古代与现代:16至18世纪的法国建筑

Frederic Lemerle
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摘要

除了意大利,法国拥有的罗马遗迹数量仅次于西班牙。在中世纪和文艺复兴时期,古典建筑的遗迹是城市景观不可分割的一部分。许多人把它们的生存归功于经济上的考虑,因为保存或改造它们往往比摧毁它们更有利可图。因此,城墙,即使是那些由于城市人口减少而变得不成比例地庞大的城墙,也得以保存;城门和凯旋门经常被改造成堡垒;有时,凯旋门被合并到新的城墙或新建筑中。剧场和圆形剧场通常被房屋侵占,被整合成防御工事或改造成城堡或堡垒。寺庙经常被改造成教堂(维也纳的奥古斯都神庙和利维亚神庙,法国 mes的戴安娜神庙),只有当它们变得太小而无法容纳不断增长的会众时才会被拆除。渡槽经常被修复和延长,有时用作收费站(Pont du Gard)。温泉水继续被开发利用,澡堂被灾难摧毁后重建,被基督徒或野蛮人破坏后恢复;像巴黎(hôtel de Cluny)那样的热建筑群,经常被分成许多块,由店主和工匠接管;在尼斯的Cimiez附近,西面的浴场成为了大教堂和洗礼堂的所在地。尽管经过改造,这些建筑仍然继续提供丰富的形式和装饰性剧目,当地艺术家自然从中汲取灵感。在罗马式时期,这个剧目的方法通常是零零碎碎的:而不是寻求全球模式,当时的艺术家倾向于挑出古典元素,进一步推进他们自己的原始目标这一时期普罗旺斯艺术家明显有意的引用提供了一个特别雄辩的例子,但其他地区,包括纳博讷,普瓦捷,Angoulême
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Antiquity and Modernity: Sixteenth- to Eighteenth-Century French Architecture
With the exception of Italy, France is only rivalled by Spain for the number of Roman ruins it boasts. In the Middle Ages and the Renaissance, remnants of classical edifices were an integral part of the urban landscape. Many owed their survival to economic considerations, since it was often more profitable to preserve or transform than to destroy them. It was thus that city walls, even those which reductions in the urban population had rendered disproportionately large, were conserved; city gates and triumphal arches were often transformed into fortresses; sometimes triumphal arches were incorporated into new city walls or new buildings. Theatres and amphitheatres, generally invaded by houses, were integrated into fortifications or transformed into citadels or bastions. Temples were frequently converted into churches (Temple of Augustus and Livia in Vienne, Temple of Diana in Nîmes) and only demolished when they became too small to accommodate growing congregations. Aqueducts were often repaired and extended and sometimes served as toll gates (Pont du Gard). Thermal waters continued to be exploited and baths were rebuilt when they had been destroyed by cataclysms and restored when damaged by either Christians or barbarians; thermal complexes, like those in Paris (hôtel de Cluny), were often divided into lots and taken over by shopkeepers and craftsmen; in the Cimiez neighbourhood of Nice, the western baths became the site of the cathedral and its baptistery. Transformed as they were, these edifices nevertheless continued to provide a rich formal and decorative repertory that local artists naturally drew inspiration from. During the Romanesque period, the approach to this repertory was typically piecemeal: rather than seeking global models, the artists of the time tended to single out classical elements which furthered their own original aims.1 The obviously intentional citations made by Provencal artists of the period offer a particularly eloquent example, but other regions, including those of Narbonne, Poitiers, Angoulême
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