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阿尔伯特和哈罗德·罗杰在1982年4月1日的美国《基督科学箴言报》上载文《芬奇的名画开始重现500年前的原貌》。文章说,瓦萨里于1556年,即作品完成后仅仅五十八年看到这幅画时描述:“如此糟糕的管理,以至除了尘埃留下的痕迹外,什么也看不见”。1642年,也就是作品完成后一百四十四年,斯卡纳里(Scanelli)写道,画面上只剩下几个模胡的形象,整个画面损害得无法辨认。领导这幅名画修复工作的专家卡罗·伯特利说,他们发现的达·芬奇的真迹比人们通常预料的要多。这次修复是由罗马的意大利国家文化遗产委员会发起并提供资金的。伯特利说,他们这次的修复工作将会显示名作的“真正的原貌”,“在已经清理好的画面上,我们发现一幅全新的名作,和我们已经看惯了的人物迥然不同。”“位于画面右端的门徒西蒙在原作中高尚、激奋的侧面像已被发掘出来,他的胡须由于早期修复者粗糙的、与原作不符的修描,长了两英吋多,现在已恢复原作的长度,他的左手也不再是作讲演的手势,已还原到倾听说话的姿势。”
In his April 1, 1982 issue of the American Science Monitor, Albert and Harold Roger wrote that “the famous paintings of Vinci began to reproduce the original appearance of 500 years ago.” The article states that Vasari, who in 1556 saw the painting only fifty-eight years after the work was completed described: “so poorly managed that it can not be seen except in the traces left by the dust.” In 1642, one hundred and forty-four years after the work was completed, Scanelli wrote that there were only a few modalities left on the screen, making the whole picture unrecognizable. Carlo Bethel, who heads the painting’s restoration, said they found Leonardo da Vinci’s authenticity more than people normally expected. The restoration was initiated and funded by the Italian National Heritage Committee in Rome. Bethel said that their restoration work will show the “true originality” of masterpieces. “On the already cleared pictures, we find that a brand new masterpiece is quite different from what we already used to seeing. ”Simon, the disciple at the right end of the picture, has been excavated in the noble, excitement of the original work, his beard more than two inches longer than the original work, The length of his left hand is no longer a speech for gestures, has been restored to listen to speak posture.