The Four Elements in Raphael's 'Stanza della Segnatura'

E. Wind
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引用次数: 21

Abstract

Of the many mythological figures which decorate the base of the tomb of St. Sebaldus at Nuremberg many have not yet been identified with certainty, nor has their source been traced. The solution of this problem is important, first, for a knowledge of the monument as a whole. For opinion is divided as to whether the function of these figures is purely decorative, like the putti scattered on the socles and the harpies carrying the candles, or whether they also have an allegorical meaning ; if the latter is the case, there must be a general scheme underlying the figures, which is related to the plan of the whole monument. Secondly it would be important to see how far mediaeval elements are mixed with Renaissance ideas which were at this time reaching Germany from Italy. General explanations for the presence of the latter in Vischer's work have been suggested. Vischer could have come to know antiquity through the Nuremberg Humanists, such as Schedel, Celtis, Pirckheimer, or through his sons who had visited Italy. So, for instance, M. R'au2 has shown that one of the Muses is taken from an engraving in the Quatuor Libri Amorum of Celtis, and that the Marsyas is derived from a woodcut which forms the frontispiece to a Venetian edition of Ovid (1497). S. Meller has found in a drawing by Peter Vischer the Younger, lately in the Henry Oppenheimer Collection, the siren holding a mirror, with the inscription Scylla.3 For my part I have come upon the source of the crowned Apollo, holding a sceptre and seated on two swans, in the very curious figure which occurs in the famous Mantegna Tarocchi series (D 20) (P1. I4c, d). In spite of the alteration of a few details the likeness leaves no doubt about the connexion. It will be noticed that the sculptor has even copied the mysterious sign in the corner of the Tarocchi. It is surprising that this likeness has not been observed till now. The influence of the Tarocchi in Germany has long been known. Loga detected it in Nuremberg from 14904; the Apollo was copied by Durer himself about 14955; and the strange and splendid fate of the Mercury, its naturalisation in Germany by Ditrer and Burckmair, is well known.6
拉斐尔的标志室的四个元素
在装饰纽伦堡圣塞巴尔多斯墓底座的许多神话人物中,有许多人尚未确定身份,也没有追踪到他们的来源。这个问题的解决是很重要的,首先,对于纪念碑的整体知识。因为对于这些人物的作用是否纯粹是装饰性的,就像撒在脚底上的布匹和拿着蜡烛的鹰身女妖一样,或者它们是否也有寓意,人们的意见是有分歧的;如果是后一种情况,那么这些人物背后一定有一个总体的计划,这个计划与整个纪念碑的计划有关。其次,重要的是要看到中世纪元素与文艺复兴思想的混合程度,这些思想当时从意大利传入德国。对于后者在维舍尔的工作中存在的一般解释已经提出。维舍尔可能是通过谢德尔、凯尔特斯、皮克海默等纽伦堡人文主义者,或者通过他访问过意大利的儿子们,了解到古代的。因此,例如,R'au2先生指出,其中一个缪斯女神是从凯尔特斯的《四月刊》的一幅雕刻中取下来的,而马西亚女神则是从威尼斯版奥维德(1497)的扉页上的一幅木刻版画中提取出来的。S.梅勒在亨利·奥本海默收藏的小彼得·维斯切尔的一幅画中发现了拿着一面镜子的海妖,上面写着“锡拉”。就我而言,我已经找到了戴王冠的阿波罗的来源,他拿着一根权杖,坐在两只天鹅身上,这是著名的曼特尼亚·塔罗奇系列中出现的非常奇怪的人物(D 20) (P1)。尽管在一些细节上有所改动,但这幅画的相似之处使人们对两者之间的联系毫无疑问。我们会注意到,雕刻家甚至复制了塔罗奇角落里的神秘标志。令人惊讶的是,这种相似性直到现在还没有被观察到。Tarocchi在德国的影响早已为人所知。Loga于14904年在纽伦堡检测到它;《阿波罗》是丢勒本人在14955年左右临摹的;墨丘利号的奇特而辉煌的命运是众所周知的,它是由迪特勒和伯克梅尔归化到德国的
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