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If Raphael contemporaries like Bembo and Castiglione
若说拉斐尔的同辈，像本博和卡斯提格利奥里尼
were captivated by the idea of perfect beauty
为这种完美之美的概念所着迷的话
it was the carnal real
当时激发了
rather than the abstract ideal
文艺复兴时期罗马的众多
that engaged the create of imaginations of
艺术家，诗人，画家及恩主们的
many other artists, poets and painters
创造力与想象力的
and patrons in Renaissance Rome
却是真实的肉欲
on this less exalted stage
在这个较低级的舞台上
the roles of Apollo and Apelles
将古典时代分别对应诗人与画家的最高神
classical paradigms for the poet and the painter
阿波罗和阿佩利斯这两个角色演绎得最出色的
are played not by Bembo and Raphael
不是本博和拉斐尔
but by Pietro Aretino and Giulio Romano
而是阿雷蒂诺和朱里奥·罗马诺
and here they are both shown a little later in life
这两张都是他们较晚年的肖像
on the left Aretino
左边是阿雷蒂诺
a self-avowed anti-Petrarch
他公开承认反对彼特拉克
and sharp tongued satirist Aretino was famous
且说话尖酸刻薄
for his lewd and scabrous verses
以粗鄙下流的诗篇闻名
while his friend and collaborator
而右边这位是他的朋友兼搭档
Raphael's preeminent pupil
拉斐尔最有名的门徒
and heir Giulio Romano shown on the right
和继承人——朱里奥·罗马诺
rather weary looking at the end of his life
晚年的他显得相当疲惫
produced some of the most explicitly erotic images
他创作了一些16世纪最为
of the sixteenth century
明确地表达性爱的图画
Giulio's portrait of a woman with a mirror patently derives
朱里奥的一张对镜妇女肖像
I jumped ahead too much
我快进得太多了
from Raphael's Fornirina
显然脱胎于拉斐尔的《弗娜芮纳》
and the “fornirina” is represented in our exhibition
我们此次展览中就有《弗娜芮纳》
by the very very faithful and exact replica
有一幅非常非常忠实，精确的摹本
done perhaps during Raphael's own lifetime
可能是拉斐尔在世的年代作成的
lest you be deceived that you are looking at the real thing
看到它的时候真会以为它就是原作
but it is very good standard
这幅画的水平真的很高
but you will see this two images juxtaposed in the exhibition
你们将能在展会上看到这两幅图并列展出
but a number of subtle changes transform
但左边朱里奥的画作里有一些细微的更动
the image Julia's image on the left
从彼特拉克的偶像崇拜式
from Petrarchan icon to Renaissance centerfold
换到了文艺复兴时期的色情杂志风格
Raphael's symbolically charged foliage
这里，拉斐尔具有象征性的植物
is replaced by a topographical view of a courtyard
被换成了庭院全景
with a servant in the distance
远处有一名仆人
no praise worthy virtues are ascribed to this nude woman
对这位裸露的妇女，也不赞美她具有任何美德
and the poetic ambiguity of Raphael's invention is absent
拉斐尔画作中诗意的暧昧，在这里则缺席了
Julia's sitter is neither a platonic formulation
朱里奥的这位模特既不是完美之美的
of ideal perfect beauty
柏拉图式的化身
nor laurel to his Petrarch
也不是彼特拉克的月桂树
rather she is without doubt a courtesan
毫无疑问，她就是一名交际花
courtesans were essentially high class prostitutes
交际花的本质就是高级娼妓
distinguished from ordinary cheaper puttana or commun prostitutes
跟一般的，身价便宜的娼妓有别
they were fixtures in sixteenth century Italy
在16世纪的意大利是一种稳定的职业
particularly in Rome
尤其是罗马
and I show you these two images from a series of prints
我从一系列印刷画中挑出两张图片
showing stations of life of Roman women
以说明古罗马妇女的生活地位
and among the six stages
在这六个阶段中
feature one is a widow on the left
图画一是左边的这位寡妇
and the other is a courtesan on the right
而右边则是一位交际花
so they were really just part of society in Rome in the sixteenth century
她们都只是16世纪罗马社会的一个部分
where the institutionalized clerical and nominally celibate culture
制度化的教士文化以及名义独身主义文化
made for a more open tolerance
为这类妇女提供了
for such women than in most other Italian cities
比其它意大利城市更开明的包容氛围
at least in the period before the Counter-Reformation
至少在反宗教改革运动之前是这样的
and even after that in the later sixteenth century
甚至在反宗教改革运动之后 16世纪晚期
the civic government of Rome continued to
罗马的公民政府无视教廷的反对
defend their presence against papal opposition
继续为这类妇女的存在提供庇护
