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If Raphael contemporaries like Bembo and Castiglione
若說拉斐爾的同輩，像本博和卡斯提格利奧里尼
were captivated by the idea of perfect beauty
為這種完美之美的概念所著迷的話
it was the carnal real
當時激發了
rather than the abstract ideal
文藝復興時期羅馬的眾多
that engaged the create of imaginations of
藝術家，詩人，畫家及恩主們的
many other artists, poets and painters
創造力與想象力的
and patrons in Renaissance Rome
卻是真實的肉欲
on this less exalted stage
在這個較低級的舞臺上
the roles of Apollo and Apelles
將古典時代分別對應詩人與畫家的最高神
classical paradigms for the poet and the painter
阿波羅和阿佩利斯這兩個角色演繹得最出色的
are played not by Bembo and Raphael
不是本博和拉斐爾
but by Pietro Aretino and Giulio Romano
而是阿雷蒂諾和朱里奧·羅馬諾
and here they are both shown a little later in life
這兩張都是他們較晚年的肖像
on the left Aretino
左邊是阿雷蒂諾
a self-avowed anti-Petrarch
他公開承認反對彼特拉克
and sharp tongued satirist Aretino was famous
且說話尖酸刻薄
for his lewd and scabrous verses
以粗鄙下流的詩篇聞名
while his friend and collaborator
而右邊這位是他的朋友兼搭檔
Raphael's preeminent pupil
拉斐爾最有名的門徒
and heir Giulio Romano shown on the right
和繼承人——朱里奧·羅馬諾
rather weary looking at the end of his life
晚年的他顯得相當疲憊
produced some of the most explicitly erotic images
他創作了一些16世紀最為
of the sixteenth century
明確地表達性愛的圖畫
Giulio's portrait of a woman with a mirror patently derives
朱里奧的一張對鏡婦女肖像
I jumped ahead too much
我快進得太多了
from Raphael's Fornirina
顯然脫胎于拉斐爾的《弗娜芮納》
and the “fornirina” is represented in our exhibition
我們此次展覽中就有《弗娜芮納》
by the very very faithful and exact replica
有一幅非常非常忠實，精確的摹本
done perhaps during Raphael's own lifetime
可能是拉斐爾在世的年代作成的
lest you be deceived that you are looking at the real thing
看到它的時候真會以為它就是原作
but it is very good standard
這幅畫的水平真的很高
but you will see this two images juxtaposed in the exhibition
你們將能在展會上看到這兩幅圖并列展出
but a number of subtle changes transform
但左邊朱里奧的畫作里有一些細微的更動
the image Julia's image on the left
從彼特拉克的偶像崇拜式
from Petrarchan icon to Renaissance centerfold
換到了文藝復興時期的色情雜志風格
Raphael's symbolically charged foliage
這里，拉斐爾具有象征性的植物
is replaced by a topographical view of a courtyard
被換成了庭院全景
with a servant in the distance
遠處有一名仆人
no praise worthy virtues are ascribed to this nude woman
對這位裸露的婦女，也不贊美她具有任何美德
and the poetic ambiguity of Raphael's invention is absent
拉斐爾畫作中詩意的曖昧，在這里則缺席了
Julia's sitter is neither a platonic formulation
朱里奧的這位模特既不是完美之美的
of ideal perfect beauty
柏拉圖式的化身
nor laurel to his Petrarch
也不是彼特拉克的月桂樹
rather she is without doubt a courtesan
毫無疑問，她就是一名交際花
courtesans were essentially high class prostitutes
交際花的本質就是高級娼妓
distinguished from ordinary cheaper puttana or commun prostitutes
跟一般的，身價便宜的娼妓有別
they were fixtures in sixteenth century Italy
在16世紀的意大利是一種穩定的職業
particularly in Rome
尤其是羅馬
and I show you these two images from a series of prints
我從一系列印刷畫中挑出兩張圖片
showing stations of life of Roman women
以說明古羅馬婦女的生活地位
and among the six stages
在這六個階段中
feature one is a widow on the left
圖畫一是左邊的這位寡婦
and the other is a courtesan on the right
而右邊則是一位交際花
so they were really just part of society in Rome in the sixteenth century
她們都只是16世紀羅馬社會的一個部分
where the institutionalized clerical and nominally celibate culture
制度化的教士文化以及名義獨身主義文化
made for a more open tolerance
為這類婦女提供了
for such women than in most other Italian cities
比其它意大利城市更開明的包容氛圍
at least in the period before the Counter-Reformation
至少在反宗教改革運動之前是這樣的
and even after that in the later sixteenth century
甚至在反宗教改革運動之后 16世紀晚期
the civic government of Rome continued to
羅馬的公民政府無視教廷的反對
defend their presence against papal opposition
繼續為這類婦女的存在提供庇護
