求一篇,（艺术美术类的）英语文章,带汉语翻译～,谁知道,我快急死了

求一篇,（艺术美术类的）英语文章,带汉语翻译～,谁知道,我快急死了
本科。关于艺术设计，审美，美术欣赏,著名画家一类的论文！！！
要求英文的带汉语翻译

From Lives of the Artists: Michelangelo Buonarroti
By Giorgio Vasari
Michelangelo had become so famous because of his Pietà, the colossal statue of David at Florence, and the cartoon [a full-scale drawing for a mural that Michelangelo planned but never executed], that when in 1503 Alexander VI died and Julius II was elected Pope (at which time Buonarroti was about twenty-nine years old) Julius very graciously summoned him to Rome to build his tomb; and to meet the expenses of the journey he was paid a hundred crowns by the Pope's agent. After he had arrived in Rome, however, many months were let go by before he was asked to do any work. But eventually the Pope chose for his tomb the design made by Michelangelo. This design was an eloquent proof of Michelangelo's genius, for in beauty and magnificence, wealth of ornamentation and richness of statuary it surpassed every ancient or imperial tomb ever made. When he saw it Pope Julius grew more ambitious and resolved to set about rebuilding the church of St Peter's at Rome, and to raise his tomb inside.…
…So when Michelangelo returned to Rome he found the Pope resolved to leave the tomb as it was for the time being, and he was told to paint the ceiling of the chapel. Michelangelo, being anxious to finish the tomb, and considering the magnitude and difficulty of the task of painting the chapel, and his lack of experience, tried in every possible way to shake the burden off his shoulders. But the more he refused, the more determined he made the Pope, who was a wilful man by nature and who in any case was again being prompted by Michelangelo’s rivals, and especially [Donato] Bramante [the leading architect of the High Renaissance in Italy who worked on Saint Peter’s Church and the Vatican Palace in Rome]. And finally, being the hot-tempered man he was, his holiness was all ready to fly into a rage.
However, seeing that his holiness was persevering, Michelangelo resigned himself to doing what he was asked. Then the Pope ordered Bramante to make the ceiling ready for painting, and he did so by piercing the surface and supporting the scaffolding by ropes. When Michelangelo saw this he asked Bramante what he should do, when the painting was finished, to fill up the holes. Bramante said: `We'll think of it when it's time.' And he added that there was no other way. Michelangelo realized that Bramante either knew nothing about the matter or else was no friend of his, and he went to the Pope and told him that the scaffolding was unsatisfactory and that Bramante had not known how to make it; and the Pope replied, in the presence of Bramante, that Michelangelo should do it himself in his own way. So he arranged to have the scaffolding erected on props which kept clear of the wall, a method for use with vaults (by which many fine works have been executed) which he subsequently taught to various people, including Bramante. In this instance he enabled a poor carpenter, who rebuilt the scaffolding, to dispense with so many of the ropes that when Michelangelo gave him what was over he sold them and made enough for a dowry for his daughter.
Michelangelo then started making the cartoons for the vaulting; and the Pope also decided that the walls that had been painted by previous artists in the time of Sixtus should be scraped clean and that Michelangelo should have fifteen thousand ducats for the cost of the work, the price being decided through Giuliano da Sangallo [Florentine architect]. Then being forced reluctantly, by the magnitude of the task, to take on some assistants, Michelangelo sent for help to Florence. He was anxious to show that his paintings would surpass the work done there earlier, and he was determined to show modern artists how to draw and paint. Indeed, the circumstances of this undertaking encouraged Michelangelo to aim very high, for the sake both of his own reputation and the art of painting; and in this mood he started and finished the cartoons. He was then ready to begin the frescoes, but he lacked the necessary experience. Meanwhile, some of his friends, who were painters, came to Rome from Florence in order to assist him and let him see their technique. Several of them were skilled painters in fresco, and they included Granaccio, Giuliano Bugiardini, Jacopo di Sandro, the elder Indaco, Angelo di Donnino, and Aristotile. Having started the work, Michelangelo asked them to produce some examples of what they could do. But when he saw that these were nothing like what he wanted he grew dissatisfied, and then one morning he made up his mind to scrap everything they had done. He shut himself up in the chapel, refused to let them in again, and would never let them see him even when he was at home. So, when they thought the joke was wearing thin, they accepted their dismissal and went back ashamed to Florence.
Thereupon, having arranged to do all the work by himself, Michelangelo carried it well on the way to completion; working with the utmost solicitude, labour, and study he refused to let anyone see him in case he would have to show what he was painting. As a result every day the people became more impatient.
Pope Julius himself was always keen to see whatever Michelangelo was doing, and so naturally he was more anxious than ever to see what was being hidden from him. So one day he resolved to go and see the work, but he was not allowed in, as Michelangelo would never have consented. (This was the cause of the quarrel described earlier, when Michelangelo had to leave Rome as he would not let the Pope see what he was painting.) Now when a third of the work was completed (as I found out from Michelangelo himself, to clear up any uncertainty) during the winter when the north wind was blowing several spots of mould started to appear on the surface. The reason for this was that the Roman lime, which is white in colour and made of travertine [a form of calcium carbonate], does not dry very quickly, and when mixed with pozzolana [a volcanic dust], which is a brownish colour, forms a dark mixture which is very watery before it sets; then after the wall has been thoroughly soaked, it often effloresces [becomes covered with powdery deposits] when it is drying. Thus this salt efflorescence appeared in many places, although in time the air dried it up. When Michelangelo saw what was happening he despaired of the whole undertaking and was reluctant to go on. However, his holiness sent Giuliano da Sangallo to see him and explain the reason for the blemishes. Sangallo explained how to remove the moulds and encouraged him to continue. Then, when the work was half finished, the Pope who had subsequently gone to inspect it several times (being helped up the ladders by Michelangelo) wanted it to be thrown open to the public. Being hasty and impatient by nature, he simply could not bear to wait until it was perfect and had, so to say, received the final touch.
As soon as it was thrown open, the whole of Rome flocked to see it; and the Pope was the first, not having the patience to wait till the dust had settled after the dismantling of the scaffolds. Raphael da Urbino (who had great powers of imitation) changed his style as soon as he had seen Michelangelo's work and straight away, to show his skill, painted the prophets and sibyls of Santa Maria della Pace; and Bramante subsequently tried to persuade the Pope to let Raphael paint the other half of the chapel. When Michelangelo heard about this he complained of Bramante and revealed to the Pope, without reserve, many faults in his life and in his architectural works. (He himself, as it happened, was later to correct the mistakes made by Bramante in the fabric of St Peter's). However, the Pope recognized Michelangelo's genius more clearly every day and wanted him to carry on the work himself; and after he had seen it displayed he was of the opinion that Michelangelo would do the other half even better. And so in twenty months Michelangelo brought the project to perfect completion without the assistance even of someone to grind his colours. Michelangelo at times complained that because of the haste the Pope imposed on him he was unable to finish it in the way he would have liked; for his holiness was always asking him importunately when it would be ready. On one of these occasions Michelangelo retorted that the ceiling would be finished `when it satisfies me as an artist'.
And to this the Pope replied: `And we want you to satisfy us and finish it soon.'
Finally, the Pope threatened that if Michelangelo did not finish the ceiling quickly he would have him thrown down from the scaffolding. Then Michelangelo, who had good reason to fear the Pope's anger, lost no time in doing all that was wanted; and after taking down the rest of the scaffolding he threw the ceiling open to the public on the morning of All Saints' Day, when the Pope went into the chapel to sing Mass, to the satisfaction of the entire city.
Michelangelo wanted to retouch some parts of the painting a secco [on dry plaster], as the old masters had done on the scenes below, painting backgrounds, draperies, and skies in ultramarine, and in certain places adding ornamentation in gold, in order to enrich and heighten the visual impact. The Pope, learning that this ornamentation was lacking, and hearing the work praised so enthusiastically by all who saw it, wanted him to go ahead. However, he lacked the patience to rebuild the scaffolding, and so the ceiling stayed as it was. His holiness used to see Michelangelo often and he would ask him to have the chapel enriched with colours and gold, since it looked impoverished. And Michelangelo would answer familiarly:
`Holy Father, in those days men did not bedeck themselves in gold and those you see painted there were never very rich. They were holy men who despised riches.'
For this work Michelangelo was paid by the Pope three thousand crowns in several instalments, of which he had to spend twenty-five on colours. He executed the frescoes in great discomfort, having to work with his face looking up-wards, which impaired his sight so badly that he could not read or look at drawings save with his head turned backwards; and this lasted for several months afterwards. I can talk from personal experience about this, since when I painted five rooms in the great apartments of Duke Cosimo's palace if I had not made a chair where I could rest my head and relax from time to time I would never have finished; even so this work so ruined my sight and injured my head that I still feel the effects, and I am astonished that Michelangelo bore all that discomfort so well. In fact, every day the work moved him to greater enthusiasm, and he was so spurred on by his own progress and improvements that he felt no fatigue and ignored all the discomfort.
The painting on the ceiling of the chapel is arranged with six pendentives [triangular sections of vaulting] on either side and one in the centre of the walls at the foot and the head; and on these Michelangelo painted prophets and sibyls, twelve feet high. In the middle of the vault he depicted from the Creation up to the Flood and the Drunkenness of Noah; and in the lunettes [crescent-shaped openings in a vaulted roof] he showed all the Ancestors of Jesus Christ. For the foreshortenings in these compartments he used no consistent rule of perspective, nor is there any fixed point of view. He accommodated the various compartments to the figures, rather than his figures to the compartments, for he was resolved to execute both the draped figures and the nudes so that they should demonstrate the perfect quality of his draughtsmanship. There is no other work to compare with this for excellence, nor could there be; and it is scarcely possible even to imitate what Michelangelo accomplished. The ceiling has proved a veritable beacon to our art, of inestimable benefit to all painters, restoring light to a world that for centuries had been plunged into darkness. Indeed, painters no longer need to seek new inventions, novel attitudes, clothed figures, fresh ways of expression, different arrangements, or sublime subjects, for this work contains every perfection possible under those headings. In the nudes, Michelangelo displayed complete mastery: they are truly astonishing in their perfect foreshortenings, their wonderfully rotund contours, their grace, slenderness, and proportion. And to show the vast scope of his art he made them of all ages, some slim and some full-bodied, with varied expressions and attitudes, sitting, turning, holding festoons of oakleaves and acorns (to represent the emblem of Pope Julius and the fact that his reign marked the golden age of Italy, before the travail and misery of the present time). The nudes down the middle of the ceiling hold medallions painted like gold or bronze with subjects taken from the Book of Kings. Moreover, to show the perfection of art and the greatness of God, in the histories Michelangelo depicted God dividing Light from Darkness, showing him in all his majesty as he rests self-sustained with arms outstretched, in a revelation of love and creative power.
In the second history, with beautiful judgement and skill he showed the Creation of the Sun and the Moon, depicting God, supported by many putti [cherubs], in an attitude of sublime power conveyed by the strong foreshortening of his arms and legs. In the same scene Michelangelo showed the Almighty after the Blessing of the Earth and the Creation of the Animals, when he is seen on the vaulting in the form of a foreshortened figure, flying through the air, which turns and changes direction as one walks about the chapel. The same happens in the next history, where God is dividing the Waters from the Earth. And both these figures are beautiful forms and refinements of genius that only the inspired hands of Michelangelo could create. Then he went on to the Creation of Adam, where he showed God being borne by a group of nude angels of tender age who appear to be bearing up not one figure alone but the weight of the world; and this effect is achieved by the venerable majesty of the Divine Form and the way in which he moves, embracing some of the putti with one arm, as if to support himself, while with the other he stretches out his right hand towards Adam, a figure whose beauty, pose, and contours are such that it seems to have been fashioned that very moment by the first and supreme creator rather than by the drawing and brush of a mortal man. Beyond this in another scene he showed God taking our mother Eve from the side of Adam; and here we see the two nude figures, one so enslaved by sleep that it seems dead, and the other awakened to life by the divine benediction. The brush of this wonderfully ingenious craftsman arrestingly reveals the difference that there is between sleep and wakefulness and how the divine majesty can be portrayed in the firm and tangible terms that humans understand.
After this comes the scene when Adam, at the persuasion of a figure half woman and half serpent, brings death upon himself and upon us through the apple; and there again we see Adam and Eve, now being driven from Paradise by the angel who appears in sublime grandeur to execute the commands of a wrathful Lord. Adam displays his remorse at having sinned and his fear of death; and the woman also shows her shame, abasement, and desire for forgiveness, as she covers her breasts with her arms, pressing her hands palm to palm and sinking her neck on to her bosom, and turns her head towards the angel, showing more fear of the justice of God than hope of divine mercy. No less beautiful is the scene showing the sacrifice of Cain and Abel, where there are some figures bringing the wood, some bending down and blowing the fire, and others cutting the throat of the victim; and this Michelangelo executed as carefully and judiciously as the others. He displayed similar art and judgement in the history of the Flood, where there are depicted some dying men who are over-whelmed by terror and dismay at what has happened and in various ways are striving their utmost to find safety. For in the heads of these figures one sees life in prey to death, along with fear, dismay, and hopelessness. Michelangelo also showed the pious actions of many people who are helping one another to climb to safety to the top of a rock. Among them is a man who has clasped someone who is half dead and is striving his utmost to save him; and nothing better than this could be seen in living nature. Nor can I describe how well expressed is the story of Noah, who is shown drunk with wine and exposed, in the presence of one son who is laughing at him and two others who are covering him up: a scene of beautiful artistry that sets its own standards. Then, as if Michelangelo's genius were emboldened by what he had already done, it soared even higher and achieved even more in the five sibyls and seven prophets that are painted on the ceiling. These figures, each ten feet or more in height, are shown in varied attitudes, wearing a variety of vestments and beautiful draperies; they are all executed with marvellous judgement, and invention, and they appear truly inspired to whoever studies their attitudes and expressions.
Thus, Jeremiah can be seen with his legs crossed, holding one hand to his beard and resting an elbow on his knee; the other hand rests on his lap, and the manner in which he inclines his head clearly expresses his melancholy and anxious reflection, and the bitterness forced on him by his people. Equally fine are the two putti and the first sybil beyond him, in the direction of the door. In this figure Michelangelo was anxious to express the spirit of old age itself; she is enveloped in draperies, to suggest that her blood had frozen with the passing of time. And since her sight has failed, Michelangelo has depicted her holding the book she reads very close to her eyes. Beyond this figure follows the prophet Ezekiel, an old man, full of movement and grace, and holding in one hand a roll of prophecies while he raises the other and, as he turns his head, prepares to utter words of lofty significance. Behind him there are two putti holding his books.
Next to him there follows a sybil who, in contrast to the Erythraean sybil described above, is holding a book at some distance and is about to turn one of the pages, sitting deep in contemplation, with one leg over the other, while she ponders what she must write; and then a little boy behind her blows on a burning brand to light her lamp. [Vasari transposed the two sybils; the first is the Persian sybil, and the second is the Erythraean sybil.] Many aspects of this figure are of exceptional loveliness: the expression of her face, her head-dress, and the arrangement of her draperies; and her arms, which are bared, are as beautiful as the rest. Beyond her Michelangelo painted the prophet Joel who, sunk within himself, has taken a scroll which he is reading with great attention and emotion; he looks like a living person who has applied his thoughts intently to the matter before him, and from his expression one can recognize that he is content with what he reads. Then over the door of the chapel Michelangelo placed the aged Zechariah who holds a book in which he is seeking something that he cannot find, crouching with one leg raised back and the other lower down, oblivious to the discomfort of this posture because of the intensity of his search. This is a figure marvellous in its old age, somewhat full in form and wearing beautiful draperies with a few folds. Then there is the (Delphic) sibyl, next towards the altar on the other side, who is displaying certain writings and who, with her little boys in attendance, is no less admirable than the others. And then beyond her we see the prophet Isaiah. He is lost in thought, and with his legs crossed he