One of the earliest literary representations of ruins in a landscape setting appears in Francesco Colonna’s antiquarian romance, Hypnerotomachia Poliphili (1499) (figure 1). Encountering huge ruined columns and ‘wishing to know their type’, Poliphilo, the protagonist of the book, ‘measured one that was lying on the ground and found that its shaft, from the socle to the thin end, was seven times the diameter of its bottom’. From the fifteenth century onwards, Roman ruins were carefully studied for what they revealed about ancient design principles and building practices, and compared with the information provided by Vitruvius’s Ten Books on Architecture. The Florentine architect Filippo Brunelleschi, for example, must have adopted similar methods to Poliphilo so as to become, as Giorgio Vasari writes, ‘completely capable of seeing Rome in his mind’s eye, just as it was before it was ruined’. Ruins frequently elicited poetic reverie. The Hypnerotomachia again provides an example when the nymph Polia encourages Poliphilo ‘to go and admire these deserted temples which have collapsed through the ravages of time, or have been consumed by fire, or shattered by old age. Take your pleasure in looking at these, and examine the noble fragments that remain, which are worthy of admiration’. The ruin is in this context a form of memento mori (reminder of death) — not just of living things, but also of civilizations, no matter how great. These approaches toward ruins— archaeological and poetic— can be traced in early modern texts. In this essay, I suggest that they also influenced the design and experience of landscape during the period. Arguably, for example, the Fountain of Rome, or ‘Rometta’, in the garden of the Villa d’Este in Tivoli and the Tempietto in the Sacro Bosco in Bomarzo were both motivated, albeit with different results, by the sixteenth-century impulse toward archaeological reconstruction. The artificially ruined ‘Etruscan’ tomb that Pierfrancesco ‘Vicino’ Orsini constructed in the Sacro Bosco also suggests the relevance of contemporary ideas about ancient fragments to early modern landscape design. Unlike the Rometta and the Tempietto, however, the tomb is less a reconstruction than a simulation or, as I will argue, a ‘substitution’. Sources fromOrsini’s period suggest that it would have been understood as substituting for, and as the equivalent of, the ancient Etruscan tombs of the surrounding landscape, despite its modernity. Authenticity was not, in other words, dependent on the verifiable antiquity of the artefact. The essay concludes with a further connotation of the motif of the artificial ruin. Orsini’s tomb was encountered in a forest. It is thus associated with early modern concepts of the ‘dark wood’ as a threatening landscape, suggesting another contemporary approach to ruins besides those of the archaeological and the poetic. Ruins could also signify the destructive forces of nature and time.

中文翻译：

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“古代现代与现代古代”：16 世纪意大利景观设计中的废墟与重建

Francesco Colonna 的古董浪漫小说《Hypnerotomachia Poliphili》（1499 年）（图 1）是对景观环境中废墟的最早文学表现之一。遇到巨大的毁坏的柱子并“想知道它们的类型”，这本书的主人公波利菲洛“测量了一个躺在地上的柱子，发现它的轴，从柱底到细端，是直径的七倍。它的底部'。从 15 世纪开始，人们仔细研究了罗马遗址揭示了古代设计原则和建筑实践的内容，并与维特鲁威的《建筑十书》提供的信息进行了比较。例如，佛罗伦萨建筑师 Filippo Brunelleschi 一定采用了与 Poliphilo 类似的方法，以便成为，正如 Giorgio Vasari 所写的那样，“完全有能力在他的脑海中看到罗马，就像它被毁之前一样”。废墟经常引起诗意的遐想。Hypnerotomachia 再次提供了一个例子，当若虫 Polia 鼓励 Poliphilo 去欣赏这些在时间的蹂躏中倒塌，或被火烧毁，或因年老而破碎的废弃寺庙。欣赏这些，看看剩下的高贵碎片，值得钦佩。” 在这种情况下，废墟是 memento mori（死亡提醒）的一种形式——不仅是生物，也是文明，无论多么伟大。这些考古和诗意的废墟方法可以在早期的现代文本中找到。在这篇文章中，我认为它们也影响了这一时期的景观设计和体验。可以说，例如，Tivoli 的 Villa d'Este 花园中的罗马喷泉或“Rometta”和 Bomarzo 的 Sacro Bosco 中的 Tempietto 都受到了 16 世纪考古冲动的推动，尽管结果不同。重建。Pierfrancesco 'Vicino' Orsini 在 Sacro Bosco 建造的人工毁坏的“伊特鲁里亚”坟墓也表明了关于古代碎片的当代观念与早期现代景观设计的相关性。然而，与 Rometta 和 Tempietto 不同的是，这座坟墓与其说是重建，不如说是模拟，或者，正如我将要论证的，是一种“替代”。奥尔西尼时期的资料表明，尽管它具有现代性，但它会被理解为替代并等同于周围景观的古代伊特鲁里亚墓葬。真实性不是，换句话说，取决于文物的可验证年代。文章以对人造废墟主题的进一步内涵结束。奥尔西尼的坟墓是在森林中遇到的。因此，它与作为威胁景观的“暗木”的早期现代概念相关联，表明除了考古和诗意之外，另一种当代的废墟方法。废墟也可能象征着自然和时间的破坏力。