【简译】安德烈亚·帕拉迪奥（Andrea Palladio）

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.

          安德烈亚·帕拉迪奥（1508-1580年）是意大利文艺复兴时期的建筑师，最有名的是他在维琴察及其周边地区设计的别墅，以及位于威尼斯的两座大型教堂。帕拉迪奥融合了古典建筑的各种元素，尤其是柱式，创造了一种对称的建筑风格，并取得了成功，以至于他成为了意大利北部最重要的建筑师。他还撰写了一部极具影响力的建筑著作《建筑四书》。他的想法，无论是在石头上还是在纸上，都被证明对远在都铎王朝时期的英国甚至美洲建筑师们产生了巨大影响。

青年时期

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.

          安德烈亚·帕拉迪奥于1508年11月30日出生在意大利帕多瓦。他的名字是安德烈亚·迪·彼得罗·德拉·贡多拉，他的父亲是一位不起眼的磨坊主。安德烈亚在帕多瓦学习石工和雕塑，然后在1524年，他搬到了维琴察，在那里他加入了石匠公会，以制作装饰性雕塑和纪念碑谋生。15世纪30年代，安德烈亚为人文主义学者和诗人特里西诺伯爵做石匠工作。安德烈亚不仅在特里西诺别墅工作，还得到了伯爵的赞助，伯爵向他介绍了人文主义的理想，从而开始了他的古典建筑之路。事实上，这就是他的姓氏“Palladio”的由来，因为特里西诺在他的一首诗中使用了这个名字作为其中一个人物的名字，它提到了希腊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，帕拉迪奥首次访问罗马，帕拉迪奥首次访问罗马，在那里他能够亲身研究古罗马的现存建筑以及文艺复兴盛期的建筑范例，如（1510年）多纳托·伯拉孟特（约公元1444-1514年）的坦比哀多礼拜堂。他将这种实践研究与罗马建筑师维特鲁威（约公元前90年-约公元前20年）的著作以及塞巴斯蒂亚诺·塞利奥（公元1475年-1554年）新近出版但已具有影响力的建筑作品相结合。帕拉迪奥将所有这些想法结合在一起，在他设计的真实而独特的建筑中模仿和重新想象罗马建筑的严谨和宏伟。

帕拉迪奥在维琴察的建筑

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.

          帕拉迪奥的第一个已知建筑项目是在1546年受委托为维琴察的市政厅（此后被称为帕拉迪纳大教堂）制作一个新的立面。与其他文艺复兴时期的建筑师一样，如莱昂·巴蒂斯塔·阿尔伯蒂（公元1404-1472年）对于佛罗伦萨和里米尼的教堂，帕拉迪奥忽略了建筑外壳的中世纪形式，将其覆盖在一个由拱门和柱子组成的古典灵感的组合中，覆盖两层。这些拱门创造了后来被称为“帕拉迪奥窗”的东西，即一对支撑拱门的短双柱，每根柱子的两侧都有一根较长的柱子。这项工作被认为是成功的，帕拉迪奥很快就开始设计宫殿和别墅，不仅在维琴察，而且还拓展到周围的威尼托地区。

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.

          帕拉迪奥对捕捉古罗马建筑中的对称性和比例特别感兴趣。他的作品包括维琴察附近的Valmarana（别墅），又称“La Rotonda”，建于公元1551年左右。“La Rotonda”的灵感显然来自于罗马的万神殿（约公元125年），只是帕拉迪奥又增加了三个巨大的柱式门廊，别墅的每一侧都有一个。建筑物的中央部分由一个浅色的圆顶顶起。帕拉迪奥设计的乡村别墅，一般来说，都是用砖头覆盖灰泥建造的，包含不同大小的房间，围绕着中央圆顶大厅排列。其他的共同特征包括一个升高的地下室，令人印象深刻的柱廊，以及装饰性灰泥的大量使用。帕拉迪奥对数学上的对称比例也非常感兴趣，这反映在他的别墅房间的精确尺寸上，无论是本身还是相互之间的关系。这些别墅通常通过直线或曲线的木廊与相邻的农场建筑相连。另一个反复出现的特征是在别墅前面设置了一个有墙的庭院，这样的设计是为了扩展整个别墅的对称性和比例。

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，在城市的郊区，帕拉迪奥在维琴察建造了理性宫 (Palazzo della Ragione)，此外还有许多其他别墅，如弗斯卡里别墅、皮萨尼别墅和科尔纳罗别墅。他的另一部作品奇耶里卡提宫建于 1550 年左右，有一个两层的外墙，上面布满了圆柱（底层是多立克柱式建筑，顶层是爱奥尼亚式建筑）。一个完全不同的项目是建于 1580 年左右的维琴察奥林匹克剧院，这是维琴察学院的一个剧院，约在公元1580年。由于该剧院旨在举办古典戏剧，帕拉迪奥的设计恰如其分地直接重建了法国南部奥兰治的古罗马剧院以及维特鲁威构想的古代剧院。为了模仿露天的古代剧院，帕拉迪奥把天花板画成了有云彩的天空。

《建筑四书》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年期间，帕拉迪奥又对罗马进行了一次长期访问，进一步研究了罗马遗址，后来出版了《罗马古物》（Le antichità di Rome）。这本书对游客可见的遗迹进行了编目，直到公元18世纪中期，这本书一直是罗马的游览标准指南。

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，帕拉迪奥参与了另一本重要书籍《建筑十书》的创作，这次是他与学者达尼埃莱·巴尔巴罗合作，为威尼斯出版商制作的维特鲁威作品《建筑》的新插图版。

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.

          帕拉迪奥写了几本关于建筑的原创书籍。他的主要著作是I quattro libri dell'Architettura，即《建筑四书》，首次出版于 1570 年。这部作品立即受到建筑师们的欢迎，并被翻译成多种欧洲语言，包括公元1663年至1738年的四个英文版本。第一册考虑了古典材料、装饰和柱式。第二册研究了乡村和郊区住房的类型。第三册考虑了公共建筑，如大教堂、桥梁和城市规划。最后，第四册涉及已知罗马神庙的重建，这些神庙的废墟仅存。这部作品有助于传播帕拉迪奥的建筑思想，因为尽管作者专注于古典建筑，但他经常使用自己的设计来说明描述。

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，他开始在威尼斯建造圣乔治马焦雷教堂，这座建筑的灵感来自于公元4世纪罗马广场上的马克森提乌斯和君士坦丁巴西利卡 (Basilica of Maxentius)。这座教堂直到公元1610年才完工，但它忠实地遵循了帕拉迪奥的原意。教堂的外墙是由两个相互交错的寺庙正面组成的，立面的柱子位于巨大的底座上，顶部是科林斯式柱头，正面的两个神殿交织在一起。这是一个创新的解决方案，根据经典指南，用对称的立面覆盖倾斜的建筑。壁龛里有圣乔治和圣斯蒂芬的雕像，以及总督（威尼斯的统治者）的半身像。内部有一个倒置的拉丁十字形平面，有一个中殿，两个过道和一个大圆顶。里面的艺术品包括丁托列托（约1518-1594）的两幅画。

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，帕拉迪奥设计了一座名为 Il Redentore（救世主基督）的教堂，该教堂也在威尼斯，具体位于朱代卡岛。这座教堂是为了感谢另一场可怕的黑死病瘟疫的过去而建造的，但直到1580年才完成。伊斯特拉石的白色外墙熠熠生辉，与建筑其他部分的红色砖块形成鲜明的对比。Il Redentore（救世主基督）的室内设计反映了它在 7 月第三个星期日举行的盛大年度游行中接待总督的作用，即耶稣基督的盛宴。因此，中殿异常宽阔，没有过道。内部装饰很少，大部分是白色的，帕拉迪奥更愿意通过丰富的光线在他的科林斯柱子和拱门上的作用来赋予教堂特色。教堂内部的亮度主要归功于大型的半圆形窗户，窗户由高度透明的玻璃制成，这是穆拉诺市工场的特产，被称为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).

          威尼斯的这两座教堂包含在罗马浴场中可以看到的元素，例如由保护柱分隔的多个拱形区域。除了教堂，帕拉迪奥还为威尼斯的统治者提供城市防御工事方面的建议，还为总督宫（Doge's Palace）的内部装饰设计。他的设计并不总是成功的，他设计的里亚托桥被安东尼奥·达·庞特（公元1512-1597年）的设计方案所取代。

死亡与遗产

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.

          帕拉迪奥于1580年8月在维琴察去世。他的设计、模式和图案已经引起了意大利其他地方和国外建筑师的注意，因为他的建筑书籍甚至比塞里奥已经广泛成功的类似作品更受欢迎。著名的模仿者是英国建筑师伊尼戈·琼斯（公元1573-1652年），他在访问意大利后收集了帕拉迪奥的原始图纸，因此将他的风格引入英国。琼斯设计了格林威治的女王宫和伦敦白厅的宴会厅等宏伟的建筑，两者都是在公元17世纪的第二个十年建造的。帕拉迪奥的设计在爱尔兰和美洲殖民地也很受欢迎，这使得学者们在建筑领域确定了独特的“帕拉迪奥式建筑”，通常称为帕拉迪奥主义。也许帕拉迪奥对全球建筑最明显的贡献是他将古典神殿的外墙作为有屋顶的入口门廊，从那时起，从简陋的乡村住宅到宏伟的公共图书馆等建筑都在模仿这种做法。

参考书目：

Anderson, Christy. Renaissance Architecture. Oxford University Press, 2013.

Campbell, Gordon. The Oxford Illustrated History of the Renaissance. Oxford University Press, 2019.

Hale, J.R. (ed). The Thames & Hudson Dictionary of the Italian Renaissance. Thames & Hudson, 2020.

Murray, Peter. The Architecture of the Italian Renaissance. Schocken, 1986.

Paoletti, John T. & Radke, Gary M. Art in Renaissance Italy. Pearson, 2011.

Richardson, M.A. - Andrea Palladio | Biography, Villa Rotonda, Works, & FactsAccessed 18 Nov 2020.

Rundle, David. The Hutchinson Encyclopedia of the Renaissance. Hodder Arnold, 2000.

Summerson, John. The Classical Language of Architecture. Thames & Hudson, 1970.

原文作者：Mark Cartwright

          驻意大利的历史作家。他的主要兴趣包括陶瓷、建筑、世界神话和发现所有文明的共同思想。他拥有政治哲学硕士学位，是《世界历史百科全书》的出版总监。

原文网址：https://www.worldhistory.org/Andrea_Palladio/