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Well in Renaissance Rome
文艺复兴时期的罗马
spiritual pursuits
精神追求
were not always the first calling of princes of the church
并不总是教会领袖的要务
who frequently lived in opulent splendor
他们通常生活铺张奢华
rivaling or surpassing that of secular rulers or princes
地位甚至超过世俗统治者或王族
moreover we should also keep in mind
此外，我们必须记住
that the decorations of this private space
这类私人空间的装潢
were accessible only to a restricted audience
只有限定的人物能够享受
in the same manner that a mistress portrait or an erotic drawing
同样地，一幅情妇的画像，或春宫图
where intended for private consumption
也只限于私人观摩
rather than public display
并不对公众展示
and finally the dichotomy between sacred and erotic
最终 16世纪上半叶
was not as pronounced in the first half of the sixteenth century
神圣与情色之间的界限
as it would come to be following the implementation in Rome
并不像日后罗马天特会议法令实施后
of the decrees of the Council of Trent
那么明显
a series of reforms of the Catholic church intended to
作为对北方新教发起的破坏性攻击的回应
respond to the damaging assaults launched by Protestants in the north
罗马天特会议对天主教会进行了一系列的改革
indeed the sacred and the profane were often a seamless continuum
的确16世纪前期，神圣和世俗两个领域
in Rome in the early decades of the sixteenth century
的确是浑然一体的
visual testimony of this exists in the rather
艺术家们笔下风格混杂的
incongruously erotic and sensual religious images
同时含有色情，世俗和宗教因素的画作
produced by artists
就是最好的证明
who had experienced the licentious and libertine culture
这些人体验过16世纪20年代
of Rome in the 1520s
罗马放荡不羁的文化
works like Parmigianino's Madonna de la Rosa on the left
如左边这幅是帕尔米贾尼诺画的《玫瑰圣母》
and Rosso Fiorentino's “Dead Christ”
右边是罗梭·费奥伦提诺的《死去的基督》
with angels on the right
右边伺立着天使
mistresses, courtesans, and prostitutes
情妇，交际花和妓女
nebulous and often interchangeable categories
这几个范畴模糊不清，通常可相互转换
figure prominently in the profane culture
也大量地出现在
of Renaissance Rome
文艺复兴时期的世俗文化中
the literary paradigm is Pietro Aretino's Nana
文学的典型案例就是阿雷蒂诺笔下的娜娜
the worldly wise “puttana” or whore
娜娜是位世故聪明的puttana(意语:娼妓)
who has seen, heard, and done it all
见多识广，博闻强记
in her conversations with her daughter Pippa
娜娜想将女儿佩帕训练成一位诚实的交际花
who she is training to be an honest courtesan
在跟女儿佩帕的谈话中
Nana herself distinguishes between these categories
娜娜给这三种范畴作了区分
and advises how the enterprising Pepa
并告诫有进取心的佩帕
And other practitioners can move up through the ranks
这个行业里应该如何一步步升上去
to transform themselves from a puttana to a cortigiano
从娼妓晋升到交际花的地位
this portrait of a nude woman by Raphael known as the fornirina
这是拉斐尔作的一幅裸女画像
almost certainly represents the artist's mistress
几乎可以肯定是这位艺术家的情人
the fact that Raphael was betrothed to
事实上，拉斐尔同当时很有权势的
the niece of the powerful Cardinal Bibbiena
比比安那红衣主教的侄女订婚了
patron of the stufetta we looked at a moment ago
这位主教就是我们刚刚提到过的私人浴室的主人
was apparently of little concern to him
但很显然拉斐尔并不在意
and he deftly managed to allude the bonds of matrimony
他巧妙地逃开了婚姻的束缚
in order to engage in non-conjugal liaisons
以方便进行这段婚外恋情
as many scholars have observed
许多学者注意到
Raphael signaled his proprietary ownership over the woman
拉斐尔在这位女子的手环上签上了自己的名字
by inscribing his name prominently on her armband
以宣告对她的所有权
a shutter that once concealed the painting
以前这幅图之前挡有挡板
but all from its intended audience
以阻隔除了特定对象之外其他人的视线
was a measure of its private and therefore implicitly erotic nature
保护了隐私，也保护了其暗含的情色本质
such concealment
这种藏掖
was a convention in the display of mistress portraits
是展示情妇画像的一种传统
