英语原文共 79 页，剩余内容已隐藏，支付完成后下载完整资料
哲学:建筑
在他的《platarchmoralia》的意大利译本中,很可能是在威尼斯获得的,伊尼戈的琼斯标记有一段特别的批准,作者在这篇文章中引用了音乐和医学的类比。作曲家说,普卢塔尔克即使消除尖角打平所有也做不到完美,也没有医生能通过消除热量或寒冷来身体健康。要将极端情况减少到能够找到和谐与健康的适度。这种柏拉图式的被他所确信的观点深深地反映在他的建筑中。有热也有冷,但从来没有两者的冲突。有温暖的发明,但没有任何设计被它烧焦。有一个纯粹的,冷冰冰的古董识别,但从来没有将琼斯作为一个抄写员。在推广对现代学术的歧视方面,人们可以说,琼斯有时“风格主义”,有时“新古典主义”,他的表现介于两者之间，他的恰当是它们的相互作用。如果这是真的,他能够把这两种态度合并为一个他自己的,这是因为一个第三个的一个哲学而不是正式的矛盾。他的建筑思想的核心是相信设计是一个数字的过程,自然细分的过程。对这个绝对控制所有的发明和所有的模仿都是从属的.
古代的命令过去和现在都是由模块控制的。在建筑中的更大的元素是要在广场和立方体和最简单的合理的分区的基础上进行想出的。因此,格林威治的立方大厅,英国政府的双立方.纽马克特和詹姆斯街道的小教堂。
Philosophy: Architecture
In his copy of an Italian Translation of Platarchrsquo;s Moralia，probably acquired in Venice in 1614, Inigo Jones marks with special approval a passage in which the author draws an analogy between music and medicine. The composer, says Plutarch, does nor achieve perfection by doing away with sharpness and flatness, nor does the physician achieve health in a body by eliminating heat or cold. The extremes are to be reduced to that moderation within which harmony and health are to be found. This Platonic view of affairs Jones held with conviction and it is dearly reflected in his architecture. There is hot and there is cold, but never are the two brought into conflict. There is warm invention, but no design is ever scorched by it. There is sheer, cold identification with the antique, but never so much as would mark Jones as a copyist. In terms of the generalizing discriminations of modern scholarship one could say that Jones sometimes lsquo;Manneristrsquo; and sometimes lsquo;neo-Classicistrsquo; chat his performance is in suspension between the two and his felicity in their interplay. If this is true and he is able to bring the two attitudes into one, his own, it is because of a third tension - a philosophical rather than a formal one. At the core of his architectural thinking is the belief that design is an affair of number, of procedure by natural subdivision. To this absolute control all invention and all imitation are subordinate. The ancient orders were and are to be controlled by the module. Larger elements in building are to be thought out on the basis of squares and cubes and their simplest rational sub-divisions. Hence the cubic hall ac Greenwich, the double cubes at Whitehall. Newmarket and the Sc Jamess chapel.
因此,琼斯的好奇阐述了巨石阵的问题当面临詹姆斯一世提出挑战时,1620在普罗格雷斯的威尔顿,与彭布罗克伯爵住在一起。他宣称,巨石阵是罗马的。在调查了纪念碑并绘制了它的计划后,他发现它是基于四个相交的等边三角形。这正是帕拉第奥先生从维特鲁威推论出的图,是古代戏剧类型的基础。因此,巨石阵,尽管有野蛮的粗糙,从罗马的思想发出。如果,对我们来说,解决方案是荒谬的,我们还必须承认它的时代是聪明的。这是由约翰在1655出版的一本书,与他自己的学术上冗长而乏味的覆盖。
在建筑师琼斯的背后,总是哲学家琼斯。在詹姆斯一世下成为英国社会的一个强大的知识分子圈子里的一个闪亮的智慧,在这些圈子里,他被赞赏和学习是被偶尔的题词与参照所证明。博尔顿对琼斯的期望被引用了。1617年当博尔顿向国王提议成立一个学者学院附属于勋章时,琼斯被列入了团体中的不可或缺。乔治在1616年把他的微型musaeus献给琼斯,在他自己的艺术和琼斯的艺术之间获得了友谊;
在琼斯的背后,建筑师总是琼斯。在詹姆斯一世下成为英国社会的一个强大的知识分子圈子里的一个闪亮的智慧,在这些圈子里,他是被赞赏和看起来的,有偶尔的证书,和引用为证。博尔顿对琼斯的期望被引用了。当博尔顿向16x7国王提议成立一个学者学院附属于吊袜勋章时,琼斯被列入了《要领》。乔治,把他的微型musaeus献给琼斯,在他自己的艺术和琼斯的艺术之间获得了友谊;“古老的破饿死饿,和古代建筑,要求他们的卓越,像创造和成比例的提。本琼森,直到他与琼斯的分歧爆发为激烈的争吵,对国王的验船师无限钦佩,充满庄严的可供观察的古迹和并高度的陈述。
Hence also Jonesrsquo;s curious elucidation of the problem of Stonehenge when challenged by James I, staying, on progress, with the Earl of Pembroke at Wilton in 1620. Stonehenge, he declared, was Roman. Having surveyed the monument and plotted its plan he had found it to be based on four intersecting equilateral triangles. This was precisely the diagram which Palladio had deduced, from Vitruviusrsquo; account, to be the basis of the ancient type of theatre. Therefore, Stonehenge, notwithstanding the barbaric crudity of its masonry, issued from a Roman mind. If, to us, the solution is ludicrous, we must also admit ic to have been, in its time, intelligent. It was developed and published as a book by John Webb in 1655 with a large and tedious overlay of his own scholarship.
Behind Jones the architect there is always Jones the philosopher? a shining intelligence in the lay intellectual circles which became a power in English society under James I. How, in these circles, he was admired and looked up co is attested by occasional dedications and references. Edmund Boltonrsquo;s aspirations for Jones have been quoted. When Bolton proposed to the King in 16x7 an academy of scholars to be affiliated to the Order of the Garter, Jones was listed in the corporation of essentials. George Chapman，dedicating his miniature Musaeus to Jones in recognized a fellowship between his own art and Jonesrsquo;s; lsquo;Ancient Poesie, and ancient Architecture, requiring to their excellence a like creating and proportionable Rapture. Ben Jonson, until his differences with Jones burst into a furious quarrel, had an unlimited admiration for the Kings Surveyor, Full of noble observaion of Antiquitie, and high Presentment.
最后一段引语来自《前提条件》的印刷文本,这是在1622刚刚完成的《伟大的宴会》中首次提出的马斯凯。只有一幅场景的草图幸存下来——一条有纪念性建筑物的街道,像万神殿一样。后来化装舞会到1625的场景,我们知之甚少,但有一个非常有趣的素描,不能附在任何化装舞会,但几乎肯定是从这一时期。它是《帕拉斯帕拉斯》,并展示了一个经典的建筑在古典大街(31号)尽头的一座古典建筑。在两侧的建筑物(实际上,相同的建筑物,不同的比例)只有角落显示;他们是宫殿与一个巨大的科林斯式秩序站在一个rusticated地下室,上升通过两层,提醒一个上升的星级酒店。关闭vista的大楼虽然没有充分发挥作用,却非常显著。它是在一个广场计划和正面是平等的宽度和高度的主要柱上楣构,有一个女儿墙站在外面和广场。有两个命令-离子下和科林斯式-几乎完全在宴会的比例;和建筑物一样,组成的两端通过耦合关闭。下楼层完全开放。上楼的开窗术是sc的礼拜堂,当然也是聊天王子的王子的闲谈。通过thc的窗户可以看到一个平坦的平顶天花板,如琼斯可能为白金汉宫设计。
The last quotation is from a printed text of the Masque of Augurs, the first masque to be presented in the great new Banqueting House just completed in 1622. There survives only one rough sketch of the scene - a street lined with monumental buildings, terminating in something like the Pantheon. Of the scenes for later masques up to 1625 we have little knowledge, but there is one extremely interesting sketch which cannot be attached to any of the masques but which almost certainly daces from this period. It is inscribed Cupids Pallas and shows, as docs the Augurs sketch, a classical building standing at the end of a classical street (31). Of the buildings on either side (actually, the same building drawn to different scales) only the corners are shown; they are palaces with a gia
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