英文简介：Johann Bernhard Fischer von Erlach was not only the greatest Austrian Baroque architect and a key fig- ure in the European Baroque, but also the author of the highly original, fascinating and beautifully pro- duced and illustrated Entwurff einer historischen Architectur. The text was first published in Vienna in 1721, at the author's own expense, although he had finished the manuscript years earlier. An expanded edition was published in Leipzig in 1725 and again in 1742. The first English translation appeared in r73o under the title A Plan of Civil and Historical Architec- ture; the translator was Thomas Lediard. A second- actually now less rare-English edition dates from 1737. It is interesting that the word civil is added to the title and that the tricky German word Entwurf(as it is now spelled) is translated as "plan." Entwurf can also mean "design" or even "sketch."The French translation of the word reads essai. Facsimile editions are now available (r964, 1978).
What, then, was the purpose of the book on which this supreme architectural genius spent so much love, effort and money? It was, in Beverly Heisner's words (Macmillan Encyclopedia of Architects), "to dis- cover the eternal values of architecture, as well as its diversity"-an ambitious undertaking. In Fischer von Erlach's own words: "Artists will see that nations differ no less in their Taste for Architecture than in Food and Raiment, and by comparing one with the other, they themselves may make judicious Choice. .. . Notwithstanding all these Varieties, there are general principles in architecture.. [such as] Rules of Symmetry.. [and] that the weaker must be sup- ported by the stronger" (i.e., laws of structure and construction, such as load-bearing and strength). Speculations about historic architecture by great architects were not rare in the seventeenth and eigh- teenth centuries: Inigo Jones's notions about the ori gin of Stonehenge (published posthumously in 166o)or John Wood's ideas on the origin of building (1741)come to mind. Even Giuliano Sangallo in the fifteenth century tried his hand at a history of archi- tecture. It was pointed out by Eileen Harris and by Harald Keller that among Christopher Wren's papers there is an unfinished manuscript remark- ably similar to that of Fischer von Erlach.
"Comparing one with the other" may be the key words in Fischer's introduction, and it has been sug- gested, if somewhat facetiously, that Fischer von Erlach's great book was really meant to be a history of architecture on the comparative method, a sort of eighteenth-century Banister Fletcher. But Fischer von Erlach's work is of a different order, if for no other reason than because of his soaring imagina- tion, coupled with remarkable scholarship.
Fischer von Erlach attempted to reconstruct on paper buildings that were "buried in the ruins of bar- barity" or had not existed, even remotely, in the form or scale he imagined. The models begin with the Temple of Solomon (plate 1), a Baroque palacelike structure set high on grimly massive and majestic bastions. This reconstruction of extraordinary power was largely based on Juan Bautista Villalpando but shows Fischer von Erlach's own touches, such as the redesign of the temple elevation itself and the inclu- sion of buildings around the bastions and Jerusalem in the background. Babylon follows; Pausanias and Herodotus were Fischer von Erlach's sources there. They were purely literary and thus allowed his imag- ination to take full flight. Next come the pyramids on a truly colossal scale and the seven wonders of the ancient world, the Colossus of Rhodes and the Tem- ple of Diana at Ephesus among them. After the Greeks come the Romans. The domus aurea of Nero stands out (II, plate 3), a fabulous Baroque construc- tion, quite reminiscent of Fischer von Erlach's own design for the imperial palace of Schonbrunn (IV, plate 2), but without any basis in archaeological fact; Suetonius and Tacitus are cited as sources. Pliny was also consulted. For the palace of Diocletian at Spalato, Fischer von Erlach was more accurate; his source was a local scholar, Count Marchi, who sent the measure- ments. Fischer von Erlach's Thermae of Diocletian in Rome are based on Serlio; again, a remarkable exam- ple of scholarship as well as imagination. Next in the text is a review of the works of the Ottomans, the Turks and the Arabs, and, in the third part of the book, of the Chinese and Japanese-a great source of inspiration for the chinoiseries of the late eighteenth century. In the fourth part Fischer von Erlach pre- sents illustrations of his own master works, among which are some very fine plates of one of his greatest, the Karlskirche in Vienna. It may be noted that in this vast worldwide overview there is a total absence of any medieval, let alone Gothic, architecture.
The text is actually not Fischer von Erlach's, but was composed by one Carl Gustav Heraeus, a Swedish antiquarian; in this text (in German and French), according to Hans Tietze (Thieme-Becker), "scholarship and naivete are strangely combined." But it is really Fischer von Erlach's plates that mat- ter-those he drew himself mit grosser mithe, to use his own words, with the greatest of care.
中文简介：johann bernhard fischer von erlach不仅仅是最伟大的奥地利巴洛克建筑师，一个关键的人物在欧洲巴洛克时期，而且也是这本高度原创性，精彩的书的作者。 这个正文第一次被出版于1721年在维也纳，且以这个作者自己的花费作为出版成本。 这本书的目的是什么呢？这位伟大的建筑天才付出了如此多的爱，努力，金钱？“揭示建筑的永恒价值及其多样性，艺术家们将看到，不同的国家对建筑的品味不亚于饮食，通过互相比较，他们自己可以做出明智的选择。尽管有这些变化，建筑学还是有一些基本原则，例如对称性，弱者必须得到强者的支撑（也就是结构和建造规律，如承重与力）”。 对历史性建筑产生深刻思考的伟大建筑师并不仅仅在17和18世纪出现：inigo jones对Stonehenge起源的看法或者john wood 对于建筑起源的理念立刻浮现于脑中。15世纪的giuliano sangallo 也尝试过写一本建筑史。在Christopher wren 的手稿中，有一部份未完成的手稿非常明显的相似于fischer von erlach的这本建筑史。 “comparing one with the other”可能是fischer的前言介绍中的关键词，它表明，fischer von erlach 的这本伟大的书是真正准备成为一部建立在比较性方式上的建筑史（这又让人想起19世纪的banister fletcher的比较建筑史）
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