， not pointed like Gothic.

The building is more like a palace inside than outside. In the middle of the inside is an open courtyard which has balconies around it. There is a big banqueting hall， a library， and other finely furnished rooms. This Renaissance building is called the Riccardi Palace because Riccardi was the name of the family who bought it from the Medici family who built and lived in it first.

1492年，哥倫布“發(fā)現(xiàn)”了美洲大陸。這個年份大家都很熟悉。文藝復(fù)興式建筑在意大利興起的時間也很容易記住，因為它與哥倫布“發(fā)現(xiàn)”美洲大陸的1492年在同一個世紀，那就是15世紀。15世紀早期的一些文藝復(fù)興式建筑是所有文藝復(fù)興建筑中最優(yōu)秀的。下圖是佛羅倫薩里卡迪宮的一角。雖然是宮殿，但從外面看上去它更像一座堡壘，事實上它的外側(cè)也的確曾被作為碉堡使用。

那時的佛羅倫薩陷入戰(zhàn)火之中，所以宮殿也全都砌成碉堡的樣子?？纯茨切┍淮执值蔫F條封起來的下層窗戶吧，再看看那些厚重、結(jié)實的石塊加固的底層基座就明白了。底層基座所使用的石塊被稱作“粗面砌筑”。粗面砌筑的工藝，是讓每個大石塊與連接處相比較都稍稍地向外凸隆，這樣可以使得整棟建筑看上去牢固、堅實。

在建筑頂部的墻壁周圍，有一圈突出的巖脊，這種巖脊叫作“上楣”或者“飛檐”。因為有了這種像是裝飾鏡框似的上楣，整座建筑看起來就不會只像一個四四方方的、單調(diào)的盒子了。墻頂上飛檐的作用與圓柱頂上柱頭的作用是十分類似的。這座建筑的窗戶是圓頂式的，與哥特式建筑中的尖拱不同。

建筑的內(nèi)部，就比外部更加像一座宮殿了。建筑內(nèi)部的中央，是一個露天的庭院，周圍有陽臺。建筑里有大的宴會廳、圖書館，還有許多裝飾精美的房間。這座文藝復(fù)興風(fēng)格的建筑，是由美第奇家族修建并第一個居住的，但是它后來被里卡迪家族買下，所以稱為“里卡迪宮”（又有人稱之為“美第奇—里卡迪宮”）。

And now is a good time to notice a great big difference between Gothic and Renaissance buildings. In Gothic buildings most of the lines are up and down. The eye is carried from the ground straight up to the top of the building. But in Renaissance buildings most of the lines are lengthwise—horizontal. In the Riccardi Palace your eye notices the horizontal lines of stones， the windows all in line， the horizontal ledges under the windows， and the long， straight cornice.

Several famous Renaissance architects followed Brunelleschi. One， named Bramante， made a plan for a great cathedral to be built in Rome for the Pope. It was to be the largest church in the world. And was to be called St Peter’s. But Bramante died before much work had been done. Several other architects worked on this big building， until it was finally given into the care of the mighty Michelangelo， who was the greatest Renaissance sculptor as well as a great painter， poet， and wonderful architect.

Michelangelo was an old man， but he pushed the work forward on St Peter’s so that it was almost finished at his death. Michelangelo’s plan was to have the church built in the form of a Greek cross， with a magnificent dome over the middle.

現(xiàn)在，是時候注意一下哥特式建筑和文藝復(fù)興式建筑的重要區(qū)別了。哥特式建筑中，其使用的大部分線條都是縱向的，這樣的設(shè)計可以使得視線直接從地面拉伸到屋頂，是一種向上延伸的設(shè)計。但是在文藝復(fù)興式建筑中，大部分線條都是橫向的，也就是水平的。你看，里卡迪宮中所有的石塊都水平陳列，所有的窗戶都在一個水平線上，窗臺隔開的每一層也是整齊地橫向排列，還有最頂端突出環(huán)繞著一圈筆直的上楣雕飾。

在建筑師菲利波·布魯內(nèi)萊斯基之后，又出現(xiàn)了一些著名的文藝復(fù)興時期建筑師，其中有一位名叫多納托·伯拉孟特，他曾經(jīng)給一座偉大的大教堂做設(shè)計，這座大教堂當(dāng)時是準備為羅馬教皇修建的。伯拉孟特本來計劃把這座教堂修建為世界上最大的一座教堂，并且命名為圣彼得大教堂。但可惜的是，開工沒多久他就去世了。伯拉孟特之后，又有其他幾位建筑師參與這座巨大建筑的設(shè)計和修建工作，最后，非凡的米開朗琪羅全權(quán)負責(zé)了這座建筑的建設(shè)。米開朗琪羅是文藝復(fù)興時期最偉大的雕塑家，也是偉大的畫家、詩人，同時還是杰出的建筑師。

雖然米開朗琪羅負責(zé)這項工作的時候已是高齡，但是他對圣彼得大教堂建設(shè)的推進工作十分有力，在他去世的時候這座建筑已經(jīng)基本完工了。米開朗琪羅的計劃是把這座教堂建成希臘式十字形，中廳的上方是一個華麗宏偉的圓拱。

Word Study

ledge /led?/ n. 懸崖巖石突出部;巖架

banqueting /'b??kw?t??/ adj. 宴會的

furnished /'f??n??t/ adj. 配備家具的

The house was simply furnished.

cathedral /k?'θi?dr?l/ n. 主教座堂;教區(qū)總教堂

sculptor /'sk?lpt?（r）/ n. 雕刻家;雕塑家

He turned his artistic gifts to good account by becoming a sculptor.

Michelangelo made everything about St Peter’s so tremendously large that the cathedral doesn’t look as large as it really is. That sounds funny， I know. You’d think the bigger a thing was， the bigger it would look. That isn’t always so. It depends on something called scale. If you take a photograph of a tree， you can’t tell from the photograph how big the tree is unless there is a man or a dog or a house or something near the tree to give you some way of measuring. It is the same with a map： you can’t tell whether a town is thirty miles away or three hundred miles unless there is a scale to measure by.

The windows of St Peter’s are about four times as tall as a man. So unless you see a man near them you would naturally think they were about four times as small as they are， because most windows are about as tall as one man. That is the great trouble with St Peter’s. It lacks scale.

Long after Michelangelo had died， another architect added a new front to the cathedral， and this cut off the front view of Michelangelo’s wonderful dome. This architect also made the church a Latin cross by extending the front. Then still later another man named Bernini added two colonnades， or rows of columns， to the front. These rows of columns are built around two sides of a great circular open space out in front of the cathedral.

The colonnades by Bernini are beautiful， but they haven’t anything to help us judge their size by any more than the cathedral has. They lack scale， just as the cathedral itself lacks scale. Look very closely at the picture and you will see some people in the square. When you measure the cathedral by them， you get some idea of how big it really is.

圣彼得大教堂驚人的巨大，但看上去卻感覺很小，這是因為米開朗琪羅將整座建筑的一切都放大了。這聽起來很好笑？我知道你肯定認為大的東西看起來也會大，小的東西看上去才會小，但事實上卻不是這樣的。一個東西看上去是大還是小是由周圍事物比較而定的。比如，如果給你看一張只有一棵樹的照片，你肯定看不出來這是棵大樹還是小樹;但是如果離樹很近的地方還有一個人、一只狗或者一棟房子，就可以讓你用來作為參照物估計樹的大小了。地圖也是如此，如果沒有一個丈量的比例——也就是我們常說的比例尺，從地圖上你也很難看出某個地方離你是30英里還是300英里。

圣彼得大教堂的窗戶大約有四個人那么高。因此除非有人正好在窗戶旁，否則，當(dāng)你從遠處看時，會自然地感覺這些窗戶只有它們實際大小的四分之一，因為平?？匆姷拇蟛糠执皯舳贾挥写蠹s一個人那么高?？偠灾?，缺少參照物是圣彼得大教堂看上去顯得小的一個重要原因。

在米開朗琪羅去世很久以后，有位建筑師對圣彼得大教堂進行增添，他給這座大教堂新添加了正面建筑，不過這樣一來就把原本米開朗琪羅修建的漂亮的圓頂穹隆的正面視線切斷了。這位建筑師還把正面的建筑加長，把這座教堂修改成了拉丁式十字形。后來，教堂前面的環(huán)形空地上，被一位名為濟安·貝尼尼的建筑師加建了兩排柱廊，這兩排柱廊就依著空地的環(huán)形邊緣而建。

濟安·貝尼尼修建的柱廊非常好看，但是和大教堂一樣，柱廊也缺少參照物，因此光看柱廊你很難知道它們的大小。仔細看下方的這幅圖，你可以看到柱廊環(huán)抱的廣場上有一些人，如果你用這些人來作為參照物，應(yīng)該就能看出來這個大教堂到底有多龐大了。

Look at the plan of St Peter’s， showing the cathedral itself and， at the top of the plan， the arrangement of the Bernini colonnades.

Gothic columns were never very much like Roman columns. But the Renaissance architects used the Roman capitals on the columns of their buildings. Sometimes they even pulled down Roman buildings and used the columns for new Renaissance buildings. Notice， too， the columns， which are like Roman columns.

There were many famous Renaissance architects in Italy and they have left many famous buildings， but we’ll have to skip over some of them to tell you about a man named Palladio. Palladio made famous a special use of columns. The columns run from the ground up past two or three stories. This is called the Palladian style， because Palladio wrote a book about it which architects in other countries as well as in Italy found very useful. The front of St Peter’s shows columns running past two stories.

Renaissance architecture spread from Italy to other countries and has been used ever since. All styles of architecture grow out of earlier styles. The Renaissance architecture grew by looking backward toward Rome， but its use came at a time when the world was looking forward to greater things. Explorers， scientists and thinkers were showing the way to modern times， though they were getting some of their ideas from studying ancient ways. They were looking backward but moving forward.

看到圣彼得大教堂的平面圖了吧？這個平面圖展示了整個大教堂本身的結(jié)構(gòu)。在平面圖的最上面，展示的就是濟安·貝尼尼修建的柱廊的排列方式。

哥特式建筑的柱式完全不同于羅馬式建筑的柱式，但是文藝復(fù)興時期的建筑師在他們的建筑物廊柱上使用羅馬式廊柱的柱頭。有時候他們甚至將原來的羅馬式建筑拆掉，然后將拆出來的材料拿來修建文藝復(fù)興式的建筑。你到了現(xiàn)場仔細看看廊柱就能看出來很像羅馬柱式的風(fēng)格。

文藝復(fù)興時期，意大利有許多著名的建筑師，他們留下了許許多多有名的建筑，但是我也不能窮舉了，只能跳過他們中的一些人，直接給你講講安德烈亞·帕拉第奧的故事吧。帕拉第奧推廣了圓柱的一種特殊運用，并讓它聞名于世。這種特殊的運用，就是讓圓柱從地面開始向上延伸到兩三層樓的高度。這種建筑風(fēng)格被稱作“帕拉第奧式”建筑風(fēng)格。之所以被命名為帕拉第奧是因為帕拉第奧寫了一本介紹這種建筑風(fēng)格的書，許多意大利和其他一些國家的建筑師讀了這本書之后發(fā)現(xiàn)這種方法非常實用，于是就流傳開來。圣彼得大教堂正面的圓柱，它們的高度就是直達兩層樓。

從那以后，意大利的文藝復(fù)興式建筑風(fēng)格傳播到了其他國家，而且直到今天還被人繼續(xù)使用。所有新的建筑風(fēng)格都在舊風(fēng)格的基礎(chǔ)上繼承和創(chuàng)新。文藝復(fù)興式建筑風(fēng)格源自羅馬建筑風(fēng)格，但是它的興起，還是主要基于整個世界開拓創(chuàng)新的思潮。盡管探險家、科學(xué)家和思想家的一些思想來源于對前人的研究，但是，他們更加為我們現(xiàn)在的生活開拓了新的路徑。文藝復(fù)興式建筑的建筑師繼往開來——既傳承了歷史，也向著未來邁進。

Word Study

tremendously /tr?'mend?sl?/ adv. 巨大地;極大地

extend /?k'stend/ v. 使伸長;擴大;擴展

colonnade /'k?l?'ne?d/ n. 列柱;柱廊

circular /'s??kj?l?（r）/ adj. 圓形的;環(huán)形的;圓的

The lamp stands on a circular base.

backward /'b?kw?d/ adv. 向過去;往前

He looked backward forty years.

forward /'f??w?d/ adv. 向?qū)?往后

The next scene takes the story forward five years.

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