Reviewed by:

• Baroque Antiquity: Archaeological Imagination in Early Modern Europe by Victor Plahte Tschudi
• David Karmon (bio)

The title of Victor Plahte Tschudi’s Baroque Antiquity joins two period terms interlocked since the nineteenth century, when the arrival of the Pergamon altar in Berlin fueled interest in a “Baroque” phase of antiquity that in turn helped to legitimate the study of European seventeenth-century art and architecture.¹ However, Tschudi has a different “Baroque antiquity” in mind, one that comes from the opposite chronological direction. This book examines antiquity through the lens of the Baroque, exploring the imaginative interpretations of classical antiquity by seventeenth-century printmakers, often issued in lavish folio editions. Historians of archaeology view these Baroque representations of antiquity with suspicion: where Renaissance treatises on antiquities by scholars such as Marliano or Palladio conform more closely to modern expectations regarding the study of archaeological artifacts, their Baroque counterparts adopted a more fanciful approach to the depiction of antiquity. Antiquity became less a definitive authoritative model and more a boundless source of inspiration.

In this book, Tschudi provides a compelling demonstration that even if the copious antiquarian printed images produced in the seventeenth century were “spectacularly wrong,” they still deserve our close attention. For all of our preconceptions of what constitutes useful archaeological material, it is precisely the abrupt detour into an unpredictable and “archaeo-logically incorrect” realm made by Baroque designers that Tschudi wants to explore. Tschudi sets out to understand the imaginative Baroque invention of antiquity on its own terms, focusing on the way that the conscious and deliberate distortions of classical antiquities produced in this period fulfilled early modern strategies, aiming above all to situate these ancient remains within an overarching history of Christian triumphalism.

Tschudi singles out in particular the antiquarian representations of Giacomo Lauro, whose Antiquae Urbis Splendor (Rome, 1615) included more than one hundred views of ancient monuments, as well as two villa reconstructions in the Latium of Athanasius Kircher (Amsterdam, 1671). The author, who has treated both of these figures elsewhere, admits that the evidence for a direct link between them is somewhat tenuous; however, by bringing them together in this book, he seeks to provide a new perspective on the various political, economic, [End Page 119] and religious agendas motivating the antiquarian reconstructions of the seventeenth century, which also offer what he terms a “particular view on architectural history at work in the Roman Baroque” (7).

The first of two introductory chapters presents general themes, while the second addresses the changing circumstances of seventeenth-century print culture. In this second chapter, Tschudi notes the critical role of the “incisor,” or printmaker, in making antiquarian images and thus archaeo-logical knowledge. During the Renaissance, antiquarians and architects largely generated these images. By the seventeenth century, however, engravers and etchers produced the majority of these images for a growing audience of tourists and travelers. Lauro was one of these “print antiquarians,” and according to Tschudi, print culture worked to “unhinge the city from its concrete sites” (51). For example, Tschudi points to the privilegio, as a seventeenth-century image copyright: as he argues, the limitations it imposed encouraged printmakers to experiment with ancient forms, and thus distinguish their work in a competitive marketplace. The example of the generic urban fabric created by Pirro Ligorio for his famous reconstruction of ancient Rome suggests how antiquarians could exploit loopholes to embellish the archaeological record. As Tschudi suggests, Ligorio’s effort to render those parts of the city for which no archaeological evidence existed provided a liberating model for later printmakers, who could then cite Ligorio to justify their own inventions.

Chapter 2, “Custom-Made Rome,” explores aspects of emergent seventeenth-century Roman print culture, including the commercial aims of printmakers, and their efforts to attract powerful patrons. Tschudi introduces the idea of a “future-oriented” antiquity, which of course resonates with many topics explored in the pages of this journal. Thus Lauro’s decision to represent specific ancient sites was motivated less by the desire to create a comprehensive archaeological record than to underscore parallels with contemporary building...

审核人：

• 巴洛克古代：早期现代欧洲的考古想象Victor Plahte Tschudi
• 大卫·卡蒙（生物）

Victor Plahte Tschudi 的《巴洛克古代》的标题加入了自 19 世纪以来相互关联的两个时期术语，当时柏林的佩加蒙祭坛的到来激起了对古代“巴洛克”阶段的兴趣，这反过来又有助于使对欧洲 17 世纪的研究合法化艺术和建筑。¹然而，楚迪心目中有着不同的“巴洛克古代”，它来自相反的年代方向。本书从巴洛克的角度审视古代，探索 17 世纪版画家对古典古代的富有想象力的诠释，这些版画通常以豪华的对开版出版。考古历史学家以怀疑的眼光看待这些巴洛克式的古代表现：在文艺复兴时期，马利亚诺或帕拉迪奥等学者关于古代的论文更符合现代对考古​​文物研究的期望，而他们的巴洛克同行则采用了一种更奇特的方法来描绘古代. 古代不再是一个明确的权威模型，而是一个无限的灵感来源。

在这本书中，Tschudi 提供了一个令人信服的证明，即使 17 世纪制作的大量古董印刷图像“非常错误”，它们仍然值得我们密切关注。对于我们对什么构成有用的考古材料的所有先入之见，Tschudi 想要探索的正是巴洛克设计师制造的不可预测和“考古学上不正确”的领域的突然迂回。Tschudi 着手以自己的方式理解富有想象力的巴洛克古代发明，重点关注这一时期对古典文物有意识和故意扭曲的方式实现了早期现代策略的方式，首先旨在将这些古代遗迹置于总体历史中基督教的胜利主义。

Tschudi 特别挑出了 Giacomo Lauro 的古物代表作，他的Antiquae Urbis Splendor（罗马，1615 年）包括一百多处古代纪念碑的景色，以及在Athanasius Kircher的Latium（阿姆斯特丹，1671 年）重建的两座别墅。作者在别处处理过这两个数字，承认他们之间直接联系的证据有些微不足道。然而，通过在本书中将它们结合在一起，他试图提供一个新的视角来看待推动 17 世纪古文物重建的各种政治、经济、[第 119 页]和宗教议程，这也提供了他所谓的“特殊对罗马巴洛克建筑历史的看法”（7）。

两个介绍性章节中的第一章介绍了一般主题，而第二章则讨论了 17 世纪印刷文化的变化情况。在第二章中，Tschudi 指出了“门牙”或版画家在制作古物图像以及考古知识方面的关键作用。在文艺复兴时期，古物收藏家和建筑师在很大程度上制作了这些图像。然而，到了 17 世纪，雕刻师和蚀刻师为越来越多的游客和旅行者制作了大部分这些图像。劳罗是这些“印刷古物学家”中的一员，据 Tschudi 说，印刷文化致力于“将城市与其具体遗址分开”（51）。例如，Tschudi 指向特权，作为 17 世纪的图像版权：正如他所说，它所施加的限制鼓励版画家尝试古代形式，从而在竞争激烈的市场中区分他们的作品。皮尔罗·利戈里奥 (Pirro Ligorio) 为他著名的古罗马重建而创建的通用城市结构的例子表明，古董商如何利用漏洞来美化考古记录。正如 Tschudi 所暗示的那样，Ligorio 对城市中没有考古证据的那些部分进行渲染的努力为后来的版画家提供了一个解放模型，他们可以引用 Ligorio 来证明他们自己的发明是合理的。

第 2 章“定制罗马”探讨了 17 世纪新兴罗马版画文化的各个方面，包括版画家的商业目标，以及他们为吸引强大的赞助人所做的努力。Tschudi 介绍了“面向未来”古代的想法，这当然与本杂志页面中探讨的许多主题产生共鸣。因此，劳罗决定代表特定的古代遗址的动机不是为了创造一个全面的考古记录，而是为了强调与当代建筑的相似之处……