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本次展览探讨了意大利文艺复兴时期为了歌颂爱情和婚姻的美好而创作的各种特殊的作品。 展览了公元1400到16世纪中叶的大约150个作品，从新婚夫妻收到的精致的陶器和首饰，到夫妻肖像和画像来歌颂感官的爱情和生育，如馆藏的威尼斯画家洛伦左.洛托(Lorenzo Lotto)名画“维纳斯和丘比特”。该展览还包括一些最重要的文艺复兴时期的作品如，玻璃器皿托盘，卡索奈长箱，生育托盘以及以恋爱为对象绘画和版画。
adj. 发炎的，红肿的 动词inflame的过去式和过
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- Arentino referred to a portrait of Donna by Titian
- 阿雷蒂诺提到过提香所作的一幅女子画像
- that her protective lover installed in his private chamber
- 保护欲强盛的爱人将她的画像安放在密室中
- and kept behind a silk curtain
- 用丝质窗帘遮住
- like a reliquary
- 如同圣骨箱
- he said
- 阿雷蒂诺如是说
- and Lodovico Capponi in a portrait by Bronzino
- 还有布隆奇诺画的卢多维克·卡波尼肖像
- conceals from the prying eyes
- 肖像之中也藏有奥秘，好事之人看不到
- but all but himself
- 只有画家知道
- the subject of a portrait miniature
- 肖像中一幅微型画的主人公
- presumably his mistress or lover
- 估计就是他的情妇或爱人
- the conceit of a lover's yearning for that which is hidden
- 对爱人隐藏起来的部位的渴望的幻想
- is also a literary trope
- 也是一种文学手法
- inflamed by lust Apollo in Ovid's Metamorphosis
- 在奥维德《变形记》中，阿波罗受到欲望的驱使
- is not content to gaze at Daphne's lovely features
- 不满足于凝视达芙妮可爱的容貌
- but longs to behold the nymph's flesh beneath her robe
- 他更渴望能看到她裙袍下隐藏的胴体
- that which is hidden he deems lovelier in Ovid's words
- 在奥维德笔下，阿波罗认为藏起来的更可爱
- this imputing of a heightened erotic content to that
- 隐藏，或被掩饰的物品
- which is hidden or concealed
- 情色意味从而就加重了
- that which can only be revealed by the actively engaged lover, voyeur
- 这些隐蔽物也只能由热忱的爱人或偷窥者来揭开
- who opens the shutter or lifts the curtain
- 他们会推开挡板，掀起窗帘
- or removes the concealing robes
- 脱去蔽体的裙袍
- is a conceit that informs many of the works
- 在这次展览的，世俗之爱，章节
- in the profane love section of the exhibition
- 这一点成了不少作品的灵感
- Raphael's portrait of his mistress is
- 拉菲尔情人的画像
- not only a literal depiction of an actual sitter however
- 不仅仅是对一位模特的如实描述
- it is also an image of idealized platonic beauty
- 也是一种理想化的，柏拉图式的美
- the fully screen behind her contains branches of laurel
- 画像背景包括月桂树枝
- a tree that by its entomology evokes Laura
- 月桂树词源跟劳拉有渊源
- a beloved of the poet Petrarch
- 是诗人彼特拉克的爱人
- and the archetype of the ideal woman or mistress
- 亦是完美女人或情妇的原型
- laurel is also a symbol of chastity
- 月桂树也是贞洁的象征
- a virtue that Petrarch
- 彼特拉克也赋予劳拉
- installed in Laura
- 以这个美德
- and Raphael here imputes to his mistress
- 而这里拉斐尔将这个概念用到爱人身上
- through this artistic act of
- 通过这种艺术行为
- conjuring his own chaste and virtuous laurel
- 打造出属于他的贞洁的月桂树
- Raphael is equated with Petrarch
- 拉斐尔就和彼特拉克一样了
- the painter is a poet
- 画家就是诗人
- and his portrait is an analog of his poetic formulation of beauty
- 他的画作就是美的诗意化表述
- as a certain idea which comes into my head
- 正如，某一个想法突然浮现在脑中
- this is a concede ascribed tribute to Raphael
- 据说这是拉斐尔本人写的诗句
- although it is only recorded in a letter
- 但只在某节书信中出现过
- written a couple of years after his death
- 当时拉斐尔早已去世几年
- in which the words are assigned to him
- 信中说这句话是拉斐尔写的
- his idea in other words is a cerebral synthesis
- 换句话说，拉斐尔的理念是，脑海中所形成的
- of the best features of many
- 是众多轮廓的一种汇集精华
- rather than a literal likeness of an individual
- 而不是单单对个体的相似性
- this platonic conceit is a topos reprise from antiquity
- 这种柏拉图式的幻想，是一种对古典主题的重现
- according to Pliny the Elder
- 根据老普林尼所载
- the painter Zeuxis
- 画家宙克西斯
- combined features of the five prettiest girls he could find
- 找到五名最漂亮的姑娘，将其特征结合起来
- in order to create a sufficiently beautiful portrait of Helen of Troy
- 以创作出绝色美女，特洛伊的海伦，的画像
- and it finds a literary counterpart in the Renaissance
- 而这在文艺复兴时期拉斐尔的
- in the writings of Raphael's friend
- 一位朋友笔下也能找到相应的文字描述
- the poet Pietro Bembo
- 诗人皮特罗·本博
- concerning the transcendental power of perfect beauty
- 他关注的是绝美的超凡魅力
- an idea that resonates in Raphael's depiction of his ideal beauty
- 这一点跟拉斐尔对理想美的描述有着共鸣
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