Ⅰ伯拉孟特和《波利菲洛之寻爱绮梦》当卡尔·吉洛(Karl Giehlow)在撰写关于文艺复兴时期的象形文字研究的经典性论文时,他似乎没有注意到瓦萨里在伯拉孟特(Bramante)传记中的一段话。1这段话告诉我们,伯拉孟特打算用一段象形文字铭文来装饰那座“观景楼”(Belvedere),这段象形文字将显示该楼的奠基者和建筑者的名字。但是尤利乌斯二世(JuliusⅡ)不许他这样做。伯拉孟特别出心裁,打算在观景楼外立面的中楣上按古代象形文字风格刻上一些字母,表示教皇和他本人的名字,这是为了显示他的独创性。他是这样开始的:“JulioⅡ,Pont.Max.”(尤利乌斯二世,大教皇),他制作了一个尤利乌斯·凯撒(Julius Caesar)的侧面头像和一座双拱桥,以表示“JulioⅡ,Pont.”(Pont,亦有桥的意思—译注),还有一个马克西姆斯游艺场(Circus Maximus)上的方尖塔以表示“Max.”(大)。这 B. Bolamengte and The Search for Love in Pallifeiro When Karl Giehlow wrote a classic essay on hieroglyphics of the Renaissance, he did not seem to notice that Vasari A passage in the biography of Bramante. 1 This passage tells us that Bolamengte intends to decorate the Belvedere with a hieroglyphic inscription that will show the names of the founders and builders of the building. But Julius II did not allow him to do so. Bolamengmeite fanatical, intended to engrave letters on the frieze of the facade of the observation tower in the style of ancient hieroglyphs, indicating the pope and his own name, in order to show his originality. Here's how he started: “Julio II, Pont. Max.” (Julius II, Pope), who produced a profile portrait of Julius Caesar and a double-arch bridge, To indicate “Julio II, Pont.” (Pont) and a square tower on the Circus Maximus to denote “Max.” . This