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The men who made Florence the richest city in Europe,
the bankers and wool merchants, the pious realists,
lived in grim defensive houses,
strong enough to withstand party feuds and popular riots.
They don't in any way foreshadow the extraordinary episode in the history of civilisation
known as the Renaissance.
There seems to be no reason why suddenly, out of the dark streets
and forbidding stone facades,
there arose a building as light and delicate as the Pazzi Chapel.
By its rhythms and proportions, and its open, welcoming character, 其韵律、比例 及温暖和煦的特质
it totally contradicts the dark, Gothic style that preceded it 与黑暗的哥德式建筑大异其趣
and, to some extent, still surrounds it.
What has happened? 发生什么事了？
The answer is contained in one sentence by the old Greek philosopher Protagoras: 答案很简单 套句古希腊哲学家
普洛塔哥拉斯的话： “人为万物的衡量”
"Man is the measure of all things."
The building in front of which I am standing, the Pazzi Chapel, 我身后的巴齐小礼拜堂
built in about 1 430 by the great architect Brunellesco, 是伟大建筑师布鲁涅内斯基 在1430年左右建造的
has rightly been described as the architecture of humanism. 它被称为 象征人道主义的建筑物
His friend, and fellow architect, Leon Battista Alberti 他的朋友，同为建筑师的 阿伯提如此形容人：
addressed Man in these words:
"To you is given a body more graceful than other animals, “人拥有比任何动物 都优雅的身体”
to you power of apt and various movements, “拥有轻巧、灵活的动作 敏锐的感官”
to you most sharp and delicate senses, “机智、理性和记忆 有如永恒的天神”
to you wit, reason, memory, like an immortal god."
Well, it's certainly incorrect to say that we are more graceful than other animals, 说人类比动物优雅 绝对是大错特错
and we don't feel much like immortal gods at the moment. 此时我们也不自觉 有如永恒的天神
But in 1 400, the Florentines did. 但1400年的佛罗伦斯人 还真的如是想
There's no better instance of how a burst of civilisation depends on confidence 15世纪早期 佛罗伦斯人的心态
than the Florentine state of mind in the early 1 5th century. 是文明以信心为基楚 而突飞猛进的最佳范例
Where did it come from, this light, economical style, 这种空前绝后的明亮 简练风格从何而来？
which is unlike anything before or since?
I think that it really was the invention of an individual - of Brunellesco. 我认为这是 布鲁涅内斯基的发明
But of course, an architectural style can't take root unless it satisfies some need of the time. 但若无法满足当下人们的需求 建筑风格也无法生根茁壮
And Brunellesco's style satisfied the need of the clear-headed, bright-minded men
此时正值佛罗伦斯严谨的贸易 金融制度开始出现解冻契机
who appeared on the Florentine scene
at the moment when the discipline of trade and banking, in its most austere form,
发挥人类天赋 享受生命变得比赚钱更重要
was beginning to be relaxed,
and life - the full use of the human faculties - became more important than making money.
People sometimes feel disappointed 而布鲁涅内斯基的风格满足了 理智、精明佛罗伦斯人的需求
the first time they see the famous beginnings of Renaissance architecture -
乍看之下，孕育文艺复兴时期 建筑风格的巴齐小礼拜堂
the Pazzi Chapel, the Old Sacristy of San Lorenzo - 及圣罗伦佐教堂的圣器收藏室 令人失望
because they seem so small. 因为它们显得十分迷你
Well, so they are, after the great monuments of Romanesque and Gothic architecture. 若和壮观的罗马式 及哥德式建筑物相比
They don't try to impress us or crush us by size and weight, 它们的确小得可以
它们无意像别的教堂一样
as all God-directed architecture does. 以惊人的体积和分量 收震慑之效
Everything is adjusted to the scale of reasonable human necessity. 其内的一切 都配合了人类的需求
They're intended to make each individual more conscious of his powers, 用意是让人明白 自身所拥有的道德及知性力量
as a complete moral and intellectual being.
"The dignity of man." Today those words die on our lips. “人性尊严”这句话 今日已是陈腔滥调
But in 1 5th-century Florence, their meaning was still fresh and invigorating. 但对15世纪的 佛罗伦斯人来说
却充满令人振奋的新意
One of the second generation of humanists, named Manetti, 一名第二代的 人道主义者马涅提
wrote a book entitled On The Dignity And Excellence Of Man. 写了一本名叫 “人类尊严卓越论”的书
And this is the concept that Brunellesco's friends were making visible. 这正是布鲁涅内斯基友人 极力体现的概念
The grandest of all these testimonies to the dignity of man is by Masaccio 其中最令人屏息的明证
是马萨其奥为圣衣会的 圣母堂画的一系列壁画
in the series of frescoes he painted in the church of the Carmine.
Two of them represent the apostles Peter and Paul performing acts of mercy. 其中两幅画的是耶稣门徒 彼得和保罗行善的情景
As St Peter moves gravely through the streets, his shadow cures the sick, 圣彼得庄严地穿过大街小巷时 他的影子让患者不药而愈
including this noble old man, more like a bishop than a beggar.
其中包括这名相貌堂堂的老者
And in the balancing fresco, Peter and his disciples give alms 相呼应的壁画是彼得和弟子 救助一名贫困妇人
to a poor woman who is one of the great sculptural creations in painting.
妇人的肖像是绘画史上 最经典的雕塑肖像之一
What characters they are. Morally and intellectually, men of weight - 他们都是极具道德 知性分量的大人物
the least frivolous of men - 没有丝毫琐碎无聊的行为
infinitely remote from the gay courtiers of Jean de Berry, who were only 30 years older. 和三十年前贝利公爵那群 欢乐的朝臣有天壤之别
They have that air of contained vitality and confidence 他们拥有文明之父 那种内敛的活力与自信
that one often finds in the founding fathers of a civilisation. 我最先想到的例子是 第一到第四王朝的埃及人
Those that come first to my mind are the Egyptians of the first four dynasties.
The most famous group in the series represents the story of the Tribute Money, 这系列壁画中 最有名的就是“贡金”
and the heads of the apostles seem to reflect the high seriousness of the Florentine republic. 众门徒的头部反映了 佛罗伦斯共和国的严肃
It was directed by a group of the most intelligent individuals 治理佛罗伦斯的人
都是民主政府史上 极具才智的一时之选
who have ever been elected to power by a democratic government.
The Florentine chancellors were scholars, 佛罗伦斯的官员有学者
believers in the studia humanitatis - in which learning could be used to achieve a happy life - 相信可以藉由学问 达到幸福境界的人
believers in the application of free intelligence to public affairs, 支持运用自由知性 解决公众事务的人
believers, above all, in Florence. 最重要的是信仰佛罗伦斯的人
The second and greatest of these humanist chancellors, Leonardo Bruni, 第二任也是最伟大的 人道主义政务官布鲁尼
compared the civic virtues of republican Florence with those of republican Rome. 将佛罗伦斯共和国的优点 比拟为罗马共和国
Later, he went even further and compared her 之后他更进一步的将其比拟为 佩里克利斯时代的雅典
to Athens in the age of Pericles, which wasn't far wrong. 这种说法其实并没有太离谱
As I have said before, all the great ages of civilisation 诚如我先前所说 所有伟大的文明时期
have seen themselves as part of history, both as heirs and as transmitters. 都自视为历史上 承先启后的一部分
在布鲁尼位于 圣十字教堂的墓上刻着
And on Bruni's tomb, in the church of Santa Croce,
are inscribed the words:
"History is in mourning." “历史在哀悼”
Bruni and his friends had derived these ideals from the authors of Greece and Rome. 布鲁尼及其友人的这种理念 来自古希腊罗马的作者
Now, much as one would like to say something new about the Renaissance, 我很想对文艺复兴 提出一些新的见解
the old belief that it was largely based on the study of antique literature remains true. 认为文艺复兴根植于 对古代文学的钻研的传统说法
Of course, the Middle Ages derived much more 仍然不容驳斥
from classical antiquity than used to be supposed, 中世纪衍生自古代的理念 比我们先前想像的多多了
but their sources were limited, their texts corrupt, and their interpretations often fanciful. 但他们的资料来源受限 文字纪录多为断简残编
而其解读诠释 更往往是天马行空
Almost the first man to read classical authors with real insight was the poet Petrarch, 第一个透彻洞悉 古典文学作品的人
是诗人佩脱拉克
that complex figure of the 1 4th century, that false dawn of humanism, 生于14世纪
人称“人文主义之父”的 佩脱拉克
whose love of opposites - 是号极其复杂的人物
of fame and solitude, of nature and politics, of rhetoric and self-revelation - 他对名声与遁世、自然与政治
华丽修辞与自我揭示等 两极化事物的热爱
makes us think of him as the first modern man, until we begin to read his works.
让我们把他视为第一个现代人
直到我们开始研读 他的作品为止
Petrarch never learnt Greek, but his younger contemporary Boccaccio did, 佩脱拉克不会希腊文
不过比他年轻一点的同侪 薄伽丘会希腊文
and so there entered into Florentine thought a new, regenerative force and a new example. 于是佛罗伦斯思维中出现了 一股新的复兴势力和楷模
The first 30 years of the 1 5th century was the heroic age of scholarship, 15世纪的头三十年 是个治学的英勇年代
when unknown works by the greatest writers of antiquity - 人们在修道院的图书馆里 找到古代名作家
Tacitus, Plato, Cicero and a dozen others - 塔西图斯、柏拉图 西塞罗等人不为人知的作品
were discovered in monastic libraries, 它们自黑暗时代抄写完毕后 就静静在那里堆灰尘
where they had lain since they were copied in the Dark Ages.
And it was to house these precious texts, any one of which might contain some new revelation,
为了珍藏这些宝贵的书籍
that Cosimo de' Medici built the library of San Marco.
科西莫麦迪奇修建了 圣马可图书馆
It looks to us peaceful and remote, 如今这里看起来 宁静又遥不可及
but the first studies that took place there were not remote from life at all. 但最先在这里展开的研究计划 和人们的生活关系密切
It was the humanist equivalent of the Cavendish Laboratory. 这里可说是人文主义者的 凯文迪斯研究室
The manuscripts unpacked and studied under these harmonious vaults 在这里被开封、研读的古抄本
could alter the course of history, with an explosion not of matter but of mind. 对人类心智产生了 足以改变历史的爆炸性影响
Next to the Pazzi Chapel are the cloisters of Santa Croce, 布鲁涅内斯基稍晚的作品 圣十字教堂的回廊
also built by Brunellesco some years later. 紧邻巴齐小礼拜堂
I said that the Gothic cathedrals were hymns to divine light. 我说过哥德式大教堂 是对圣洁光线的礼赞
These cloisters with their round arches "running races in their mirth", 而这些造型浑圆的回廊
则以无比的欢欣 赞颂人类的知性之光
happily celebrate the light of human intelligence.
And sitting in them, I found it quite easy to believe in man. 徜徉其间 油然生出一股对人类的信心
When I first came here, nearly 50 years ago, 我五十年前第一次到这里来时
I felt "this is my true centre". 觉得“这里才是 我真正的中心”
Well, twice it seemed that they were lost. 但这里两度面临的被毁的危机
Once, at the end of the German occupation, 一次是德军占领时期的尾声
and once when the floods came 另一次则是因为火灾 而变成水乡泽国
and there were fishes swimming where my feet are, in the ambulatory.
But so far, the forces of destruction have been defeated. 还好圣十字教堂 两次都是有惊无险
Clarity, economy, elegance. 数学定理因澄明、简练 和优雅等特质
These are the qualities that give distinction to a mathematical theorem.
而变得与众不同
And no doubt, early Renaissance architecture 早期文艺复兴的建筑基楚
is based on a passion for mathematics, particularly for geometry. 是对数学的热爱 其中更以几何学为甚
Of course, Gothic architects had designed on a geometrical basis, 哥德时期的建筑师 也以几何为设计基楚
but it had been of immense complexity, 但结构极其复杂
as elaborate and as logical as scholastic philosophy. 如烦琐哲学般缜密、理性
Nothing could be more geometrical than the Florentine Baptistry, 佛罗伦斯洗礼堂 是几何建筑美学的代表作
which is one of the earliest buildings in the city. 也是城中最古老的建筑物之一
But the Renaissance added to this tradition of design all sorts of philosophical notions, 但文艺复兴为这种设计传统 添加了许多哲学理念
including the idea that these forms must be applicable to the human body - 包括这些形状必须适用于人体
that each, so to say, guaranteed the perfection of the other. 彼此间相辅相成
There are dozens of drawings and engravings to demonstrate this proposition, 支持这种论述的图画与铭刻 不在少数
of which the most famous is by Leonardo da Vinci. 其以达文西的作品最有名
Mathematically, I'm afraid it's really a cheat, 这幅图在数学上根本说不通
but aesthetically, it has some meaning, 但在美学上是有很意义的
because the symmetry of the human body, and the relation of one part of it to another, 因为人体的对称 及各部位间的关系
影响了我们对正常比例的观感
do influence our sense of normal proportion.
And philosophically, it contains the germ of an idea 在哲学上开启了一种 若我们真心信之
which might save us if we could really believe it: 也许会因此得救的理念
That through proportion, we can reconcile the two parts of our being - 透过比例，我们可以达到 身心和谐的目标
the physical and the intellectual.
The same approach was applied to painting, in the system known as perspective, 同样的理念应用于绘画 就是“透视法”
by which it was thought that by mathematical calculation, 亦即透过数学运算
one could render on a flat surface the precise position of a figure in space. 可以用在平面上 呈现物体在空间中的精确位置
And this too seems to have been invented by Brunellesco. 这似乎也是 布鲁涅内斯基发明的
但最好的范例是他朋友吉伯提 和唐纳太罗的作品
But we can see it best in the works of his two friends Ghiberti and Donatello
whose low-relief sculpture is really a kind of painting. 他们的浅浮雕作品 实则算是绘画的一种
Ghiberti's Jacob and Esau on the famous Baptistry doors 吉伯提位于著名洗礼堂的作品 “雅各与以扫”
shows perspective used to achieve a spatial harmony that has almost a musical effect. 运用透视法达到的和谐空间 几乎像一篇动人的乐章
Donatello's relief, of St Anthony of Padua curing a boy's leg, 唐纳太罗描述圣安东尼 治疗一个小男孩的浮雕
shows the other use of perspective: 展现了透视法的另一个用途
To heighten emotion by a more intense awareness of space. 利用强烈的空间感 强调作品的情感意含
I don't know why, I always feel there's something alarming about an empty amphitheatre, 我总觉得空荡荡的竞技场 让人不安
which suits the drama of this particular subject. 正好和这个主题的戏剧性 相得益彰
The Florentines were extremely proud of this invention, 这项发明让佛罗伦斯人 十分引以为傲
which they thought, wrongly as it turned out, was unknown to antiquity.
他们甚至误以为 古代人对此技巧一无所知
But has it anything to do with civilisation? 但这种技巧和文明有关系吗？
Well, when it was first invented, I think it had. 我想一开始时的确是有的
The belief that one could represent man in a real setting 这是一种认为可以在 真实环境中呈现人物
and calculate his position and arrange figures in a demonstrably harmonious order, 计算他的位置，及以和谐次序 安排画中人物的信念
this belief expressed symbolically a new idea about man's place in the scheme of things 这种信念象征性的传达了 人类对其宇宙定位
and man's control over his own destiny. 及掌控自己命运的新体悟
As an aid to realism, perspective is of no importance. 至于在协助写实主义方面 透视法无足轻重
法兰德斯的写实派画家 没有透视法一样画得有声有色
The realistic painters of Flanders got on very well without it.
But as a symbol, it means something, 但身为象征，它是有意义的
and it's as a symbol that it passes into the decorative arts of the early Renaissance 化身为象征的透视法出现在 文艺复兴早期的装饰艺术里
and one finds it as the principal theme of those wooden inlays in panelled rooms or choir stalls, 比如说房间或唱诗班座位的 木质镶嵌饰板的主题
which are a repertoire of Renaissance symbolism. 集文艺复兴象征主义之大成
Perspective was concerned with the representation of towns, 透视法最常用来呈现城镇
if only because it was by the paved floor and receding arcade 也许是因为石板路和拱廊 最能将透视法的优点展露无遗
that the system could be shown to advantage.
And in the 1 5th century, painters did a number of pictures of ideal towns, 15世纪的画家画了许多 以理想城镇为题的作品
which are both architectural harmonies and the perfect setting for social man. 这些城镇不仅建筑和谐 也是社会人最理想的环境
Alberti describes, in his great book on building, 阿伯提在他讨论建筑的名著中 力陈公共广场的必要性
the necessity of a public square where young men may be diverted
说年轻人可以在这里 消耗旺盛精力
from the mischievousness and folly natural to their age,
and, under handsome porticos, old men may spend the heat of the day 老年人则可在美丽的柱廊上 乘凉、彼此服务
and be mutually serviceable to one another.
I think that Piero della Francesca, who derived so much from Alberti, 我想师承阿伯提的法兰契斯卡
may well have had this, and similar passages in mind, 描绘这座充满和谐美感的 理想城市时
when he painted this, the most harmonious of all ideal cities. 脑海中八成浮现了刚刚那段话
The early Florentine Renaissance was an urban culture, bourgeois, properly so-called. 早期的文艺复兴 是一种都市文化
说是“中产階级”更贴切些
Men spent their time in the streets and squares and in the shops. 众人在街头、广场 和商店里消磨时光
A good Florentine, says one of their moralists, "sta sempre a bottega" - is always in the shop. 当时的一名道德学家说过
“良好的佛罗伦斯市民 应该时时刻刻都在商店里”
And these shops were completely public. 这些商店都是公共空间
You can see in this engraving, how a craftsman's workshop was open to the street 在这幅板画里的工匠工作室 是开放式的
so that passers-by could see what was being done 往来行人 可以看到他的工作状况
and rival artists make scathing comments. 竞争对手则刻薄的语出批评
The Renaissance historian of art, Vasari, 文艺复兴的艺术史学家瓦撒利
when he asked himself why it was in Florence more than elsewhere 自问为何佛罗伦斯的艺术成就 如此惊人？
that men became perfect in the arts, gave as his first answer: 他的第一个答案是：
“批评的精神”
"The spirit of criticism, the air of Florence making minds naturally free “佛罗伦斯的氛围 释放了人们的心智”
and not content with mediocrity." “并不再甘于平庸”
And this harsh, outspoken criticism meant that there was no gap of incomprehension 这种严厉 直言无隐的批评精神
表示赞助艺术活动的金主 和艺术家间的认知没有断层
between the intelligent patron and the artist.
Our contemporary attitude of pretending to understand works of art 佛罗伦斯人大概会认为 现代人为了怕被识破是门外汉
in order not to appear philistines 不懂装懂的愚行荒谬至极
would have seemed absurd to the Florentines.
They were a tough lot. 佛罗伦斯人都是狠角色
Many people since Bruni in 1 428 have compared them with the Athenians, 自布鲁尼1428年 将佛罗伦斯人比喻为雅典人后
but the Florentines were more realistic. 如法炮制的人不在少数
Whereas the Athenians loved philosophical argument, 但佛罗伦斯人比较务实
雅典人喜欢做哲学证辩
the Florentines were chiefly interested in making money 佛罗伦斯人最喜欢的却是赚钱
and playing appalling practical jokes on stupid men. 及毫不容情的捉弄 资质鲁钝之人
However, they had a good deal in common with the Greeks. 不过他们和希腊的共同点 不一而足
They were curious, they were extremely intelligent, 他们很好奇、聪明过人
and they had, to a supreme degree, the power of making their thoughts visible. 而且能出神入化的 体现他们的思维
I hesitate to pronounce the much-abused word "beauty", but I can't think of a substitute. 我不想用 “美”这个早就被滥用的字
但想不出替代用语
Like the Athenians, the Florentines loved beauty. 佛罗伦斯人和雅典人 一样对美充满热爱
This is a constant source of surprise to anyone who knows them, 任何了解他们的人 都会因此而大为意外
but as Walter Pater said of Michelangelo, 但如同华特佩特 对米开朗基罗的描述
"Out of the strong, came forth sweetness." “甜美来自刚强”
Donatello paid an even more direct tribute to the antique concept of beauty in his bronze David. 唐纳太罗的大卫像
更是直接呼应了 古代人的美学观
The body is almost disturbingly physical 铜像纤毫毕露的裸体 几乎让人有些不安
and the head is derived from that of the great male beauty of the ancient world: 脸孔的创作灵感则来自 古代著名的美男子：
The emperor Hadrian's beloved Antinous, 哈德里安皇帝的爱人安提纽
although with a sharper Florentine accent that makes it far more attractive. 但俊朗的佛罗伦斯特质 更是让大卫魅力加分
Donatello's David stands in the hall of the Bargello, 唐纳太罗的大卫像如今矗立在 巴杰罗博物馆的廊道中
once a court of justice and a prison, now a museum, 这里曾经是法庭、监狱 现在成了博物馆
but still quite a good place to get the flavour of 1 5th-century Florence 但仍不失为领略15世纪 佛罗伦斯风味的好去处
because it not only contains great works of the Florentine imagination, like the David, 因为这里不只收藏了 佛罗伦斯人想像力的结晶
but also the portraits of famous Florentines. 如大卫像
也收藏了 著名佛罗伦斯市民的肖像
There were a few likenesses of individuals of the 1 4th century - 这里也有一些 14世纪名人的肖像
Dante, Petrarch, Charles V of France, Jean de Berry - 如但丁、法王查理五世 贝利公爵等
but they were exceptional. 但这些都是少数的例外
As a rule, medieval people were presented to the eye as figures that symbolised their status. 一般而言 中世纪肖像画中的人物
呈现的是他们的身分地位
The painter of the Spanish Chapel in Santa Maria Novella, 负责装饰 西班牙福音圣母教堂的画家
although he included so much lively detail, 虽然将作品中的细节 画得栩栩如生
made his popes, kings and bishops into stereotypes - 但笔下的教皇、国王和主教
仍然无法跳脱刻板印象的窠臼
their status would have been recognised all over the Gothic world. 任何哥德世界中的人 对他们的身分地位一目了然
But these proudly individual characters 但自视甚高的佛罗伦斯人
wished to record for posterity exactly what they were like. 要让后代看到他们的真实面貌
In fact, many of these busts are done from actual death masks, 事实上，许多胸像都是用 死亡面具做成的
which even great artists like Donatello didn't hesitate to incorporate in their work. 连唐纳太罗这样的伟大艺术家
都毫不犹豫的采取此种技巧
Of course, this bronze relief isn't at all a death mask. 这幅铜制浮雕 当然不是死亡面具
It's the self-portrait of that character who so often flits in and out of the programme, 而是在本节目中 再三出现的人物
是建筑师、全人阿伯提的 自画像
the architect and universal man Leon Battista Alberti.
好一张令人难忘的脸孔！
What a face! 骄傲、警觉 像一匹倔强、聪明的赛马
Proud and alert, like a wilful intelligent racehorse.
Among other things, Alberti wrote an autobiography, 阿伯提的著作中 包括了一本自传
and as we should expect, he is not inhibited by false modesty. 他对自己毫不矫饰的描述 也是想当然尔
He tells us how the strongest horses trembled under him, 他说再强壮的马被他骑在胯下 也会忍不住觳觫
how he could throw further and jump higher and work harder than any man. 说他力大无穷，脚程奇快 工作比任何人都努力
He describes how he conquered every weakness because: 他说他克服了所有的弱点 因为
"A man can do all things if he will." 有志者事竟成
It could be the motto of the early Renaissance. 这可说是 文艺复兴早期的座右铭
And it's reflected in the heads of Renaissance heroes 这一点也反映在 文艺复兴英雄塑像的头部
as they have come down to us in their memorials - 好比说唐纳太罗在帕度亚的 加塔美拉塔像
in Donatello's Gattamelata in Padua.
Of course, these heads are so much idealised as to be, in our sense, scarcely portraits at all. 当然，它们已被过度美化 无法再被称为肖像
Realistic portraiture, the use of the accidents of each individual face to reveal inner life, 利用五官缺陷表达 内在生命力的写实肖像画法
wasn't a Florentine or even an Italian invention. 并不是佛罗伦斯人 或意大利人的发明
It was invented in Flanders 而是诞生于法兰德斯
and came to an immediate perfection in the work of Jan van Eyck. 之后更在范艾克的作品中 达到几近完美的境界
No-one has looked at a human face with a more dispassionate eye 他观察时的明察秋毫 和作画时的细致笔触
and recorded his findings with a more delicate hand. 无人能出其右
But in fact, many of his sitters were Italians - 事实上，很多找他作画的人 都是意大利人
Albergati, the cardinal who employed Alberti as secretary, 如聘请阿伯提为秘书的 红衣主教艾伯盖帝
and Arnolfini, a member of the international world of the wool trade, 和羊毛商、银行家 及教廷外交官阿诺菲尼
banking, papal diplomacy.
And perhaps it was only in such a society 只有在这样的社会里 这些开通敏锐的人物
that these evolved and subtle characters
could have accepted the revelation of their personalities. 才会同意让画家 呈现他们的真性情
Van Eyck's exploration of personality extended beyond the face. 范艾克对人物的描写 不只倨限于面部五官
He shows people in their setting 他呈现人们 在居家环境中的模样
and lovingly records the details of Arnolfini's daily life - 以充满感情的笔触描绘 阿诺菲尼日常生活中的细节
his wooden pattens for walking the muddy streets of Bruges, 他在布鲁雪泥泞街头 行走时穿的木鞋
his little dog of nameless breed, 他养的小型杂种狗
his wife's elaborate sleeve, 他妻子装饰华美的衣袖
his own fur-lined cloak and convex mirror, 他身上以皮草滚边的罩袍 和墙上的凸面镜
and above all, his splendid brass chandelier. 及黄铜制的悬挂式吊灯
And by a miracle that defies the laws of artistry, 他甚至跳脱 当时美术技巧的格局
he was able to show them to us enveloped in daylight, 呈现画中男女主人 沐浴在日光下的模样
as real as if it had been observed by Vermeer of Delft. 其逼真程度和德夫特的梅维尔 不相上下
This sensibility to atmosphere, the Florentines never attempted. 佛罗伦斯人从未费心追求 这种充满感性的氛围
They were a sculpture-minded people. 他们对雕像情有独钟
But in their portrait busts, they came to achieve an almost Flemish realism. 但是他们制作的半身像
几乎拥有一种 法兰德斯式的真实感
How like these Florentine worthies are 这些佛罗伦斯的名人
to the confident faces that we see in Victorian photographs. 和维多利亚时代照片中 充满信心的影中人十分类似
This is the professional man, a doctor, his face lined with the wisdom of experience. 这是个学有专精的医师 他脸上刻满了睿智的纹路
In fact, he was Donatello's doctor, and saved his life. 事实上，他是唐纳太罗的医师 还救过他一命
And this is a businessman called Pietro Mellini. 这是个叫做梅里尼的生意人
A character in one of Alberti's dialogues says, 他曾经跟阿伯提说过 “赚钱是人的第二天性”
"A man cannot set his hand to more liberal work than making money,
for what we sell is our labour - the goods are merely transferred." “我们出卖的是我们的劳力 货物只是交换劳力的管道”
Yes, that was really written in 1 434, not in 1 850. 没错，那段话的确是在 1434年写的
而不是1850年
And, contrariwise, if you dressed Mellini in 1 9th-century clothes, 反之，若让梅里尼穿上 19世纪的衣服
he would look perfectly convincing. 他看起来也会恰如其分
But this atmosphere of liberal materialism is less than half the story. 但这种自由物质主义的氛围 只道出了故事的一半
After the middle of the 1 5th century, the intellectual life of Florence took a new direction, 15世纪中叶之后
佛罗伦斯的理性生命 出现了全新的转折
very different from the robust civic humanism of the 1 430s. 和1430年代 活跃的人道主义大异其趣
Florence had ceased to be a republic in anything but name, 佛罗伦斯共和国 变得只是虚有其名
and for almost 30 years, it was virtually ruled by that extraordinary character Lorenzo de' Medici. 被赫赫有名的洛伦佐德麦迪奇 统治了将近30年
His father and grandfather had prepared the way for him by their activities as bankers. 他身为银行家的父亲和祖父 为他累积了惊人的财富
He himself was no financier - he lost a great part of the family fortune - 他不是搞金融的料 家产被他挥霍了一大半
but he was a politician of genius, 但他是个政治天才
who could distinguish between the reality of power and its outward trappings. 他能明辨真正的政治实权 和华而不实的小惠
The frontispiece of his book of poems shows him in the streets of Florence, 他诗集的扉页是一幅呈现 他在佛罗伦斯街头的画
dressed as a simple citizen, surrounded by girls who are singing his ballads. 画中的他做平民打扮
身边围绕着 高唱他的情歌的女孩
What a contrast is this modest printed page to the rich manuscripts of the Duke of Berry. 这幅简朴的版画 和贝利公爵风格奢华的画册
实在有天壤之别
In fact, Lorenzo was a good poet and a most admirable patron of other poets, 洛伦佐是个很不错的诗人
也不遗馀力的赞助 其他诗人、学者及哲学家
also of scholars and philosophers.
But he wasn't much interested in the visual arts, 但他对视觉艺术没啥兴趣
and the paintings by which his period is remembered 他那个时代 让后世津津乐道的画作
were commissioned by his cousin Lorenzino.
And it was for Lorenzino that Botticelli painted the works 都由他表弟洛伦奇诺所委制
波提切利为洛伦奇诺 绘制的画作
in which the Florentine sense of beauty appears in its most evolved and peculiar form -
将佛罗伦斯时代的美感 展露无遗
The Spring and The Birth Of Venus. 那就是“春” 与“维纳斯的诞生”
In the earlier of them, The Spring, the subject is derived from Ovid, “春”的主题来自奥维德
但对中世纪的回忆 让其充满古典风格的灵感
but this classical inspiration is given a new complexity by memories of the Middle Ages.
呈现出更复杂的面貌
The pagan divinities sway before a background of leaves, 异教女神在枝叶扶疏的森林里 翩翩起舞
like a Gothic tapestry. 看似一幅哥德式的绣帷
What a marvellous feat of the imagination. 此堪称想像力的极致表现
As for the heads, they're a discovery of beauty that means much more to us 至于女神头部呈现出的美感
比古代那些浑圆平滑的 椭圆形结构
than the full, smooth oval of antiquity. 更能引发我们对美的共鸣
The subject of Botticelli's other great allegory, The Birth Of Venus, 波提切利另一幅 充满寓言意味的杰作
is taken from a contemporary poet, Poliziano. 是“维纳斯的诞生”
其灵感来自当代诗人 波利齐亚诺的作品
Poliziano was part of a group of subtle Florentines 波利齐亚诺是一群 钻研古代希腊哲学家作品
who were inspired by the late Greek philosophers known as neo-Platonists. 而被称为新柏拉图主义者的 佛罗伦斯之一
It was their hope they might reconcile these pagan philosophers with Christianity. 他们希望能结合 这些异教哲学家与天主教
And so, Botticelli's Venus, 所以波提切利笔下的维纳斯 不是个妖艳的异教娼妓
not at all the amorous strumpet of paganism,
is pale and withdrawn, 而是苍白羞怯
and dissolves into his image of the Virgin Mary. 眉宇间和他画的圣母像 十分神似
The discovery of the individual was made in early 1 5th-century Florence. 这种人本思想崛起于 15世纪初的佛罗伦斯
Nothing call alter that fact. 这是不争的事实
But in the last quarter of the century, the Renaissance owed quite as much 但是在该世纪的最后25年间
to the small courts of northern Italy - Ferrara, Mantua, and above all Urbino - 意大利北部的小型宫廷 对文艺复兴的贡献也毫不逊色
如菲拉拉、曼特瓦等 其中最重要的是乌比诺
this small and rather remote town on the eastern perimeter of the Apennines. 乌比诺是个位于 亚平宁山脉东缘
地处偏远的小镇
It could be argued that life in the court of Urbino 乌比诺的宫廷生活可说是 西方文明的顶点之一
was one of the high watermarks of Western civilisation.
The reason is that this court and its dominions were protected from the surrounding ruffians 其原因是这座宫廷与其领地
在第一任乌比诺公爵 蒙泰费尔特罗的保护下
by Frederigo Montefeltro, the first Duke of Urbino,
the greatest general of his day, 不受恶灵侵扰
who was also a humane and intelligent man. 他是当代最伟大的将军 也是个极富仁心、才智的人
And the town itself, with its soft pink bricks, 城镇本身以粉彩砖头砌建而成
so different from the harsh stones of Florence, 与佛罗伦斯冷硬的石造建筑 形成强烈对比
seems to reflect the same feeling of humanity. 它们也反映出相同的人道精神
It's small enough for a good ruler to know all the inhabitants, 这个城镇并不大
所以勤政爱民的仁君 有机会认识所有城民
and listen to their troubles.
并体察民间疾苦
Which, in fact, is exactly what Duke Frederigo did. 这正是 蒙泰费尔特罗公爵的做法
His palace began as a fortress, 他的宫殿原本是依坚固岩壁 修建而成的碉堡
built on an impregnable rock.
And only when he'd fought his way to security 一直到他完成攘外大业后
could he afford to give it the sweet and delicate details 才能好整以暇的 将碉堡整修得美轮美奂
which make it one of the most beautiful pieces of architecture in the world. 它也因此而成为 世界上最美丽的建筑物之一
The Palace of Urbino has a style of its own. 乌比诺宫殿的建筑自成一格
The arcaded courtyard, where I'm standing now, 我现在所在的拱廊中庭
isn't speedy and springy like Brunellesco's cloister, 不像布鲁涅内斯基的回廊那样 轻快活泼
but calm and timeless. 而是洋溢着一种 山中无甲子的沉静魅力
And the rooms are light and airy. 房间宽敞明亮，比例如此完美
And so perfectly-proportioned that it exhilarates one to walk through them. 光是信步而过就让人满心喜悦
In fact, I think the interior is the most beautiful in the world, 事实上，我认为其内部 设计之美居全球之冠
and the only palace that I can go round without feeling oppressed and exhausted. 是唯一不会让我在参观时 感到压迫或精疲力尽的宫殿
Curiously enough, 但奇怪的是，我们并不知道
we don't know the name of the architect who was responsible for this masterpiece. 修建这座城堡的建筑师 叫什么名字
A famous fortress builder named Laurana did the substructure 赫赫有名的碉堡建筑师劳伦纳 完成了它的次结构
but he left Urbino long before the lived-in part of the palace was begun. 但在宫殿起居作息区 开工之前他就走了
But the painter Piero della Francesca was there 但是画家法兰契斯卡
at exactly the date when it was being decorated. 在宫殿进行装饰工程时 到此一游
And, personally, I believe that he was responsible for its style. 我个人认为 他对其风格影响深远
The architecture in this picture by Piero, which is in Urbino, 乌比诺收藏的这幅 法兰契斯卡的画作中
shows exactly the same kind of delicate detail 也出现了与宫殿门窗装饰风格 相同的细节
one finds round the doors and windows of the palace, 而且这幅画是在十年前完成的
and it was painted ten years earlier.
However, I think that the noble proportions and the whole sense of space 但我认为宫殿中 空间感的崇高比例
must reflect the character of the Duke himself. 一定反映了公爵本身的人格
His biographer, named Vespasiano da Bisticci 他的传记作家狄比斯特奇 再三提及公爵的人道精神
refers again and again to the Duke's humanity.
He asked the Duke, "What is necessary in ruling a kingdom?" 他问公爵“统治王国的 必备条件为何？”
The Duke replied, "Essere umano." 公爵的答覆是“仁心”
"To be human."
Whoever invented the style, this is the spirit that permeates the Palace of Urbino. 姑且不论这种风格是谁发明的
充斥于乌比诺宫殿的 就是这种精神
As a part of civilisation, 身为文明的一部分
the Palace of Urbino extended beyond the 1 5th century. 乌比诺宫殿的影响 超越了15世纪
The great architect of the High Renaissance, Bramante, 文艺复兴鼎盛时期的建筑师 布拉曼特是乌比诺人
was a native of Urbino.
He may even have worked on the palace when it was being completed. 他甚至可能参与了 宫殿工程最后的收尾作业
The court painter was a silly old creature named Giovanni Santi, 朝廷画家是个叫做 乔凡尼桑提的昏聩老头
the sort of obliging mediocrity who's always welcome in courts - 是那种在宫殿中颇受欢迎 唯唯诺诺的平庸之辈
even in the court of Urbino. 宫中侍女要设计刺绣图样时
No doubt the ladies, when they were in need of a design for embroidery,
八成会说 “去找桑提老先生来吧”
used to say, "Let's send for dear old Mr Santi."
And when he came, 他总是带着他俊美的小儿子 拉斐尔一同进宫
he brought with him his beautiful little son...
Raffaello.
And so, Raphael, 在西方想像世界中 形成一股文明势力的拉斐尔
one of the civilising forces of the Western imagination,
found his earliest impressions of harmony and proportion and good manners 在乌比诺的宫廷中 首度体认了和谐、比例和礼仪
in the court of Urbino.
Good manners. 礼节是乌比诺的另一项产物
That was another product of Urbino.
In common with other Italian courts, Ferrara and Mantua, 这里和菲拉拉、曼特瓦等 意大利宫殿一样
young men went there to finish their education. 是年轻人完成学业的地方
They learnt to read the classics, to walk gracefully, 他们研读古典文学作品
学习如何抬头挺胸的走路 言词温文
speak quietly,
play games without cheating or kicking each other on the shins - 竞争时光明磊落，不出贱招
in short, to behave like gentlemen. 简而言之 就是学习如何当个绅士
Under Frederigo's son and successor, Guidobaldo, 在公爵的儿子 及继任者奎多巴杜在任期间
the notion of a gentleman was given classic expression in a book called II Cortigiano - 卡斯第里欧奈写了一本叫做 “朝臣”的书
The Courtier - by Baldassare Castiglione. 以古典角度剖析了绅士的概念
It had an immense influence. 这本书的影响极其深远
The Emperor Charles V had only three books beside his bed,
查理五世的床边只放了三本书
the Bible, Machiavelli's Prince, 圣经、马基维里的“君王论” 和卡斯第里欧奈的“朝臣”
and Castiglione's Courtier.
For over a hundred years, it formed everybody's notion of good manners. 其后一百多年间
这本书成为人们应对进退的 最高指导原则
Actually, it's very much more than a handbook of polite behaviour, 事实上 它不只是一本礼貌守则
because Castiglione's ideal of a gentleman is based on real human values. 因为卡斯第里欧奈的绅士理念 根植于道地的人道价值
He mustn't hurt people's feelings, 绅士不得伤害别人的感情 或因炫耀而让别人自惭形秽
or make them feel inferior by showing off.
He must be easy and natural. 绅士必须平易自然
Just as Castiglione himself appears to be in his portrait by Raphael. 拉斐尔笔下的卡斯第里欧奈 正是一位这样的谦和绅士
And he mustn't be a mere worldling. 绅士也不能是一介俗人
Il Cortigiano ends with a moving discourse on the subject of love. “朝臣”的最后一个章节 是以爱为主题的生动论述
Just as Botticelli's Spring unites the tapestry world of the Middle Ages 就如同波提切利的“春”
结合了中世纪如梦似幻的世界 与异教神话
with pagan mythology,
so Castiglione's Courtier unites the medieval concept of chivalry 卡斯第里欧奈的“朝臣”
结合了中世纪的狭隘精神 与柏拉图的理想之爱
with the ideal love of Plato.
There's no doubt that the court of Urbino, under both Frederigo and Guidobaldo, 毫无疑问的
在蒙泰费尔特罗公爵父子 治理下的乌比诺宫廷
was a high point in the history of civilisation. 是文明史的巅峰之一
曼特瓦宫殿在文明史上的地位 虽然略逊一筹
And the same is true, in a lesser degree, of the court of Mantua.
The palace of Mantua lacks the exhilarating lightness and lucidity of the palace of Urbino. 但也至关重要
曼特瓦宫殿缺乏乌比诺宫殿 那种轻盈透亮的感觉
But it contains one room, 但宫殿有一个让人真切体会 意大利宫殿式文明生活的房间
in which more than anywhere else, perhaps,
one can get an idea of civilised life in an Italian court.
It's the room decorated by the court painter Andrea Mantegna. 负责装饰这个房间的是 宫廷画家曼帖那
Birds and cherubs... and people 鸟儿、白胖可爱的天使和人群
look down from an imaginary hole in the roof. 从屋顶上的虚拟开口向下俯视
A new use of perspective. 透视法在此有了新的用途
Then come painted busts of Roman emperors. 再来是罗马皇帝的彩绘胸像
But the scene below isn't at all archaeological. 但是下方的场景 就完全没有思古幽情
It shows the Gonzaga family as large as life. 是一幅巨大的 冈萨加家族的全家福
Also their dogs... 连他们养的狗都亮相了
...their courtiers... 朝臣年老的仆人
their old retainers...
and one of their celebrated dwarves. 和他们宫中远近驰名的侏儒
In spite of the formidable frontality of the Marchioness, 尽管不苟言笑的侯爵夫人 让人看了心中为之一凛
the spirit of the whole group is extremely natural. 但整个家族的气氛 却异常融洽自然
The little girl asks if she may eat an apple, 小女孩想知道她能不能吃苹果
but her mother's interested to know what news 但母亲却只想知道 侯爵的秘书跟他说了什么
the Marquess has just received from his secretary. 他们接到的是好消息 他们的儿子被封为红衣主教
In fact it is good news. Their son has been made a cardinal.
And in another scene, the Marquess goes to greet him accompanied by his dogs 在另一幅画中，侯爵在狗儿 及小儿子的陪伴下前去迎接他
and his younger sons.
What an agreeably informal reception. 好一个和乐融融的欢迎会
One of the younger children holds his hand, 有个小孩牵住他的手
and the little boy takes the hand of his elder brother. 小弟弟则牵着哥哥的手
It's still without the odious pomposity that was to grow up in Europe during the next century 这里看不到任何一丝 未来一百年间在欧洲兴起
and reach its zenith at Versailles. 并在凡尔赛宫 到达顶点的繁文缛节
I'm bound to say that even Mantegna 凭良心说，就连曼帖那 都无法将新任红衣主教
has not been able to make the newly-created Cardinal look like a very spiritual type.
画得不食人间烟火
Which reminds one of the obvious fact, 这提醒了我们
that this kind of social organisation depended entirely 这种社会结构全然仰赖 统治者的人格特质
on the individual characters of the rulers. 好比说“林米尼之狼” 西吉斯蒙多马拉台斯塔
In one state is Sigismondo Malatesta, the Wolf of Rimini,
who did things that even the most advanced theatrical producer 他的暴行 连最前卫的戏剧制作人
would hesitate to put on the stage. 都不敢将其搬上舞台
In a neighbouring state, Frederigo Montefeltro, 邻近城邦的蒙泰费尔特罗 则敬畏上帝、爱民如子
the God-fearing father of his people.
And yet both of them employed Alberti 但两人都礼聘了阿伯提
and both were painted by Piero della Francesca. 两人也都是 法兰契斯卡画中的主角
Frederigo was a lover of books, 蒙泰费尔特罗爱书成痴
who made the palace of Urbino into one of the finest libraries in Italy. 乌比诺宫殿被他整顿成 意大利顶尖的图书馆之一
But when he read them, 但图书时仍全副武装
he left his armour on.
And he needed to. 这也是不得不然
This was one of the weaknesses of Renaissance civilisation. 这是文艺复兴文明的弱点之一
And the other, no less obviously, 另一个同样明显的弱点是 它仰赖少数人
was that it depended on a very small minority.
Even in republican Florence, the Renaissance touched relatively few people. 甚至在佛罗伦斯共和国
文艺复兴影响的人仍属少数
And in places like Urbino and Mantua, 像乌比诺和曼特瓦等地
it was practically confined to the court. 则完全倨限于宫廷之内
This is contrary to our modern sense of equality. 这完全与我们与现代人 对平等的定义相左
But one can't help wondering how far civilisation would have evolved 但我们也忍不住揣想 若完全靠大众的意愿
if it had been entirely dependent on the popular will. 文明又会发展到什么地步？
WB Yeats actually used the example of Urbino when he addressed a poem 叶慈曾写了一首诗
“此致表示若大众爱画 便捐钱的有钱人”
"to a wealthy man who promised a subscription to the Dublin gallery
if it were proved that the people wanted pictures."
He said, 诗中写道 奎多巴杜在乌比诺山丘上建造
"And Guidobaldo, when he made that mirror school of courtesy
Where wit and beauty learnt their trade
Upon Urbino's windy hill, 教授美仪机智的礼仪学校时
Had sent no runners to and fro
That he might learn the shepherds' will." 从未曾想过体察牧羊人的心声
One may not like courts - I don't much like them myself- 人们不见得喜欢宫廷
我自己对宫廷也没啥好感
but at a certain stage, it's only in a court 但在某一个时期只有在宫殿里
that a man may do something extravagant for its own sake, 人才能尽情从事 某些奢靡的行为
because he wants to, because it seems worth doing - 因为它是他心之所欲 看来似乎值得一试
something like the extraordinary wooden inlays in this study. 好比说这间书房里 极致华美的木质镶嵌饰板
And it's sometimes through such wilful, superfluous actions 有时候人类要透过 一意孤行、多此一举
that men discover their powers. 才能找到自己的力量
All the same, as one walks through these splendidly extravagant rooms, 但是在赞叹华美的宫殿时
one can't help thinking, "What about the people in the fields?" 我们会忍不住想到 那些在田里的农人
All those shepherds who Mr Yeats rightly supposed that Guidobaldo did not consult 及叶慈笔下
被研究品味、礼仪的奎多巴杜 拒于门外的牧羊人
on matters of taste and good manners.
Could they not have had a kind of civilisation of their own? 难道他们不可能拥有 自己的文明吗？
Well, there is such a thing as a civilised countryside. 世上不是没有文明的乡下
Looking at the Umbrian landscape with its terraces of vines and olives 眺望乌比诺遍布葡萄藤 橄榄树及苍郁柏树的乡间
and the dark vertical accents of the cypresses, 的确会感受到一股永恒的秩序
one has the impression of timeless order.
There must have been a time when it was all forest and swamp. 多年前 这里想必曾是森林和沼泽
Shapeless, formless. 杂乱无章
And to bring order out of chaos is a process of civilisation. 在混乱中建立秩序 就是文明的过程之一
But of this timeless rustic civilisation we have no record beyond the farmhouses themselves, 但除了农舍之外
此一看似永恒的乡间文明 并未留下任何纪录
whose noble proportions seem to be the basis of Italian architecture. 此间比例完美的农舍 显然是意大利建筑的基楚
When Renaissance artists looked at the countryside, 文艺复兴时期 艺术家眼中的乡间
it was not as a place of ploughing and digging 不是个耕耘播种的地方
but as a kind of earthly paradise. 而是一片人间仙境
This is how it appears in the first evolved landscape in European painting, 范艾克的 “羔羊的崇敬”的背景
the background of van Eyck's Adoration Of The Lamb. 呈现的正是这样的乐土
The foreground is painted with a medieval sharpness of detail, 前景充满了 中世纪式的俐落细节
but our eye, passing over the towers and dense greenery of laurels and palms 但观者的目光 会略过高塔、茂密的树林
floats into a gleaming distance. 飘向闪闪发光的远方
Already, awareness of nature is associated with the desire to escape 对自然的觉醒已和逃离现实 追求美好生活的欲望密不可分
and the hope of a better life. 创办威尼斯画风的 乔凡尼贝里尼的作品中
And such it remained in the work of Giovanni Bellini, the founder of Venetian painting,
仍然流露此种渴望
who first used his backgrounds to create a mood, 他首开风气之先用背景营造出 烘托主题动作及故事性的气氛
in which the action or story of the picture can be more vividly felt.
Bellini was a religious painter. 贝里尼是个非常虔诚的画家
His landscapes intensify the traditional subjects of Christianity. 他画中的风景 强调了天主教的传统主题
His pupil, Giorgione, was to extend the humanisation of landscape to contemporary life. 他的徒弟吉奥乔尼
将风景的人性化 拓展至当代生活
And in this picture, 他在这幅画中发现了 也许我该说重新发现了
he has discovered, or I suppose one should say rediscovered,
one of the comforting illusions of civilised man - the myth of Arcadia. 文明人自我安慰的幻觉： 世外桃源的迷思
Of course, it is only a myth. 这当然只是个迷思
Our country life isn't at all like this. 乡间生活当然不是这等光景
Even on a picnic, ants attack the sandwiches and wasps buzz round the wineglass. 连出外吃野餐时 都会受到蚂蚁、黄蜂的骚扰
But Giorgione has shown us how fundamentally pagan it is. 但吉奥乔尼让我们看到了 它根深蒂固的异教源头
This Arcadia is as much a tribute to antiquity 这幅世外桃源深受古代文明
as were the republican virtues of the Florentine humanists. 及佛罗伦斯人道主义的 共和情操影响
And as much part of the rediscovery of man. 也是人类发现自我的过程之一
But in his sensual, rather than his intellectual nature. 只不过这次发觉的是 肉欲感官的一面而非知性
With Giorgione's picnic, the balance and enjoyment of our human faculties 在吉奥乔尼的“野餐”中
人类感官的平衡、愉悦 似乎已经到达完美的境界
seems to achieve perfection.
But in history, all points of supposed perfection have a hint of menace, 但综观历史
所有看似完美的事物 背后都暗藏危机
and Giorgione himself discovers it in that mysterious picture known as the Tempesta. 吉奥乔尼在他的“暴风雨”中 对此有了深切的体悟
What on earth is going on? 这是怎么回事？
What is the meaning of this half-naked woman suckling a baby, 哺乳中的半裸女子
this flash of lightning, 后方的闪电
断裂的石柱，究竟有何意义？
this broken column?
Nobody knows. Nobody has ever known. 这一直是个不解之谜
It was described in Giorgione's own time as "a soldier and a gypsy". 在吉奥乔尼的时代中 此画被称为“士兵与吉卜赛”
Well, whatever it means, 不论其意义为何
it certainly doesn't show any confidence in the light of human reason. 显然没有表达出 丝毫对人类理性的信心
"A man can do all things if he will." “有志者事竟成”
How naive Alberti's statement seems, 阿伯提这句话实在太天真了
when one thinks of that great bundle of fears and memories 毕竟人人都背负着 无比的恐惧、回忆
that every individual carries around with him, 更遑论完全无法控制的 外在力量
to say nothing of the external forces which are totally beyond his control.
Giorgione, the passionate lover of physical beauty, 热爱形体之美的吉奥乔尼
painted this picture of an old woman and inscribed it "col tempo" -"with time". 画了这幅老妇人的肖像 并将之命名为“岁月流逝”
One can see that she must once have been a beauty. 她年轻时的花容月貌依稀可见
It's one of the first masterpieces of a new pessimism - 这是新悲观思维下的 第一幅杰作
new, because without the comfort of religion that was to be given final expression by Hamlet. 说它是“新思维” 是因为它少了宗教的慰藉
这点哈姆雷特将会下个 最后的注脚
The truth is, I suppose, 持平而言，早期文艺复兴时期 文明的基楚不够广
that the civilisation of the early Renaissance was not broadly enough based.
The few had gone too far away from the many, 少数人远远超前多数人
not only in knowledge and intelligence - this they always do - 领先的不只是学识与知性
but in basic assumptions. 还包括了基本假设
When the first two generations of humanists were dead, 前两代的人道主义者过世之后
their movement had no real weight behind it. 他们的运动就失去了后盾
And there was a reaction away from this human scale of values. 于是背离了他们的人本价值观
Fortunately, they left in sculpture, painting and architecture 幸好他们遗留下来的 雕刻、绘画及建筑
their message to every generation that values reason, clarity and harmonious proportion, 让其后重视理性 清明、和谐比例
及信仰个体的世代 有了充分的想像空间
and believes in the individual.