Raphael and Pirro Ligorio — Historical and Philological Descriptions and Archaeological Studies of the Architecture of Ancient Rome in the 16th century

IF 0.1 N/A HUMANITIES, MULTIDISCIPLINARY
Lyudmila Yu. Limanskaya
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引用次数: 0

Abstract

The difficulty of comprehending artistic terminology in the Renaissance was associated with the activities of humanist philologists and scholarly antiquarians. Interest in antiquity was inherent in artists and architects. Around the archaeological work of Raphael, Ligorio, associations of learned humanists were organized, which accompanied their archaeological research with philological clarifications. The functions of archeology were combined with the need to check the terms, with the help of a visual, graphically reconstructed monument, which, as a rule, came down with losses. In this regard, scientists had to use their erudition and ingenuity to display the ruined monument in its entirety. An example of such a field of activity is printed graphics, which allows depicting monuments graphically and accompanying illustrations with albums of antiquities, replicating images of individual works of art. Such was the direction of the printing workshop of comrade Rafael Marcantonio Raimondi. A number of works by Marcantonio, as well as engravings by Agostino Veneziano and Marco Dente, were made from drawings by Raphael. Some of the drawings were related to Raphael’s archaeological interests, such as the engraving of the Laocoön group (1519) by Marco Dente. Among philologists, after the publication of P. Bembo’s treatise “Discourses in Prose on the Folk Language” (1525), where in the second part of the treatise the author proposed to strictly follow the style of Petrarch and Boccaccio, a controversy flared up about the literary language, as the humanists held different points of view, to the term “volgare” (“folk”). Discussions on this topic were reflected in the association of humanists “Accademia degli Sdegnati” (1541–1545), which was joined by P. Ligorio, who, like Raphael, accompanied his studies with etymological clarifications, graphic representations and archaeological maps.
拉斐尔和皮罗·利戈里奥- 16世纪古罗马建筑的历史和语言学描述和考古研究
文艺复兴时期理解艺术术语的困难与人文主义语言学家和学术古物学家的活动有关。对古物的兴趣是艺术家和建筑师与生俱来的。围绕着拉斐尔和利戈里奥的考古工作,有学问的人文主义者组织了协会,这些协会伴随着他们的考古研究和语言学的澄清。考古学的功能与检查条款的需要结合在一起,借助于视觉上的、图形上的重建纪念碑,而这些纪念碑通常都是损失惨重的。在这方面,科学家们不得不运用他们的博学和聪明才智来完整地展示被毁坏的纪念碑。这种活动领域的一个例子是印刷图形,它可以用图形描绘纪念碑,并附有古物相册的插图,复制个别艺术作品的图像。这就是拉斐尔·马尔坎托尼奥·雷蒙迪同志的印刷厂的方向。Marcantonio的许多作品,以及Agostino Veneziano和Marco Dente的雕刻,都是根据拉斐尔的图纸制作的。其中一些画作与拉斐尔的考古兴趣有关,比如马可·登特(Marco Dente) 1519年雕刻的Laocoön群。在语言学家中,P.本博(P. benbo)的论文《论民间语言的散文》(Discourses in Prose on the Folk Language, 1525)发表后,作者在论文的第二部分提出要严格遵循彼得拉克和薄伽丘的风格,这引起了一场关于文学语言的争论,因为人文主义者对“volgare”(“民间”)一词持不同的观点。关于这一主题的讨论反映在人文主义者协会“acadedemia degli Sdegnati”(1541-1545)中,P. Ligorio加入了该协会,他和拉斐尔一样,在他的研究中附有词源学澄清、图形表示和考古地图。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.20
自引率
50.00%
发文量
9
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