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丁托列托（1518—1594）原名為Jacopo Robusti，是文藝復(fù)興晚期威尼斯畫派的重要畫家和代表畫家之一。這位幾乎終生駐守在威尼斯的“小染色匠”（他的意大利名字“Tintoretto”之原意，因?yàn)槠涓赣H的職業(yè)是染色匠），有著“米開朗琪羅的素描和提香的色彩”①的雄心和才能，在五十多年漫長的創(chuàng)作生涯中，完成了五百多幅作品。

在他眾多的作品中，有一類作品具有這樣的特點(diǎn)：1.為特定的公共場所訂制而創(chuàng)作；2.構(gòu)圖呈非中心對稱結(jié)構(gòu)；3.為大畫幅②的宗教題材作品。

Tintoretto (1518-1594), originally known as Jacopo Robusti, was one of the greatest painters of the Venice School in the late Renaissance.The“l(fā)ittle dyer” (which “Tintoretto” suggests in the Italian language, because his father was a dyer), who spent almost his entire life in Venice, had ambition and potential to produce “Michelangelo’s drawing and Titian’s color.”1And he produced more than 500 works through five decades of creation.

Among his vast oeuvre was such a type of works which were: 1)commissioned for particular public spaces; 2) non-centrosymmetric in composition; and 3) large-sized2and religion-themed.

圖1 丁托列托 耶穌為門徒洗腳 布面油畫 228×533cm 1548年 馬德里普拉多博物館Fig.1 Christ Washing the Feet of His Disciples, Tintoretto, Oil on Canvas, 228×533cm, 1548, Prado National Museum,Madrid

圖2 《耶穌為門徒洗腳》動作指向示意圖與線性透視圖Fig.2 Action-direction schematic and linear perspective: Christ Washing the Feet of His Disciples

一、畫面空間的特點(diǎn)

下面就以丁托列托的《耶穌為門徒洗腳》（Christ Washing the Feet of His Disciples）（圖1）為例，先從畫面中的空間結(jié)構(gòu)入手，分析觀看這類作品所需要把握的規(guī)律。

《耶穌為門徒洗腳》（228×533cm，1548年， 西班牙馬德里普拉多博物館）（圖2）中，丁托列托設(shè)置了兩個透視點(diǎn)，這樣做的目的是為表達(dá)多重含義。根據(jù)在畫面中的遠(yuǎn)近位置，圖中有三組人物：位于畫面最右邊的這組人物，三個人物的頭部構(gòu)成銳角三角形的關(guān)系，兩位圣徒面向耶穌，根據(jù)他們站立的朝向和姿態(tài)，以及耶穌頭部所在銳角的頂端位置，耶穌的頭部自然而然成為視覺的焦點(diǎn)所在（圖2中以藍(lán)線標(biāo)示）。也就是說，第一個焦點(diǎn)在耶穌的頭部，這也是《耶穌為門徒洗腳》整個畫面的主題所在。“這個消失點(diǎn)意指基督的人性光輝和為人類的自我犧牲?！保?］24第二個消失點(diǎn)在由建筑結(jié)構(gòu)形成的空間里（圖2中以紅線標(biāo)示）：畫面的中間和靠左部分的背景是連續(xù)的建筑，中景中水平排列著由五對柱子支起的涼廊，居于畫面中間（畫面空間的右邊）的中景是一座雙層建筑，一直縱深延伸到與涼廊垂直的拱門處去。這座雙層建筑第一層由多利克柱式裝飾，透視結(jié)構(gòu)的最遠(yuǎn)處則有三角山墻和有著高臺的神廟。這個景深的幻象通過各種不同的建筑特征和比例，逐漸向地平線隱去。這個消失點(diǎn)在地平線上，意指“上帝永恒的榮耀?！保?］24

塞巴斯蒂亞諾·塞利奧（Sebastiano Serlio）于1537年至1547年在威尼斯出版的《建筑的一般規(guī)則》有很大的影響，共有七卷，其中第二卷中對透視、劇院結(jié)構(gòu)、場景的研究都被認(rèn)為是維特魯威《建筑十書》的拓展論述。他對街景的設(shè)計(jì)利用了街旁的宮殿和教堂、門廊和門龕，所有這些透視使舞臺上呈現(xiàn)出深遠(yuǎn)的景象。丁托列托對當(dāng)時的戲劇實(shí)踐非常著迷。他經(jīng)常與戲劇圈的人合作，一直與劇作家卡爾莫（Calmo）和阿萊蒂諾（Aretino）保持密切的聯(lián)系。當(dāng)然還有版畫家和雕刻家馬可里尼（Marcolini），他是1537年《建筑的一般規(guī)則》出版的負(fù)責(zé)人。這樣，可以說丁托列托對塞利奧關(guān)于透視場景的論述是很熟悉的。［1］23

《耶穌為門徒洗腳》中，丁托列托在背景中復(fù)制了塞利奧的例子，為他的畫面設(shè)計(jì)了一個恰當(dāng)?shù)谋尘?，表達(dá)基督救贖人類的使命這個戲劇性事件。在涼廊內(nèi)外穿插的植被不僅僅是裝飾，也是為了展現(xiàn)空間的深度，表達(dá)象征意義。如果以畫面上的地磚以及雙層建筑和涼廊等建筑元素做出透視線的話，消失點(diǎn)位于處在地平線位置上的希臘式廟門之中；反過來看，觀看者所處的位置也恰好在從這個消失點(diǎn)發(fā)散出來的區(qū)域。畫面上的地磚的紋樣的線條也在視覺上得到延展，直至教堂中的真實(shí)地面。這樣，圖像上的虛擬空間延伸到真實(shí)空間，平面上的二維空間與現(xiàn)實(shí)中的三維空間渾然一體：也就是說，作為戲劇觀眾的觀看者，感覺上與此時在舞臺上的“演員們”一起，都處于同一空間之中。

I.Space Features in Tintoretto’s Paintings

WithChrist Washing the Feet of His Disciples(Fig.1) as an example,the author will start from its spatial structure before analyzing laws on how to view such works.

In this painting (228×533 cm, 1548, Prado National Museum, Madrid,Spain) (Fig.2), Tintoretto devised two perspective points to express multiple meanings.By their positions herein, far or near, there are three groups of characters in it.For the group on the far right, the heads of the three figures form an acute triangle, in which two disciples face Christ,whose head naturally becomes the visual focus (as blue lines show in Fig.2).That is to say, the first focus is Christ’s head, where lies the theme of the whole piece.“At this vanishing point, he alludes to Christ’s humility and His sacrifice for humankind.”[1]24The second vanishing point is in the space formed by the architectural structure (as red lines show in Fig.2): In the background of the middle and left parts of the painting are a sequence of buildings.In the middle distance lies a loggia of five bays supported by pilasters.And the mid-shot of the middle (the right of the picture space) is a two-storey edifice, which extends lengthways until the archway vertical to the loggia.The first storey is decorated with Doric columns, and at the furthest of the perspective structure stands a high-platform temple with pediments.Then the illusion of deep space is suggested through a variety of architectural features and proportions gradually diminishing toward the horizon.And this vanishing point is on the horizon, which suggests the “eternal Glory of God.”[1]24

Sebastiano Serlio publishedGeneral Rules of Architecturebetween 1537 and 1547 in Venice, which was very inf l uential.It includes seven volumes, in which volume 2 involves his research of perspectives,theatrical structure and scenes, and is deemed an extended treatise ofThe Ten Books on Architectureby Vitruvius.Serlio’s street scenery design took advantage of nearby palaces and churches, porches and gate recesses; all these perspectives present a spatial depth on the stage.Tintoretto, who was fascinated with the illusion of contemporary theatrical practices, constantly associated with the theatre circle and kept close contact with the playwrights Calmo and Aretino and, of course the printer and engraver Marcolini, who was responsible for publishingGeneral Rules for Architecturein 1537.So, it is safe to say that Tintoretto was quite familiar with Serlio’s treatise on perspective scenery.[1]23

While creatingChrist Washing the Feet of His Disciples, Tintoretto reproduced Serlio’s illustration in the background, and designed a suitable backdrop for his work, the dramatic event alluding to Christ’s mission to save humankind.The plants winding through the loggia serve not only as an ornament, but also as a medium of displaying the depth of space, quite symbolic.If perspective lines are drawn for the architectural elements in the image, e.g.the tiled floor, the two-storey edifice, the loggia, then the vanishing point lies in the Greek-style temple portal situated on the horizon.In other words, the position where the viewer stands is precisely within the area corresponding with the vanishing point.Visually, the fl oor-tile lines seem prolonged until reaching the true fl oor of the church.Therefore, the virtual space in the image extends into the real one; and the 2-D space in the painting plane and the 3-D space in reality blend into a harmonious whole.To put it another way, the viewer as the theater audience develops a sense of togetherness with “actors/actresses” on the stage—being in the same space.

圖3 從教堂左后方看向祭壇的方向的場景照片，威尼斯圣馬闊拉教堂Fig.3 The altar, seen from the left rear, the Church of San Marcuola, Venice (photo)

二、畫面空間與觀看位置之間的關(guān)系

丁托列托所畫的《耶穌為門徒洗腳》的原始放置場所是在威尼斯的圣馬闊拉教堂（Chiesa diSan Marcuola）的禮拜堂里，現(xiàn)在居于祭壇右側(cè)的《耶穌為門徒洗腳》是卡洛·里多爾菲（Carlo Ridolf i，《丁托列托傳》的著者）［4］所畫的復(fù)制品，根據(jù)里多爾菲的記載，原作是17世紀(jì)中葉從圣馬闊拉教堂搬走的。這幅作品與他的另一幅作品《最后的晚餐》（157×443cm，1547年，威尼斯圣馬闊拉教堂）面對面而掛置，《最后的晚餐》在祭壇左側(cè)，里多爾菲所畫的《耶穌為門徒洗腳》現(xiàn)在居于祭壇右側(cè)，丁托列托的原作在馬德里的普拉多博物館內(nèi)。③

丁托列托對公共委托訂制作品的工作方式總是對作品放置地點(diǎn)進(jìn)行仔細(xì)研究。距離之間的相互關(guān)系、高度和光線都是建構(gòu)空間整體性的因素，不管是在畫框之內(nèi)還是畫框之外的整體性。［1］33《耶穌為門徒洗腳》中的路面顯示了相同的菱形和八角形相互交替，平行于畫面的建筑元素向后延伸，形成不同的層次，好像丁托列托為了畫面形式特地建立了小模型，并對它們進(jìn)行重復(fù)使用。被復(fù)制的單元各個連接，就像制造出一系列連續(xù)的舞臺，并制造出空間的深度感。

《耶穌為門徒洗腳》這幅作品的透視中心偏離畫面的對稱中心，主視點(diǎn)在禮拜堂外側(cè)面的位置。圣馬闊拉教堂始建于12世紀(jì)，重建于17世紀(jì)，18世紀(jì)完成內(nèi)部的重建（教堂正立面至今沒有完成）。丁托列托受委任創(chuàng)作此畫，并于1548—1549年完成。由于此畫是受教堂委任而創(chuàng)作的，所以當(dāng)時他對畫面的設(shè)計(jì)是為現(xiàn)在其復(fù)制品所處的位置而完成的。

II.Space vs Viewing Position

The original location of Tintoretto’sChrist Washing the Feet of His Discipleswas in a chapel of the Church of San Marcuola, Venice.Currently, the piece bearing the same name on the right of the altar is a replica by Carlo Ridolfi, authorof The Biography of Tintoretto.[4]According to Ridolf i, the original piece was removed from the church in the mid-17th century.On the left of the altar hangs hisThe Last Super(157×443 cm, 1547, the Church of San Marcuola, Venice).In fact the original Tintoretto is in Prado National Museum, Madrid.3

Tintoretto’s preparation for a public commission usually began with a careful investigation of the location where the painting was to be placed.Mutual relations between distances, height and sunlight are all elements contributing to spatial integrity, no matter whether those elements were inside or out of the frame.[1]33In the painting, the fl oor indicated the same interlacing rhombuses and octangles, which go parallel to architectural elements in it, extending backward and forming different layers as if the artist had purposefully built a small model for the form of the painting and used it over and again.These repeated, interconnected units are like a continuous series of stages, all creating a sense of deep space.

The perspective center ofChrist Washing the Feet of His Disciplesdeviates from the symmetrical center of the piece, and the principal viewpoint falls somewhere outside the chapel.The Church of San Marcuola was built in the 12th century, and reconstructed in the 17th century, whose interior was not completed until the 18th century (and whose facade has not been completed so far).Since Tintoretto had been commissioned by the church to create this piece (and he finished it between 1548 and 1549), his design was intended for the location where the replica hangs.

圖4 從祭壇的正前方看向禮拜堂的場景照片，威尼斯圣馬闊拉教堂Fig.4 The chapel, seen right from the front of the altar, the Church of San Marcuola, Venice (photo)

顯然，丁托列托非常清楚：作為信眾的觀看者只能在祭壇的前方，并且只能從畫的左側(cè)某些區(qū)域進(jìn)行觀看。圖3是威尼斯圣馬闊拉教堂內(nèi)部，從教堂左后方看向祭壇的方向的場景照片。我們可以根據(jù)里多爾菲這幅《耶穌為門徒洗腳》的復(fù)制品，設(shè)想此刻丁托列托的原作在此處的情形：雖然這幅復(fù)制品在細(xì)節(jié)上與原作有所不同，但是在整個畫面結(jié)構(gòu)上遵循了原作在空間結(jié)構(gòu)上的設(shè)置。教堂被重建以后，禮拜堂內(nèi)祭壇的兩側(cè)有懸掛的圣器，會遮擋觀看畫面的視線。作者將遮擋物（垂吊的圣器）去除，將原作放在禮拜堂的右側(cè)墻面，此時復(fù)制品的位置也就是原作的原始位置。這樣，還原在丁托列托的時代站在祭壇前方恰當(dāng)?shù)奈恢糜^看此畫的場景：由于祭壇所在的空間較窄，如果站在與祭壇前方稍遠(yuǎn)一點(diǎn)的位置，這幅畫將被其左邊的柱子遮擋，令人無法完整地進(jìn)行觀看（圖4）。作品被置于祭壇右側(cè)，觀看者在教堂的本堂對這幅畫進(jìn)行觀看時，位于祭壇的臺階之下，視角只能從畫的右側(cè)下方切入。圖5是利用建模工具還原原作在此禮拜堂的視覺效果圖。這樣，雖然基督耶穌并不位于畫面的中間位置，但是從祭壇前方觀看畫面時，耶穌反而位于距離觀看者的視點(diǎn)最近。其次，由畫面中的建筑元素和能夠體現(xiàn)景深的其他裝飾元素形成的空間結(jié)構(gòu)，照應(yīng)了教堂中實(shí)際空間中的建筑元素（如畫面中重復(fù)出現(xiàn)的拱形涼廊與教堂實(shí)際空間中的拱門），使從特定視角進(jìn)行觀看的觀眾融入畫面之中。由此，畫面中的空間與現(xiàn)實(shí)空間形成一致性和整體性。

Obviously, the artist was well clear that as a worshiper, the viewer can stand looking only in front of the altar and from somewhere on the left of the piece.Fig.3 shows the interior of the church, when the altar is seen from the left rear of it.We may imagine what the Tintoretto was originally like, based on Ridolf i’s replica, which, though different from the former in details, must have retained its spatial arrangement.Incidentally, holy vessels were hung on both sides of the altar after reconstruction, which might block the sight of the viewer while he was watching the image.Therefore, the author removed the obstructions(hanging holy vessels) and placed the original on the chapel’s right wall.Then the position of the replica is where the original work was.Now when we try to reconstruct how the image was looked at by a viewer from an appropriate position in front of the altar, we will find that: given the limited space around the altar, the painting cannot be fully watched(Fig.4) if the viewer stands a little further away from its front, because the piece will be obstructed by the pillars on the left.However, if the image is located on its right, the viewer’s eyes can approach the work only from the right bottom of the piece when he stands in the nave and below the steps leading to the altar.Fig.5 shows a visual rendering of simulation of the original with modeling tools.By doing so, though Christ Jesus is not placed in the center, He seems closer to the viewer’s point of sight if the viewer watched the painting from the front of the altar.Secondly, the spatial structure created by the architectural elements in the piece and other decorative elements expressing deep space is in accordance with those actual architectural elements in the church (e.g.repeated vaulted loggias in the image and the actual archways in the church), which transports the audience viewing from a particular angle into the piece.Hence a sense of consistency of the painted space with the actual space as well as a sense of integrity.

III.Tentative reconstruction of the original scene

From January to May 2007, the show “TINTORETTO” was open in Prado National Museum, Spain, including his 65 works.Before the event, the positioning of the art works had been analyzed on the basis of his peculiar compositions, and was readjusted correspondingly.Miguel Falomir, editor of the exhibition catalogue said, “Of course, no exhibition can replace a visit to Venice.”[3]“A visit to Venice” here meansin situ,that is, “on site.”

三、對原始場所進(jìn)行嘗試性還原

2007年1月至5月在西班牙普拉多博物館的展覽“丁托列托”，包括65幅作品。這個展覽在作品的擺放角度上，已經(jīng)根據(jù)丁托列托式的構(gòu)圖進(jìn)行分析，并在放置位置上做了相應(yīng)的調(diào)整。編輯這個展覽畫冊的米蓋爾·法羅米爾（Miguel Falomir）說：“當(dāng)然，沒有展覽可以替代一趟在威尼斯的參觀?！保?］他在這里指的“在威尼斯的參觀”就是指in situ，即“在現(xiàn)場”。

圖5 《耶穌為門徒洗腳》場景模擬視覺效果圖Fig.5 Visual rendering of a simulated scene: Christ Washing the Feet of His Disciples

圖6 從祭壇左前方看向《耶穌為門徒洗腳》（里多爾菲的復(fù)制品）場景照片，威尼斯圣馬闊拉教堂Fig.6 Christ Washing the Feet of His Disciples(Ridolfi’s replica), seen from left front of the altar, the Church of San Marcuola, Venice (photo)

這次展覽的作品除了普拉多本身館藏的丁托列托作品以外，還有從威尼斯的會堂（Scuola）和私人收藏借來的作品。當(dāng)某些作品被放在普拉多博物館時，是它們第一次從光線幽暗的威尼斯的教堂被挪放到寬敞明亮的場所，被并置和交叉對比，對這些作品的近距離研究以此得以實(shí)現(xiàn)。評論家以往對丁托列托有各種偏見，例如“漫不經(jīng)心”“創(chuàng)作速度過快（prestezza）”此類的負(fù)面評價。這個展覽通過對作品的合理展示，消除這些誤解，并在展示空間方面盡可能與畫家創(chuàng)作時考慮的作品掛置空間相符合?！斑@個展覽提醒人們注意了丁托列托在圖像方面驚人的才能，和在構(gòu)圖方面的用心。”［2］

Apart from the Tintoretto’s paintings in the collection of the museum,there were also loan works from Venicescuolasand private collection as well.When some of them were on display there, it was the first time for them to have been transferred to a spacious and bright placefrom that dark Venice church, juxtaposed and compared, which made a short-distance study possible.Admittedly, critics bore prejudice against Tintoretto with negative comments like “a lack of diligence” and an allegedly “too-fast production (prestezza).” Therefore, the exhibition helped to clear up previous misunderstandings of him through reasonable exhibition, and tried every means to set up a space similar to what the artist intended.“The exhibition reminds people of Tintoretto’s astounding pictorial intelligence and carefulness with which he conceived his compositions.”[2]

圖7 《耶穌為門徒洗腳》局部，地磚部分Fig.7 Detail of Christ Washing the Feet of His Disciples, the tiled fl oor section

丁托列托所處的時代，威尼斯的戲劇異常繁榮。自16世紀(jì)，威尼斯以不計(jì)其數(shù)的演出而聞名于世。娛樂被共和國用來宣揚(yáng)它的政治——宗教意識形態(tài)，也用來擴(kuò)大總督及其辦事處的聲望和權(quán)力。1556年至1607年之間，在威尼斯舉行了171次慶典。［1］12在狂歡節(jié)期間，相應(yīng)的專業(yè)人員會對這些演出負(fù)責(zé)，這些演出會大大增強(qiáng)社區(qū)的凝聚力和穩(wěn)定性。觀看大量的慶典毋庸置疑使丁托列托畫面的劇情變得豐富起來。

當(dāng)時有三個劇團(tuán)在戲劇方面最有名氣。提香為一家劇團(tuán)設(shè)計(jì)道具和布景，瓦薩里在1542年被請來做一部劇首演的舞臺設(shè)計(jì)。作為“Calze劇團(tuán)”（Compagnie delle Calze）的舞臺美術(shù)設(shè)計(jì)師，丁托列托除了被指定給一些戲劇設(shè)計(jì)一些道具和服飾以外，也由此經(jīng)驗(yàn)得到空間設(shè)置方面的獨(dú)特的工作方法：利用模擬舞臺建立最能恰當(dāng)展現(xiàn)空間結(jié)構(gòu)的構(gòu)圖。他把做好的人像模型放在用紙板做成的建筑模型中或掛在空間，用燭光照明，研究它們的位置的遠(yuǎn)近和深度、空間感及光的效果。這些用黏土或者蠟創(chuàng)作出的人物形象被放進(jìn)木頭或者紙盒做的舞臺的模型，并在側(cè)旁切開口投入射光，這樣丁托列托可以反復(fù)重新組合人物，直到他自己滿意為止。在充分把握丁托列托式繪畫的空間特點(diǎn)以后，根據(jù)這些與空間結(jié)構(gòu)有關(guān)的規(guī)律，建立模擬場景還原丁托列托作品所處的原始空間，不但可以對畫家的本意進(jìn)行最大程度的解讀，也可以對某些場所的復(fù)原或重建提供依據(jù)。

丁托列托1548年為威尼斯的圣馬闊拉教堂完成《耶穌為門徒洗腳》之后，教堂在17世紀(jì)又進(jìn)行過翻修。教堂主殿和禮拜堂的地面現(xiàn)在為黑白相間的地磚（圖6），而當(dāng)時是何樣貌，已無從考證。然而，我們可以根據(jù)丁托列托的畫中建筑元素與實(shí)際場所保持樣式和擺放角度的一致性這一特點(diǎn)，來模擬圣馬闊拉教堂內(nèi)的地磚在17世紀(jì)重修之前可能的紋樣。

《耶穌為門徒洗腳》中，耶穌在畫面右下角里觀看者最近的位置，其身后鋪滿著大面積的三色地磚（圖7），形成八角形和正方形的紋樣，加以進(jìn)行幾何透視變形，布滿整個涼亭。所有畫中的人物都在這些磚面之上，猶如一塊幾何紋樣的地毯，把前景和中景發(fā)生的故事與遠(yuǎn)景中的室外景物進(jìn)行理性的分割。

在丁托列托其他諸多作品中可以發(fā)現(xiàn)，丁托列托習(xí)慣在畫面中加入與作品所在的實(shí)際空間中相同的畫中建筑元素，以保持畫面的連續(xù)性和對觀看者的帶入感。在此，我們對圣馬闊拉教堂的禮拜堂地面進(jìn)行嘗試性的復(fù)原，得到《耶穌為門徒洗腳》在圣馬闊拉教堂的模擬場景圖（圖8），采用的是教堂左側(cè)后方的視角?？梢栽O(shè)想，當(dāng)觀看者走到祭壇前方觀看作品時，畫面上的地板一直蔓延到他本人所處的真實(shí)空間的腳下，畫面中的空間由此得到延續(xù)，觀看者本身會具有身臨其境的感受。

In Tintoretto’s time, drama boomed extraordinarily in Venice.Beginning from the 16th century, the city got its fame for countless performances.Entertainment was used to spread the republic’s political and religious ideology and to enhance the reputation and authority of the governor and his office.Between 1556 and 1607, there were 171 celebrations that took place in Venice.[1]12During the carnivals ,professionals would be responsible for these performances, which would tremendously strengthen the community belongingness and stability.Undoubtedly, a large number of performances that the artist had watched enriched his plot in paintings.

At that time there were three renowned troupes in drama.Titian was responsible for stage property and setting design for one of them;Giorgio Vasariwas invited to design the stage for the premiere of a play in 1542.As a stage art designer of Compagnie delle Calze, Tintoretto,apart from being designated to design property and costumes, acquired more experience and figured out unique working methods of space layout: use of a simulated stage to establish a composition which best illustrates spatial structure.He put ready-made dummies into building models made of cardboard or hung them, and gave them candlelight to study their different positions, far and near, depths, the sense of space,and light effect.Such dummies made of clay or wax were put into stage models made of wood or cardboard boxes, and a light was cast from a side opening.He would made rearrangement of dummies again and again until he eventually felt satisfied.After fully understanding the space features of his paintings we may best interpret his intention and provide evidence for restoration or reconstruction for a simulated scene of the original space of Tintoretto’s works, based on spaced-related laws.

After completion of the painting in 1548 the church underwent renovation in the 17th century.Currently, the fl oor is covered with tiles checkered with black and white in the main hall and chapel (Fig.6).Though we can never know exactly what it was like historically, in view of the consistency between Tintoretto’s painted architectural elements and the actual ones in their appearances and positioning, we can simulate possible patterns of the fl oor tiles in the Church of San Marcuola before the 17th century renovation.

InChrist Washing the Feet of His DisciplesJesus is in the bottom right corner, closest to the viewer.Behind him is a large fl oor covered with three-colored tiles (Fig.7), forming a pattern of octagons and squares, which occupies the whole loggia through geometric perspective distortion.All the figures are on the tiles, which seem to be a carpet with a geometric pattern, which reasonably divides what happened in foreground and middle distance and outdoor scenery in the distant view.

From many of his other paintings, it can be seen that Tintoretto habitually added to his works the same architectural elements as those in the actual space in which they were going to stay, to ensure continuity of the painting, bringing an immersive experience to the viewer.The author hereby made a tentative simulation of the chapel fl oor of the Church of San Marcuola, and gained a simulation scene of the painting (Fig.8),which adopted the viewing angle from the left rear of the church.It can be imagined that, when the viewer came over to the altar and looked at the painting, he would find that the fl oor in the painting extended until under his feet.In this way the space in the painting extended beyond itself and the viewer would feel as if he was personally on the scene.

圖8 《耶穌為門徒洗腳》在圣馬闊拉教堂的模擬場景圖，從教堂左側(cè)后方的視角Fig.8 Simulated scene of Christ Washing the Feet of His Disciples, seen from the left rear, the Church of San Marcuola

圖9 圣馬闊拉教堂的模擬場景圖，俯瞰圖Fig.9 Simulated scene of the Church of San Marcuola,aerial view

圣馬闊拉教堂本身是呈東南——西北走向的單殿教堂。不同于其他的教堂，它的主入口并不設(shè)置在本堂正后方的西北側(cè)墻面上，而是在與之垂直的東北側(cè)墻面上?！兑d為門徒洗腳》的構(gòu)圖特點(diǎn)、空間透視特征，都是由于入口和祭壇之間的相對位置而產(chǎn)生的。在圖9圣馬闊拉教堂的模擬場景圖的俯瞰圖中，不難找出答案：從入口進(jìn)入教堂，觀看者看向祭壇方向，恰好正對著畫面。丁托列托的畫面中進(jìn)行如此奇特的空間設(shè)置的原因，一目了然。

The Church of San Marcuola is single-halled, running from southeast to northwest.Unlike other churches, its main entrance is not in the northwest wall, which is right behind the church, but in the northeast wall perpendicular to it.All features of its composition and spatial perspective were caused by the relative positions of the entrance and the altar.It is easy to unveil the answer from an aerial view of the simulation scene of San Marcuola (Fig.9) : upon entering the church from the entrance, the viewer will precisely face the painting when he looks to the altar.The reason why Tintoretto so uniquely designed his space in this painting is now absolutely clear.

注釋：

①這是他自己寫在工作室墻上的話，原文為：Il disegno diMichelangelo ed il colorito diTiziano。

②本文中涉及的“大畫幅”，約指畫幅尺寸大于250×250cm的油畫作品。

③雖然根據(jù)另一個研究丁托列托的專家魯?shù)婪颉づ留斊跄幔≧odolfo Palluchini）的研究，也有證據(jù)表明在英國的Shipley Art Gallery的《耶穌為門徒洗腳》才是丁托列托的原作，大多數(shù)觀點(diǎn)還是認(rèn)為在普拉多博物館的才是出自丁托列托之手的原作［2］。

禾 苗：北京大學(xué)歷史學(xué)系2010級博士生

岳中生：中國民航大學(xué)副教授

Notes:

1 Inscriptions on the wall of his studio, which was originally: Il disegno diMichelangelo ed il colorito diTiziano.

2 The large-size in this paper refers to a size of an oil painting larger than 250×250cm.

3 Most critics believe that the authorship of the paintingChrist Washing the Feet of His Disciples inPrado National Museum is Tintoretto, though an expert on his works, Rodolfo Palluchini, and some evidence tend to prove that the one with the same title in Shipley Art Gallery is his original.[2]

He Miao, doctoral student admitted to History Department, Peking University in 2010

Yue Zhongsheng: associate professor at Civil Aviation University of China