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【簡譯】安德烈亞·帕拉迪奧（Andrea Palladio）

2023-02-22 14:48 作者:神尾智代 0人讀過 | 我要投稿

Andrea Palladio (1508-1580 CE) was an Italian Renaissance architect most famous for the villas he designed in and around Vicenza and two large churches in Venice. Palladio blended elements of classical architecture, particularly the orders, to create harmonious buildings and was so successful that he became the foremost architect in northern Italy. He also wrote a hugely influential work on architecture, Four Books of Architecture. His ideas, both in stone and on paper, proved influential on architects as far afield as Tudor England and even the Americas.

? ? ? ? ? 安德烈亞·帕拉迪奧（1508-1580年）是意大利文藝復(fù)興時(shí)期的建筑師，最有名的是他在維琴察及其周邊地區(qū)設(shè)計(jì)的別墅，以及位于威尼斯的兩座大型教堂。帕拉迪奧融合了古典建筑的各種元素，尤其是柱式，創(chuàng)造了一種對稱的建筑風(fēng)格，并取得了成功，以至于他成為了意大利北部最重要的建筑師。他還撰寫了一部極具影響力的建筑著作《建筑四書》。他的想法，無論是在石頭上還是在紙上，都被證明對遠(yuǎn)在都鐸王朝時(shí)期的英國甚至美洲建筑師們產(chǎn)生了巨大影響。

青年時(shí)期

Andrea Palladio was born on 30 November 1508 CE in Padua, Italy. His given name was Andrea di Pietro della Gondola, and his father was a humble miller. Andrea studied as a stonemason and sculptor in Padua, and then, in 1524 CE, he moved to Vicenza where he joined the stonemason's guild and earned a living producing decorative sculpture and monuments. In the 1530s CE, Andrea worked as a mason for the humanist scholar and poet Count Trissino. Not only working on Trissino's villa, the count also introduced Andrea to the ideals of Renaissance humanism and undertook his education in classical architecture. Indeed, this is where his name 'Palladio' came from as Trissino used that name for a character in one of his poems and it referenced the Greek goddess of wisdom, Pallas Athena.

? ? ? ? ? 安德烈亞·帕拉迪奧于1508年11月30日出生在意大利帕多瓦。他的名字是安德烈亞·迪·彼得羅·德拉·貢多拉，他的父親是一位不起眼的磨坊主。安德烈亞在帕多瓦學(xué)習(xí)石工和雕塑，然后在1524年，他搬到了維琴察，在那里他加入了石匠公會，以制作裝飾性雕塑和紀(jì)念碑謀生。15世紀(jì)30年代，安德烈亞為人文主義學(xué)者和詩人特里西諾伯爵做石匠工作。安德烈亞不僅在特里西諾別墅工作，還得到了伯爵的贊助，伯爵向他介紹了人文主義的理想，從而開始了他的古典建筑之路。事實(shí)上，這就是他的姓氏“Palladio”的由來，因?yàn)樘乩镂髦Z在他的一首詩中使用了這個(gè)名字作為其中一個(gè)人物的名字，它提到了希臘智慧女神帕拉斯雅典娜。

1541 CE saw Palladio make his first visit to Rome where he was able to study first-hand the surviving buildings from ancient Rome and examples of High Renaissance architecture such as the Tempietto of San Pietro by Donato Bramante (c. 1444-1514 CE), completed c. 1510 CE. He combined this practical study with an appreciation of the writings of the Roman architect Vitruvius (c. 90 - c. 20 BCE) and the newly published but already influential works on architecture by Sebastiano Serlio (1475-1554 CE). Palladio would put all of these ideas together to imitate and reimagine the severity and grandeur of Roman architecture in his own unique buildings.

? ? ? ? ? 1541年，帕拉迪奧首次訪問羅馬，帕拉迪奧首次訪問羅馬，在那里他能夠親身研究古羅馬的現(xiàn)存建筑以及文藝復(fù)興盛期的建筑范例，如（1510年）多納托·伯拉孟特（約公元1444-1514年）的坦比哀多禮拜堂。他將這種實(shí)踐研究與羅馬建筑師維特魯威（約公元前90年-約公元前20年）的著作以及塞巴斯蒂亞諾·塞利奧（公元1475年-1554年）新近出版但已具有影響力的建筑作品相結(jié)合。帕拉迪奧將所有這些想法結(jié)合在一起，在他設(shè)計(jì)的真實(shí)而獨(dú)特的建筑中模仿和重新想象羅馬建筑的嚴(yán)謹(jǐn)和宏偉。

帕拉迪奧在維琴察的建筑

The first known architectural project of Palladio was a commission in 1546 CE to provide a new facade for the town hall of Vicenza (known thereafter as the Basilica Palladiana). Just as other Renaissance architects like Leon Battista Alberti (1404-1472 CE) had done with churches in Florence and Rimini, Palladio ignored the medieval form of the building's shell and covered it in a classical-inspired ensemble of arches and columns covering two stories. The arches create what became known as the 'Palladian window', that is a pair of shorter double columns supporting the arch with each of these flanked by a single taller column. The work was regarded as a success as Palladio was soon designing palaces and villas both in Vicenza and the surrounding region of Veneto.

? ? ? ? ? 帕拉迪奧的第一個(gè)已知建筑項(xiàng)目是在1546年受委托為維琴察的市政廳（此后被稱為帕拉迪納大教堂）制作一個(gè)新的立面。與其他文藝復(fù)興時(shí)期的建筑師一樣，如萊昂·巴蒂斯塔·阿爾伯蒂（公元1404-1472年）對于佛羅倫薩和里米尼的教堂，帕拉迪奧忽略了建筑外殼的中世紀(jì)形式，將其覆蓋在一個(gè)由拱門和柱子組成的古典靈感的組合中，覆蓋兩層。這些拱門創(chuàng)造了后來被稱為“帕拉迪奧窗”的東西，即一對支撐拱門的短雙柱，每根柱子的兩側(cè)都有一根較長的柱子。這項(xiàng)工作被認(rèn)為是成功的，帕拉迪奧很快就開始設(shè)計(jì)宮殿和別墅，不僅在維琴察，而且還拓展到周圍的威尼托地區(qū)。

Palladio was particularly interested in capturing the symmetry and proportions seen in the buildings of ancient Rome. Examples of his work include the Villa Valmarana, aka 'La Rotonda', near Vicenza, built c. 1551 CE. The 'Rotonda' villa is clearly inspired by Rome's Pantheon (c. 125 CE) except that Palladio has added another three giant columned porticoes, one for each side of the villa. The central part of the building is topped by a shallow dome. Palladio's country villas, in general, are built using brick covered in stucco and contain rooms of various sizes arranged around a central domed hall. Other common features include a raised basement, impressive colonnaded porches, and significant use of decorative stucco. Palladio was also very interested in mathematical harmony, and this is reflected in the precise dimensions of his villas' rooms, both in themselves and in relation to each other. These villas are often connected to their adjacent farm buildings by straight or curved loggias. Another recurring feature is a walled court set in front of the villa and so designed to extend the symmetry and proportion of the whole.

? ? ? ? ? 帕拉迪奧對捕捉古羅馬建筑中的對稱性和比例特別感興趣。他的作品包括維琴察附近的Valmarana（別墅），又稱“La Rotonda”，建于公元1551年左右?！癓a Rotonda”的靈感顯然來自于羅馬的萬神殿（約公元125年），只是帕拉迪奧又增加了三個(gè)巨大的柱式門廊，別墅的每一側(cè)都有一個(gè)。建筑物的中央部分由一個(gè)淺色的圓頂頂起。帕拉迪奧設(shè)計(jì)的鄉(xiāng)村別墅，一般來說，都是用磚頭覆蓋灰泥建造的，包含不同大小的房間，圍繞著中央圓頂大廳排列。其他的共同特征包括一個(gè)升高的地下室，令人印象深刻的柱廊，以及裝飾性灰泥的大量使用。帕拉迪奧對數(shù)學(xué)上的對稱比例也非常感興趣，這反映在他的別墅房間的精確尺寸上，無論是本身還是相互之間的關(guān)系。這些別墅通常通過直線或曲線的木廊與相鄰的農(nóng)場建筑相連。另一個(gè)反復(fù)出現(xiàn)的特征是在別墅前面設(shè)置了一個(gè)有墻的庭院，這樣的設(shè)計(jì)是為了擴(kuò)展整個(gè)別墅的對稱性和比例。

Meanwhile, in a suburban setting, Palladio built the Palazzo della Ragione in Vicenza and many other villas such as the Villa Malcontenta, Villa Pisani, and Villa Cornaro. His Palazzo Chiericati, c. 1550 CE, has a two-storey facade bristling with columns - Doric on the lower and Ionic on the upper floor. An entirely different project was the Teatro Olimpico, a theatre for the Academy of Vicenza, c. 1580 CE. As the theatre was intended to host classical plays, Palladio's design was, appropriately enough, a direct reconstruction of the ancient Roman theatre in Orange in southern France and a description of an ancient theatre by Vitruvius. In imitation of the open-air ancient theatre, Palladio had his ceiling painted to resemble a sky with clouds.

? ? ? ? ? 另一方面，在城市的郊區(qū)，帕拉迪奧在維琴察建造了理性宮 (Palazzo della Ragione)，此外還有許多其他別墅，如弗斯卡里別墅、皮薩尼別墅和科爾納羅別墅。他的另一部作品奇耶里卡提宮建于 1550 年左右，有一個(gè)兩層的外墻，上面布滿了圓柱（底層是多立克柱式建筑，頂層是愛奧尼亞式建筑）。一個(gè)完全不同的項(xiàng)目是建于 1580 年左右的維琴察奧林匹克劇院，這是維琴察學(xué)院的一個(gè)劇院，約在公元1580年。由于該劇院旨在舉辦古典戲劇，帕拉迪奧的設(shè)計(jì)恰如其分地直接重建了法國南部奧蘭治的古羅馬劇院以及維特魯威構(gòu)想的古代劇院。為了模仿露天的古代劇院，帕拉迪奧把天花板畫成了有云彩的天空。

《建筑四書》及其他作品

On another extended visit to Rome between 1554 and 1556 CE Palladio further studied Roman ruins and then published his Le antichità di Rome or The Antiquities of Rome. Cataloguing those ruins visible to visitors, this book became the standard guidebook to Rome up until the mid-18th century CE.

? ? ? ? ? 在1554年至1556年期間，帕拉迪奧又對羅馬進(jìn)行了一次長期訪問，進(jìn)一步研究了羅馬遺址，后來出版了《羅馬古物》（Le antichità di Rome）。這本書對游客可見的遺跡進(jìn)行了編目，直到公元18世紀(jì)中期，這本書一直是羅馬的游覽標(biāo)準(zhǔn)指南。

In 1556 CE Palladio was involved in another important book, this time a new illustrated edition of his hero Vitruvius' on Architecture which he produced for a Venetian publisher in collaboration with the scholar Daniele Barbaro.

? ? ? ? ? 1556年，帕拉迪奧參與了另一本重要書籍《建筑十書》的創(chuàng)作，這次是他與學(xué)者達(dá)尼埃萊·巴爾巴羅合作，為威尼斯出版商制作的維特魯威作品《建筑》的新插圖版。

Palladio wrote several illustrated books on architecture of his own. His major work was I quattro libri dell'Architettura or The Four Books of Architecture which was first published in 1570 CE. Immediately popular with architects, the work was translated into several other European languages, including four editions in English between 1663 and 1738 CE. Book I considers materials, decoration, and the classical orders. Book II examines types of country and suburban housing. Book III considers public buildings such as basilicas, bridges, and town planning. Finally, Book IV deals with reconstructions of known Roman temples then only surviving as ruins. The work helped spread Palladio's ideas on architecture because although it focussed on classical architecture, the author often used his own designs to illustrate the descriptions.

? ? ? ? ? 帕拉迪奧寫了幾本關(guān)于建筑的原創(chuàng)書籍。他的主要著作是I quattro libri dell'Architettura，即《建筑四書》，首次出版于 1570 年。這部作品立即受到建筑師們的歡迎，并被翻譯成多種歐洲語言，包括公元1663年至1738年的四個(gè)英文版本。第一冊考慮了古典材料、裝飾和柱式。第二冊研究了鄉(xiāng)村和郊區(qū)住房的類型。第三冊考慮了公共建筑，如大教堂、橋梁和城市規(guī)劃。最后，第四冊涉及已知羅馬神廟的重建，這些神廟的廢墟僅存。這部作品有助于傳播帕拉迪奧的建筑思想，因?yàn)楸M管作者專注于古典建筑，但他經(jīng)常使用自己的設(shè)計(jì)來說明描述。

威尼斯的圣喬治馬焦雷教堂。由安德烈亞·帕拉迪奧（公元1508-1580年）于公元1566年設(shè)計(jì)，但直到公元1610年才完成。

威尼斯的教堂

In 1565 CE he began work on the San Giorgio Maggiore church in Venice, a building inspired by the 4th-century CE Basilica of Maxentius in the Roman Forum in Rome. The church was not finished until 1610 CE, but it faithfully followed Palladio's original intentions. The facade, which has columns on massive bases which are topped by Corinthian capitals, is made up of two interlocking temple fronts. It was an innovative solution to cover a sloping building with a symmetrical facade along classical lines. In the niches are statues of Saint George and Saint Stephen, and busts of doges (Venetian rulers). The interior has an inverted Latin-cross plan with a nave, two aisles and, a large dome. The artwork inside includes two paintings by Tintoretto (c. 1518-1594 CE).

? ? ? ? ? 1565年，他開始在威尼斯建造圣喬治馬焦雷教堂，這座建筑的靈感來自于公元4世紀(jì)羅馬廣場上的馬克森提烏斯和君士坦丁巴西利卡 (Basilica of Maxentius)。這座教堂直到公元1610年才完工，但它忠實(shí)地遵循了帕拉迪奧的原意。教堂的外墻是由兩個(gè)相互交錯的寺廟正面組成的，立面的柱子位于巨大的底座上，頂部是科林斯式柱頭，正面的兩個(gè)神殿交織在一起。這是一個(gè)創(chuàng)新的解決方案，根據(jù)經(jīng)典指南，用對稱的立面覆蓋傾斜的建筑。壁龕里有圣喬治和圣斯蒂芬的雕像，以及總督（威尼斯的統(tǒng)治者）的半身像。內(nèi)部有一個(gè)倒置的拉丁十字形平面，有一個(gè)中殿，兩個(gè)過道和一個(gè)大圓頂。里面的藝術(shù)品包括丁托列托（約1518-1594）的兩幅畫。

In 1576 CE Palladio designed the church now commonly known as Il Redentore (Christ the Redeemer), also in Venice, specifically, the island of Giudecca. The church was commissioned in thanks for the passing of another terrible wave of the Black Death plague but was not completed until 1580 CE. The gleaming white facade of Istrian stone makes a stark contrast to the red brickwork of the rest of the building. Il Rendetore's interior design reflects its function as host to the doge in a grand procession each year on the third Sunday in July, the feast day of the Redeemer. Accordingly, the nave is unusually wide and without aisles. The interior has very little decoration and is mostly white, Palladio preferring instead to give the church character by the play of the abundant light on his Corinthian columns and arches. The luminosity of the interior is largely thanks to large semicircular windows filled with remarkably clear glass, a speciality of the city's workshops on Murano and known as cristallo.

? ? ? ? ? 1576年，帕拉迪奧設(shè)計(jì)了一座名為 Il Redentore（救世主基督）的教堂，該教堂也在威尼斯，具體位于朱代卡島。這座教堂是為了感謝另一場可怕的黑死病瘟疫的過去而建造的，但直到1580年才完成。伊斯特拉石的白色外墻熠熠生輝，與建筑其他部分的紅色磚塊形成鮮明的對比。Il Redentore（救世主基督）的室內(nèi)設(shè)計(jì)反映了它在 7 月第三個(gè)星期日舉行的盛大年度游行中接待總督的作用，即耶穌基督的盛宴。因此，中殿異常寬闊，沒有過道。內(nèi)部裝飾很少，大部分是白色的，帕拉迪奧更愿意通過豐富的光線在他的科林斯柱子和拱門上的作用來賦予教堂特色。教堂內(nèi)部的亮度主要?dú)w功于大型的半圓形窗戶，窗戶由高度透明的玻璃制成，這是穆拉諾市工場的特產(chǎn)，被稱為Cristallo。

Both of these Venetian churches contain elements seen in Roman baths such as multiple vaulted areas divided by screens of columns. Besides churches, Palladio advised Venice's rulers on the city's fortifications, and he designed decorations for the interior of the Doge's Palace. Not always successful, his design for the Rialto Bridge was rejected in favour of one by Antonio da Ponte (1512-1597 CE).

? ? ? ? ? 威尼斯的這兩座教堂包含在羅馬浴場中可以看到的元素，例如由保護(hù)柱分隔的多個(gè)拱形區(qū)域。除了教堂，帕拉迪奧還為威尼斯的統(tǒng)治者提供城市防御工事方面的建議，還為總督宮（Doge's Palace）的內(nèi)部裝飾設(shè)計(jì)。他的設(shè)計(jì)并不總是成功的，他設(shè)計(jì)的里亞托橋被安東尼奧·達(dá)·龐特（公元1512-1597年）的設(shè)計(jì)方案所取代。

死亡與遺產(chǎn)

Palladio died in August 1580 CE in Vicenza. Already, his designs, patterns, and motifs had caught the attention of architects elsewhere in Italy and abroad as his books on architecture became even more popular than the already widely successful and similar works by Serlio. One notable imitator was the English architect Inigo Jones (1573-1652 CE) who collected original drawings by Palladio following a visit to Italy and so introduced his style to England. Jones designed such grand structures as the Queen's House in Greenwich and the Banqueting House in Whitehall, London, both in the second decade of the 17th century CE. Palladio's designs were also popular in Ireland and the American colonies, leading scholars to identify a distinct 'Palladian movement' in architecture, often called Palladianism. Perhaps still the most visible contribution of Palladio to global architecture is his use of the classical temple facade as a roofed entrance porch, which has been copied ever since in buildings ranging from modest country houses to grand public libraries.

? ? ? ? ? 帕拉迪奧于1580年8月在維琴察去世。他的設(shè)計(jì)、模式和圖案已經(jīng)引起了意大利其他地方和國外建筑師的注意，因?yàn)樗慕ㄖ踔帘热飱W已經(jīng)廣泛成功的類似作品更受歡迎。著名的模仿者是英國建筑師伊尼戈·瓊斯（公元1573-1652年），他在訪問意大利后收集了帕拉迪奧的原始圖紙，因此將他的風(fēng)格引入英國。瓊斯設(shè)計(jì)了格林威治的女王宮和倫敦白廳的宴會廳等宏偉的建筑，兩者都是在公元17世紀(jì)的第二個(gè)十年建造的。帕拉迪奧的設(shè)計(jì)在愛爾蘭和美洲殖民地也很受歡迎，這使得學(xué)者們在建筑領(lǐng)域確定了獨(dú)特的“帕拉迪奧式建筑”，通常稱為帕拉迪奧主義。也許帕拉迪奧對全球建筑最明顯的貢獻(xiàn)是他將古典神殿的外墻作為有屋頂?shù)娜肟陂T廊，從那時(shí)起，從簡陋的鄉(xiāng)村住宅到宏偉的公共圖書館等建筑都在模仿這種做法。