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Even more evocative as a ruin than if it had survived intact.
Abbazia di San Galgano的点评
点评：If the Abbey of San Galgano had survived intact, it would be listed as one of the three greatest examples of Cistercian "proto-Gothic" architecture in Italy, along with Fossanova and Casamari (both in southern Lazio). As it stands now, roofless since the 18th century, it's remembered for the same reason (this can be verified, for example, in art history textbooks for Italian high schools), but it can also be appreciated for the charm of its ruined state, à la Ruskin.
Indeed, the abbey was built according to the rules common to the other major churches of Italian Cistercian abbeys (as is to be expected, given that the monks of Casamari likely played some role in the founding of San Galgano): Gothic architecture in the particular Cistercian version, where pointed arches dominate but flying buttresses are absent; the apse and transept heads are rectangular; the sobriety of the central nave, accentuated by the monochrome travertine cladding running up to the full height of the side aisles; the powerful, polistyle pillars supporting the naves, with the column facing the central nave — a sophisticated solution — rising not from the floor but from a corbel located three meters high.
These rationally conceived construction solutions were then altered in their effects by the unexpected collapse of the ceiling, which floods the interior with light. An unintended result, but one that renders the whole evocative, perhaps more so than if the church had survived intact.
If desired, aided also by the wild and solitary beauty of the setting (already a foreshadowing of the Maremma), one could conceive of the ruin as a metaphor for the fate of this area of the province of Siena; an area that, far more than the rest of municipal Tuscany, conveys the sense of radical decline after the "golden era" of the Middle Ages.
Indeed, the abbey was built according to the rules common to the other major churches of Italian Cistercian abbeys (as is to be expected, given that the monks of Casamari likely played some role in the founding of San Galgano): Gothic architecture in the particular Cistercian version, where pointed arches dominate but flying buttresses are absent; the apse and transept heads are rectangular; the sobriety of the central nave, accentuated by the monochrome travertine cladding running up to the full height of the side aisles; the powerful, polistyle pillars supporting the naves, with the column facing the central nave — a sophisticated solution — rising not from the floor but from a corbel located three meters high.
These rationally conceived construction solutions were then altered in their effects by the unexpected collapse of the ceiling, which floods the interior with light. An unintended result, but one that renders the whole evocative, perhaps more so than if the church had survived intact.
If desired, aided also by the wild and solitary beauty of the setting (already a foreshadowing of the Maremma), one could conceive of the ruin as a metaphor for the fate of this area of the province of Siena; an area that, far more than the rest of municipal Tuscany, conveys the sense of radical decline after the "golden era" of the Middle Ages.
翻译：如果圣加尔加诺修道院能够完整保存至今，它将与福萨诺瓦修道院和卡萨马里修道院（均位于拉齐奥南部）一起，被列为意大利熙笃会“原始哥特式”建筑的三大典范之一。如今，自18世纪以来，它已无屋顶，人们记住它的原因也正是如此（例如，意大利高中的艺术史教科书便可佐证这一点），但人们也可以像罗斯金那样，欣赏它残垣断壁的独特魅力。
事实上，这座修道院的建造遵循了意大利其他主要熙笃会修道院教堂的通用规则（考虑到卡萨马里修道院的修士很可能参与了圣加尔加诺修道院的创建，这也不足为奇）：哥特式建筑，但具有熙笃会的独特风格，以尖拱为主，但没有飞扶壁；后殿和耳堂的顶部均为矩形；中央中殿的肃穆庄严，与延伸至侧廊顶的单色石灰华饰面相得益彰；支撑中殿的粗壮多柱式立柱，其中一根面向中央中殿的立柱——这一精妙的设计——并非立于地面，而是从三米高的托架上拔地而起。
然而，这些经过精心构思的建筑方案，却因天花板的意外坍塌而改变了原有的效果，阳光倾泻而入，照亮了整个教堂内部。这虽是意料之外的结果，却赋予了整座教堂一种独特的意境，或许比教堂完好无损时更令人回味无穷。
如果愿意，再加上周围环境的原始而孤寂之美（这已预示着马雷玛地区的风貌），人们可以将这座废墟视为锡耶纳省这一地区命运的隐喻；与托斯卡纳其他地区相比，这片区域更能体现中世纪“黄金时代”之后的彻底衰落。
事实上，这座修道院的建造遵循了意大利其他主要熙笃会修道院教堂的通用规则（考虑到卡萨马里修道院的修士很可能参与了圣加尔加诺修道院的创建，这也不足为奇）：哥特式建筑，但具有熙笃会的独特风格，以尖拱为主，但没有飞扶壁；后殿和耳堂的顶部均为矩形；中央中殿的肃穆庄严，与延伸至侧廊顶的单色石灰华饰面相得益彰；支撑中殿的粗壮多柱式立柱，其中一根面向中央中殿的立柱——这一精妙的设计——并非立于地面，而是从三米高的托架上拔地而起。
然而，这些经过精心构思的建筑方案，却因天花板的意外坍塌而改变了原有的效果，阳光倾泻而入，照亮了整个教堂内部。这虽是意料之外的结果，却赋予了整座教堂一种独特的意境，或许比教堂完好无损时更令人回味无穷。
如果愿意，再加上周围环境的原始而孤寂之美（这已预示着马雷玛地区的风貌），人们可以将这座废墟视为锡耶纳省这一地区命运的隐喻；与托斯卡纳其他地区相比，这片区域更能体现中世纪“黄金时代”之后的彻底衰落。
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