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首页> 外文期刊>JSAH: Journal of the Society of Architectural Historians >Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism
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Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism

机译：Antonio da Sangallo这个对万神殿的年轻反应：早期现代的操作批评案例

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Antonio's annotated sketches of the Pantheon provide a remarkable sixteenth-century graphic corpus, one that is quite rare, if not unique. The sketches offer a fresh critical perspective on what was then a universally revered Roman monument. No other architect up to that point had dared to question so directly the perfection of this widely admired antique model. Antonio's interpretive drawings are representative of this pragmatically and technically oriented architect's approach: through plans, sections, and elevations, they make aesthetic and structural problems visible and propose clear and efficient solutions to them. In other words, Antonio analyzed visual problems by breaking them down into indisputable graphic data points from which he then proposed to "rebuild" the monument according to his own professional judgment. Modern architectural criticism was born in the Renaissance. For the first time, architects and architectural scholars could rely on a substantial body of theoretical writings and rules-paradigms to be accepted, criticized, or refused. Antonio's work is exemplary here. His graphic and verbal efforts went beyond the mere analysis of buildings, aiming to correct the errors he perceived according to his professional, technical, and theoretical knowledge and to find solutions useful for his own and his contemporaries' architectural practices. Antonio's drawings are less a systematic analysis of the Pantheon on its own historic terms than a means of exploring professional questions raised during his lifetime. A scholar of ancient Roman architecture, Antonio used history for his own contemporary purposes-purposes I identify as his operative critical project. He was not only a practicing architect but an expert on Vitruvian theory as well. His studies of the Pantheon were based in large part on knowledge developed by Vitruvius more than a century before the Pantheon's construction. Antonio was not aware of this temporal discrepancy and focused on correcting what was visible to his eyes, even if his proposals did not always align with ancient imperial Roman architectural standards and ideals.
机译：安东尼奥的万神殿的注释草图提供了一个非常罕见的十六世纪的图形语料库，这是一个非常罕见的，如果不是独特的话。草图提供了一个新的批判性观点，然后是一个普遍尊敬的罗马纪念碑。没有其他建筑师达到那个点敢说如此令人欣赏的古董模型的完善。安东尼奥的解释图是代表这种务实和技术面向的建筑师的方法：通过计划，部分和海拔，它们使审美和结构问题可见并提出清晰有效的解决方案。换句话说，Antonio通过将其分解为无可争议的图形数据点来分析视觉问题，然后根据他自己的专业判断，他提出“重建”纪念碑。现代建筑批评诞生于文艺复兴时期。由于第一次，建筑师和建筑学者可以依赖大量理论作品和规则范式才能被接受，批评或拒绝。安东尼奥的工作是典范的。他的图形和口头努力超出了建筑物的分析，旨在纠正他根据他的专业，技术和理论知识的错误，并找到对自己和他的同时代建筑惯例有用的解决方案。安东尼奥的图纸较少对万神殿的系统分析，其历史术语而不是探索在终身期间提出的职业问题的手段。 Antonio古罗马建筑学者，Antonio使用了他自己的当代目的历史 - 我认为是他作为他的操作关键项目。他不仅是一个实践的建筑师，而且是vitruvian理论的专家。他对万神殿的研究总结了Vitruvius在万神殿建设之前超过了一个多世纪的知识。安东尼奥没有意识到这种时间差异，并专注于纠正他眼中可见的东西，即使他的提议与古代帝国罗马建筑标准和理想保持一致。

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