Abstract This article examines Heinrich Wölfflin’s discussion of sixteenth-century Italian landscape design in Renaissance and Baroque (1888). It argues that Wölfflin’s interpretation influenced twentieth-century accounts of the mannerist garden, from Luigi Dami’s Il giardino italiano (1924) and the Fascist-era Mostra del giardino italiano (1931), to later Anglo-American scholarship. Close attention is paid to a curious paradox at the heart of Wölfflin’s account of gardens, namely that, as he himself acknowledges: “It must seem strange that landscape, the most painterly of all subjects, should be the most rigorously subordinated to architectural rules in the period of the ‘painterly’ style.” The article proposes that Wölfflin’s categories of “painterly” and “linear” are constitutive of an interdependent or dialectical relationship, and that this premise may have heuristic potential for an alternative history of the early modern garden.

中文翻译：

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沃尔夫林与景观史：“绘画”、“线性”和风格主义花园

摘要 本文考察海因里希·沃尔夫林 (Heinrich Wölfflin) 在文艺复兴时期和巴洛克时期 (1888) 对 16 世纪意大利景观设计的讨论。它认为沃尔夫林的解释影响了 20 世纪对风格主义花园的描述，从路易吉·达米 (Luigi Dami) 的 Il giardino italiano (1924) 和法西斯时代的 Mostra del giardino italiano (1931)，到后来的英美奖学金。沃尔夫林对花园的描述中存在着一个奇怪的悖论，即正如他自己承认的那样：“风景是所有主题中最具绘画性的，却应该最严格地服从于建筑规则，这似乎很奇怪。 '绘画'风格的时期。” 文章提出沃尔夫林的“绘画性”和“线性”范畴是相互依存或辩证关系的组成部分，