昨天的狗儿涂鸦纪念杜克200岁（Eugène Emmanuel Viollet-le-Duc, 1814 ~ 1879）。老杜是现代建筑理论的先驱，也是古建筑修复大师，30岁主持修复巴黎圣母院，根据哥特式建筑应有的东西为它“恢复”了很多元素，特别是那个一直想修而没修的尖塔。

古迹修复的一般原则大概是“修旧如旧”，但古建筑的保护和修复，一直纠结于“现状”(status quo)与更新的矛盾。老杜是倾向后者，他在《建筑学基础》（The Foundations of Architecture）中说，要通过修复来重塑建筑物的完整的状态，可以是过去从未有过的（to reestablish [a building] to a finished state, which may in fact never have actually existed at any given time）。同时的另一位大理论家Ruskin则在著名的《建筑七灯》（The Seven Lamps of Architecture）里批判这种维多利亚式的修复纯粹是破坏。他将“记忆”比喻为建筑的第六盏灯，而所谓修复，会把记忆的影儿都给破坏了。他认为不可能有什么修复，正如不可能死而复生；建筑的伟大与美丽是一去不复返的：

Neither by the public, nor by those who have the care of public monuments, is the true meaning of the word “restoration” understood. It means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered; a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture.

罗老师对那失去的壮美的惋惜，可以从他写《威尼斯的石头》的动机得到更好的印证——他要从那城市的海市蜃楼般的光影里，追寻往昔的美丽：

Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak—so quiet,--so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.

   Her指消失了的Tyre古城，她的successor就是威尼斯——Tyre的繁华梦影如今只留在文字里，它的实在的美丽只能从残留在威尼斯的石头里去追寻了。有着这样的情怀，罗老师当然不喜欢重塑的完整和从那完整生出的虚假。

the stones of Venice