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CHAPTER XXI FAKED POTTERY
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   Faked pottery1—Old unglazed types—Artistic4 and scientific interest in pottery—Oriental glazed2 pottery—Greek and Etruscan half-glazed vases—Faience and its various types—Italian factories, Cafaggiolo, Urbino, etc.—Iridescent5 glazes7, Hispano-Moresque, Deruta and Gubbio—French pottery—Faked Palissy and imitations of Henri II—Other types of French faience—China, the old and modern composition of china—Various ways of faking china of good marks—Half-faked pieces—Blunders in marks—Glasses and enamels8.

Pottery presents one of the richest and most varied10 fields for imitation and faking. The endless types and specialities of this class seem to have spurred the versatile11 genius of the imitator.

Broadly speaking, and age apart, pottery may be divided into two classes: one in which glazing12 does not appear, and one in which this important element of ceramics13 lends an entirely14 different character to the product.

The first class more especially, if not exclusively, may be grouped into two types according to character: those that interest the scientist in particular, and those that come more into the domain16 of the artist and art lover. It is of course understood that there is no definite line of demarcation between the two.

Faking, however, with a great spirit of impartiality17, makes no distinctions and is ready to meet its clients on the scientific or artistic field, and fully18 prepared to accommodate the scientist with an artistic bent19 or the artist possessing the learned propensities20 of the historian.

Thus Mexican idols21 and Peruvian pottery, as well as the productions of savage22 tribes, are imitated and copied with the247 same interest as the unglazed vases of Samos, Greek clay urns23 and Roman lamps. What regulates the increase of the forger’s activities and spurs his genius is, as we have said, the demand for an article and its price.

There is nothing surprising then in the fact that some rather indifferent types of pottery of savage tribes, or incomplete aboriginal24 specimens25, should have been faked as though they presented the interest of a chef-d’œuvre. Not altogether of this class, but certainly of limited interest so far as art is concerned, are the Mexican articles which have been among the most exploited by those who know that these kinds of relics26 are in great demand by scientists as well as collectors who have a passion for specialities.

In the Exhibition of 1878, a group of scientists put the incautious upon their guard by exhibiting a whole series of faked Mexican idols, pottery and so forth27. But as the articles, especially at that time, were in great vogue28, the warning was not sufficient for specialists and collectors, and the show of faked Mexican art proved such a success that it stirred the honesty or cynicism, we hardly know which, of a Parisian dealer29 who conceived the notion to advertise his wares30: “Forgeries32 of Mexican idols, 5–25 francs.”

Unglazed Oriental and Græco-Roman pottery, with its fine forms and decorative33 character, has not only proved an attraction to the collector but very tempting34 to the faker who finds no great difficulty in imitating it. The way to render such pottery antique-looking is easy. Acids may play their part here too, but they are hardly necessary as the porous35 nature of the clay makes it able to absorb any kind of hue36, tone and dirt if buried in specially15 prepared ground or in a bed of fertilizer.

Curiously37 enough from one point of view, the imitation of this early art generally flourishes on the very spot where the originals are excavated38, and still more odd is it that on more than one occasion those duped were the very ones supposed to be good connoisseurs40 and who took direct interest in the excavations41. Thus it is that there is an248 abundance of faked Samos, Rhodes and other specimens, in collections now housed in museums. A superficial inspection43 of the Cesnola collection in the Metropolitan44 Museum of New York, ought to be sufficient to prove that even connoisseurs as good as Cesnola, are not quite safe in this speciality against the trickery of modern imitators.

With Greek, Campanian or Etruscan pottery that bears a peculiar45 polish or glazing the nature of which is still a mystery to ceramists the case is somewhat different; good imitations are rare. Naturally there cannot be included among convincing imitations those upon which a lead glaze3 has been used, as such imitations are covered with a thick layer of shining glaze and are only intended for veriest neophytes who have presumably never seen an original. Successful imitations are either finished with a very thin and non-shining glaze or an encaustic polish. To ascertain47 whether encaustic has been used, one has only to rub the piece with a cloth soaked in benzine, which will soon turn it opaque48.

In the pottery museum of Sèvres there is an interesting series of faked Greek and Etruscan vases, urns, etc. It comprises some good specimens of the work of Touchard, an imitator flourishing about the year 1835, other pieces by the Giustiniani of Naples, and some of the most successful fakes of this particular kind of pottery, the pieces by Krieg from the Rheinzabern factory. These pieces were sold to the Sèvres Museum as genuine, by a Bavarian, in the year 1837.

We are told that a good method in imitating Etruscan pottery is to work with engobe, adding a well-ground frit to the barbotine that contains the elements of a glaze. To our knowledge all imitations of this kind are wanting in appearance and it is safe to assert that they could hardly receive serious consideration from a true connoisseur39.

As regards glazed Oriental ceramics, there are to be noted49 some good imitations of Persian work and, above all, imitations of the characteristic pottery of Rhodes. Factories for these ceramics are almost everywhere. Perhaps the best imitations come from a factory in Paris. Imitations from this249 factory have succeeded in deceiving more than one connoisseur. A well-known curator of a Berlin museum bought one of these samples as genuine, paying eighty pounds for it, and an antiquary of Florence, quite a specialist in ceramics, very nearly committed the same mistake, but by good luck he was warned by a friend who had been taught by hard experience that this Oriental pottery is a product of very Western origin. Curiously enough the manufacturers do not sell their produce for anything but imitations; however, through the usual frauds in which the market in antiques abounds51, these pieces are evidently palmed off on unwary collectors outside France. Oriental pottery is usually so well preserved, thanks to its hard glaze, that the faker is spared all complicated processes to give the piece an appearance of age.

The glazed work of Hispano-Moresque pottery presents a more or less successful field to imitators. The lustrous52 glaze of various hues53 does not seem to offer difficulties to the modern ceramist, who has learned how to use the mysterious co-operation of smoke in the so-called muffle54 glaze. Yet when confronted with originals, which are becoming rarer and rarer in the market every day, the best of imitations leaves room for meditation55 as the genuine is usually a very uncomfortable neighbour to the counterfeit56.

The Italian Renaissance57 with its various and interesting types has yielded a fine crop of imitations. In fact plagiarism58 was already rampant59 when the old factories, now extinct, were in full activity. Thus on more than one occasion Faenza has copied Cafaggiolo, and the models of Urbino, Pesaro and Casteldurante are often interchanged, while the factory of Savona seems to have blended its unmistakable individuality with the models of all the most successful factories. Cafaggiolo, Gubbio and Derutha are perhaps the types of old Italian pottery to which the faker has given preference. There are some modern imitations of Cafaggiolo made by a ceramist of Florence so well done that they have deceived the best connoisseurs of Paris and Berlin. But for the fact250 that we have pledged ourselves to point out the sins and not the sinners or their victims, we could enumerate60 a rather interesting list of illustrious victims to this clever imitator of Cafaggiolo, who is still at work in Florence and more dangerous every day by reason of the perfecting of his deceitful art.

There are also old imitations of Cafaggiolo, made by the Sicilian factory of Caltagirone, and if one thing surprises us more than another it is that good collectors should buy this type freely as genuine. They are apparently61 blind to the grossness of the imitation and above all to its dark, dirty blue which has nothing in common with the beautiful colour of a genuine Cafaggiolo.

Another cherished type offering great enticement62 to the Italian faker, even though not imitated successfully enough to take in the real expert, is the work of Della Robbia. Imitations of this work, copies from good originals and honestly sold as such, are to be seen at one of the most important potteries63 of Florence, Cantagalli, a firm of almost historical reputation. Being intended to be sold as reproductions, copies or imitations, no patina64 is given to these.

It is not only in Italy that Italian faience has been freely imitated but also in other countries, particularly France. Among the successful imitators we may quote Joseph Devers, who made such good imitations of Italian faience that he had the honour to sell some of his specimens to the Sèvres Museum in 1851. Looking now at these imitations of Della Robbia, made so successfully by Devers in 1851, one wonders how they could have been taken for genuine by experienced connoisseurs.

The lustre65 work of Maestro Giorgio Andreoli and Derutha has been imitated by many factories, but, notwithstanding the efforts put forth and the progress made in discovering the secret of lustrous glazing, the imitations, especially of Maestro Giorgio, are deficient66. In the Gubbio work of the best epoch67 a special firing must have been used, especially for the red hue, which is so original and characteristic that it seems to251 defy imitation. That the Maestro Giorgios must have been glazed at a low temperature, at any rate for the production of the iridescent effect of the colours, may be concluded from an incident that occurred in Gubbio years ago. On the spot where Maestro Giorgio is supposed to have had his furnace for firing his masterpieces, some debris68 of fine Gubbio work was found. By chance a woman put one of these pieces that had apparently not received the last firing for the iridescent hue into the warming pan with which she was warming her hands, and the moderate heat of the ashes was sufficient to produce the iridescent effect. Imitators of this kind of work use various methods, but one of the most common is muffled69 glaze, specially prepared and aided by smoke which envelopes the piece when incandescent70 and the glaze about to melt.

In France the hard-glazed work of Palissy was naturally an incentive71 to the imitator’s versatile aptitude72, and later on to the faker’s. Being as esteemed73 for his work, as ill-treated for his religious convictions, Palissy had many imitators in his own time, mostly among his pupils or enthusiastic followers74. However, Palissy died in the Bastille without revealing the secret of his glaze or the composition of his clay, so even his followers could only grope in the dark, to use the expression by which Palissy defined his long and arduous75 research, before he discovered the secret of his marvellous pottery. Perhaps because plagiarists are, after all, always plagiarists, the fact remains76 that none of the sixteenth and seventeenth-century imitators reached the level of the master.

However, false Palissys are legion now. They are of all kinds and the originals being now practically off the market, museums, as usual, abounding77 in pseudo-Palissys, so a comparison with an original is not always possible.

Apart from his immediate78 followers, Palissy was copied and imitated at Avon near Fontainebleau in the seventeenth century during Louis XIII reign79. Demmin, a real authority on Palissy ceramics, mentions many false Palissys now in252 museums, some of them regular pastiches80, suggested from well-known prints of a later date than Palissy. According to Demmin, some of these pieces are in the Victoria and Albert Museum, the motives81 of the composition, old-fashioned gardens, being taken from engravings in the style of Lenotre, possibly dating between 1603 and 1638.

In modern times there are to be noted imitations by Alfred Corplet, a restorer of pottery who filled the market after the year 1852 with passable imitations, sold as such, of Palissy work. For a long time he had been a restorer of broken and damaged Palissy work and thus he had had opportunity to study the work of the master closely, and at one time his imitations fetched high prices. A. M. Pull also imitated Palissy work about the year 1878, as well as Barbizet Brothers, of whom a plat à reptiles82 is kept in the Sèvres Museum. Some firms even reproduce sea-fish which are never found on genuine Palissys, as the master only moulded such animals and fish as he found in the environs of Paris.

There are many fakers who still love to imitate the work of Palissy, and if we may give advice to the inexperienced collector we would say: “Don’t go after Palissys nowadays, as a find in this line is almost an impossibility; good originals are either kept in well-known collections or jealously guarded in museums.”

Henry II faience, the technique of which is as much a mystery as Bernard Palissy’s glaze, has also been imitated, but, with the exception of a few specimens, the imitations are so coarse that they could hardly be dangerous even to the neophyte46 who had perchance some slight acquaintance with originals. As in the case of Palissy, however, Henry II ceramics do not abound50 on the market and such a thing as a find is not to be hoped for.

More common are the imitations of Rouen, Moustiers, down to the ceramics of the Revolution. The latter were at one time in such demand that a very commercial type was produced which can be imitated, of course, with ease. In this field also, therefore, do not get excited too quickly over253 some truculent84 subject with the conspicuous85 date of the Terror. Naturally among these subjects, the assiettes au confesseur and à la guillotine, depicting86 the execution of Louis XVI, are too tempting to forgers not to be given a certain preference among the faked pottery of the Revolution.

We would point out, further, that the pottery of all parts of the world has invariably been faked or imitated, as soon as a promise of success was presented to the imitator and of gain to the faker, but it is not the purpose of this work to make a long exposition of the countless87 types of faking, which would considerably88 increase its bulk and risk monotony by an endless list of names and almost identical facts with the usual dramatis personæ—the cheater and the cheated.

To give an appearance of age to pottery, especially glazed pottery, there are various methods, as we have already said.

Sometimes it is not only a question of determining whether an object is genuine or not, but as pottery is apt to be one of the most restored articles of antiquity89 offered to the collector, the art lover must be acquainted with the means of detecting which parts of a piece of pottery have been restored, often over-restored. There are two ways of restoring pottery where parts are missing. One is to make the missing part in clay, bake it, and glaze and colour it to imitate the genuine part of the object. When this is done the new part is cemented to the old, and the piece is supposed to have been only broken and mended, a fact which does not lessen90 the value of the object in the eyes of the collector so much as incompleteness would. As this operation is an extremely difficult one which only a few specialists can perform—there is a Florentine ceramist who does it to perfection—and very expensive as well, only really fine pieces of pottery are restored in this way as a rule. Ordinary pieces are repaired as follows. The fragments of the object are carefully cemented together and the missing parts are then supplied with plaster. Some use plaster mixed with glue, others some similar254 composition, in fact any soft substance will do if it will harden after it has been modelled and properly shaped. When the missing parts have been filled in and carefully polished with sand-paper, they are prepared for oil paint with a light coating of a weak solution of glue. After this the artist paints in the missing pattern with oil colours and a brush, copying from the original parts of the object. This finished, the glaze is imitated by a coat of varnish91.

Incredible as it may sound, in the hands of a clever artist this rather clumsy method produces an almost complete illusion. It is, however, easy to ascertain what parts have been repaired. The new parts are warmer to the touch than the glazed pottery, and they will also smell of turpentine or oil paint. Should an old mending have lost all smell, the heat of the hand is sufficient to revive it. Place your finger for a time on the part you suspect, and then smell it and you will be able to detect whether the part has been repainted with oil colours. A piece repaired by the other method is naturally more difficult to detect; an experienced eye, however, will notice some slight differences in colour and form between the old and the new parts, and sometimes the join is not quite perfect, a defect that is often remedied by filling in the crack with a mastic imitating the glazed ground of the piece. This rarely occurs, however, as a good repairer can generally calculate to a nicety the shrinkage of the part to be added and makes such a neat and perfect fit that only an experienced eye can detect it.

In the case of a purely92 modern imitation, the faker’s art consists, as usual, in giving the piece a convincing appearance of age, once the actual making has been performed. This is generally effected by exposure to apparent ill-usage, by greasing and smoking the object, then cleaning it and repeating the operation over and over again till the dirt has penetrated93 into all the cracks, or by burying it in a manure94-heap and letting it remain till it has lost all freshness. There are also chemical ways by which the glaze is eaten and its composition altered. It is a fact that fluoric acid readily255 eats the glaze just as it dissolves glass, and under certain circumstances the lead in the glaze under the form of silicate95 changes under the action of hydrosulphuric acid.

Cracks or a regular network of craquelage are generally produced on new ceramics by the same principle as they are obtained on oil paintings, namely, by producing artificially a difference in the shrinkage capacity of two superimposed layers. In oil painting it is the layer of pigment96 and of varnish, in the case of pottery the two layers are represented by the baked clay and the glaze. If the clay has a smaller shrinkage than the glaze, in the second firing of the piece to melt the glaze, the latter will dry in a network of cracks like those on Chinese or Japanese vases, which are reproduced by this method. Reversing the game, the glaze peels off here and there in drying and produces the imperfections sometimes desired on imitations of old and damaged pottery.

An artificial disproportion between the shrinkage of the clay and the glaze is usually obtained by modifying the quality of either the one or the other. Does the clay shrink more in the firing than is desired, the ceramist generally mixes it with non-shrinking elements such as powdered brick, or even another kind of clay which he knows must shrink less on account of its composition, although it may not be suitable in colour and quality. By this same modification97 of the composition the shrinkage of the glaze is increased or diminished. Glazes are generally composed of a combination of silex, furnished by sand, and oxide98 of lead with the addition of some flux99 such as borax. With an increased quantity of silex in the composition of the glaze the shrinkage capacity is diminished. Consequently a predominance of the other elements, lead, flux, etc., produces the opposite effect, namely, giving the glaze a greater shrinkage capacity. Some workmen prefer to modify the quality of the clay to obtain the desired craquelage, others find it more practical to modify the glaze.

A full account of faked china would probably fill a bulky volume. It may be taken for granted that every kind of256 artistic china worth imitating has tempted100 the faker, with disastrous101 results to the unwary collector. We have mentioned some of the most noted forgeries of faience, merely to show what a happy hunting-ground ceramics have been to the faker of all times, and with china this is doubly the case. From the early attempts of Bottger, those rare specimens of rare china, down to almost modern samples of Sèvres there has been a long succession of types that have kept generations of fakers and imitators incessantly102 busy.
* * * * *

Curiously enough and with no intention of cheating, as far as china is concerned, noted factories have themselves greatly added to the confusion between originals and copies by becoming their own plagiarists, as it were, by imitating old kinds. Thus the Meissen factory now puts upon the market types of old Dresden very satisfactory to people not intimately familiar with the fine old models of the factory. The same has been done at Sèvres, Doccia and other factories. Then, too, in some cases the plagiarism is furnished with distinguishing marks that have increased the confusion—for the neophyte collector, be it understood.

It is well known, for instance, that before closing its doors towards the end of the eighteenth century, the Capodimonte factory sold all the models of the factory to Ginori’s noted china works at Doccia, and together with the models the right to use the N surmounted103 by a crown which was the Capodimonte factory mark. Ginori’s factory has ever since reproduced imitation Capodimonte with the mark of the Royal Neapolitan factory. Of course the pieces may be sold by the firm as Ginori ware31 and not as Capodimonte, but once on the market they are sure to come into the possession of some unscrupulous dealer who will palm them off as Capodimonte.

A good connoisseur, however, can tell, almost at sight, the real Capodimonte from the ones Ginori’s factory has been turning out for more than a century. The latter are not so257 fine in form or colour, and although made from the same mould are not so well finished and retouched as the real Capodimonte.

Apart from this, a large contribution to imitations of highly reputed china is made by smaller factories that find it convenient and profitable to copy pieces of celebrated104 marks. Some of these factories even go so far as to imitate the mark, rendering105 the deception106 perfect.

There is another form of deceit in the market for artistic china, peculiar to this particular branch. Many factories are in the habit of disposing of such artistic pieces as are not considered altogether up to the reputation of the factory. These pieces are often bought by clever workmen who embellish107 them with skill and patience, and then sell them profitably. If the mark is missing it is added with muffled colours. To obviate108 this irregularity some of the best factories either erase109 the mark on the wheel, or cut certain lines in the glaze which indicate that the piece is genuine but not recognized by the factory as up to its standard of artistic value. Of course even a moderately expert collector knows the indelible sign made over the genuine mark, but there, nevertheless, seem to be people who buy such pieces under the impression that they are genuine first-rate Dresden, whereas no other claim can be made than that the white background and the mark are authentic110, both baked a gran fuoco as the decoration is generally muffled work and can be executed by any skilled workman who has built a muffle in his own house. Nowadays defective111 pieces are destroyed by reputable firms; but years ago they were not only sold off, but even given to the very factory men, who took them home, decorated them and put them on the market as genuine pieces. Some of these curious fakes are naturally almost as good as the genuine article, being at times the work of the same artist and the defect of the first firing is not always visible as a slight curve in a dish, or a tiny speck112 in the glaze of a vase, is a sufficient blemish113 for the piece to be thrown aside by the factory.

258 Where the faker does not always display his usual sharpness is in the falsification of marks of noted factories. He is apt to make gross mistakes by copying a mark from an original without knowing the historical characteristics of the marks of certain factories, their peculiarities114 and eventual115 changes. Take, for instance, the Sèvres mark. It is known that instead of dating the pieces in figures, the Sèvres factory began in the year 1753 to mark the pieces with an A between the entwined initials of the King’s name, and that each successive year was marked by the French alphabet till the letter Z was reached in 1776, after which the alphabet was repeated again, doubling each letter, thus:—
1753     A
1776     Z
1777     AA
1793     ZZ

It is, however, not unusual to see a faked piece of Sèvres imitating the work of the end of the eighteenth century wrongly marked as to date, the faker having evidently copied the mark from an original, unaware116 that it represented a date as well. This incredible ignorance can only be explained by the fact that many of these clever imitators, are artists altogether unacquainted with any information outside their imitative art. There are also other difficulties in the imitation of Sèvres and its marks, more especially the pieces of the above series, of which the faker appears to be unaware. Beside the factory mark, in the alphabet series particularly, there is always the special mark of the artist who did the decoration. These marks are generally not very conspicuous, initials, dots, lines, etc., and belong to specialists, miniature portrait painters, landscapists or simple decorators. By copying the old marks mechanically without knowing the information carried by the artist’s initials or marks, the faker is liable to attribute a piece of faked landscape painting to a portraitist and vice83 versa. Errors of this kind are more common than is generally supposed.

259 In faked china there is no question of patina or devices by which to confer an appearance of age to the piece, nor of artificial breakages for, by a freak of connoisseurship117 and contrary to faience, repaired china has lost in a great many cases all artistic and monetary118 value.

We now turn to glassware and enamels as bearing a certain affinity119 in the domain of faked art and antiquities120 with the glazed pottery already illustrated121.

The museum of Saint-Germain contains specimens of faked Roman glass with iridescent effect produced by the queer scheme of sticking fish scales to one side, which as every one knows are iridescent. A most naïve form of faking to which later progress in the grand and artistic profession of duping unwise collectors hardly renders it necessary for imitators to have recourse.

Phœnician glass, the little scent6 bottles, the so-called lachrymatories or tear-bottles, furnish a large source of profit to the faker. They do not command high prices, and appeal to the less fastidious class of collectors, tourists, and are sure of finding purchasers. Interment in earth or manure gives the desired iridescent quality to the glass in time.

From these antique types we will proceed to others of more recent times which demand more care and skill to imitate, not so much on account of the art as the peculiar defects of certain kinds. While Cologne distinguishes herself with imitations of specimens of old glass, the so-called product of excavation42, and other cities of Germany reproduce old national types, Italy has revived old Murano with a certain amount of success, as well as various kinds of Quattrocento and later samples.

These imitations are not always made with the intention to deceive and their success depends upon the class of collector. He who has perfected his taste finds that although they may approximate to the old originals materially, artistically122 they are wanting. The excess of precision that belongs to modern reproductions somewhat lessens123 the260 artistic effect and forms one of the salient differences between old and new.

But these after all are not dangerous, they represent the cabotage on the sea of deceit; there are also fine pieces of real artistic value that are imitated by artists of every nation such as old Bohemian chefs-d’œuvre, Murano chandeliers, the latter sometimes composed of old and modern parts.

Cut glass is another branch in which the skilful124 imitator has triumphed. The work of Valerio Belli and others is so well imitated that even the best connoisseurs are deceived.

With regard to enamels we would repeat the usual refrain, do not buy them until you know whence they come, and until you have traced at least two or three centuries of well-authenticated pedigree.

There are ordinary imitations in the antique market which are quite easily distinguished125, but there are others, regular chefs-d’œuvre of art and craft, that defy and have, in fact, defied experience and knowledge.

Not all imitations are by Laudin or Noailher, whose work may be of interest to the accommodating taste of lovers of imitations, but there are products of a higher grade, unfortunately for collectors and museums, and these are not sold as imitations, but good round sums have been paid for them and they have, in a way, ruined the reputation of more than one collector and expert.

The technique of the work is identical with that of the past, and the process for giving an appearance of age very much resembles that already described in this chapter, though there are some fakers who claim to have found a patina that cannot be dissolved, being incorporated with the enamel9 as a glaze obtained in the second firing. The many lawsuits126 and summonses at the Courts with respect to the buying and selling of counterfeit enamels, are ample proof that faking is rampant also, in this interesting branch of art collecting.

It suffices to say that among the illustrious victims of faked enamels there is to be included the elder Baron127 Rothschild,261 or le Baron Alphonse as he was briefly128 called among antiquaries.

The first of his bad experiences in faked enamel was revealed to the wealthy Baron by Mr. Mannheim, one of the finest and most honest connoisseurs of Paris, then taking his first steps in the traffic with antiques. From the first, Mannheim had an excellent eye and he discovered that a place of honour was being given to a false piece in Baron Alphonse’s rare series of choicest enamels. At first he did not dare to reveal the secret, but after having gained the certitude that not only the one piece, but others also, of the collection were more or less clever fakes, he took the opportunity to speak that was offered one day by the Baron’s praise of this fine piece of enamel.

At first the Baron was of course obstinate129 in his unbelief, but upon a final test and the opinion of other experts, Mannheim’s good eye finally triumphed. The chef-d’œuvre and other spurious pieces for which the multi-millionaire had paid a fortune disappeared from the collection.

Long after the above experience with which Mannheim’s name was connected, Rothschild bought an altar-piece of immense value and great artistic merit. This fine enamel had been sold to the Baron by a London dealer, who had evidently bought the piece as an antique and did not scruple130 to sell the rarity to his best client for one million lire.

Having been told by his dealer that the enamel had originally come from Vienna, Baron Rothschild one day pointed131 it out to an Austrian attaché, his guest, commenting upon its beauty and his own good fortune in having it in his possession. He concluded by expressing his surprise that Austria should let such a fine work of art cross the frontier. The attaché said nothing in the presence of the other guests, and only whispered to his host “I will come to-morrow to tell you what I think of your find!” The next day, in fact, he returned and revealed to the Baron how he had been deceived in what he thought to be a precious original, as it was nothing but a copy of a well-known altar-piece preserved in Vienna. He was262 even able to name the man who had made the copy of the precious enamel, a certain Werninger who had secretly made a reproduction while restoring the original.

The Baron claimed and obtained his million from the London dealer, whose good faith in this affair was beyond question, and a warrant was issued against Mr. Werninger. The dealer did not recover the price he had paid but Mr. Werninger was sentenced to five years’ imprisonment132, ample time in which to meditate133 upon the reprehensible134 side of his alluring135 art.

As usual we must conclude the illustration of this particular branch of the trade with a warning, for if Baron Rothschild had to regret the acquisition of expensive enamels, and he is not the only conspicuous connoisseur to do so, what is the fate likely to overtake the first exploits of a neophyte in the field! If not assisted by a first-rate expert, the freshman136 had better not meddle137 with enamels for a long time, but assuage138 his passion by going and admiring well-known and authentic pieces in famous museums.


点击收听单词发音收听单词发音  

1 pottery OPFxi     
n.陶器,陶器场
参考例句:
  • My sister likes to learn art pottery in her spare time.我妹妹喜欢在空余时间学习陶艺。
  • The pottery was left to bake in the hot sun.陶器放在外面让炎热的太阳烘晒焙干。
2 glazed 3sLzT8     
adj.光滑的,像玻璃的;上过釉的;呆滞无神的v.装玻璃( glaze的过去式);上釉于,上光;(目光)变得呆滞无神
参考例句:
  • eyes glazed with boredom 厌倦无神的眼睛
  • His eyes glazed over at the sight of her. 看到她时,他的目光就变得呆滞。 来自《简明英汉词典》
3 glaze glaze     
v.因疲倦、疲劳等指眼睛变得呆滞,毫无表情
参考例句:
  • Brush the glaze over the top and sides of the hot cake.在热蛋糕的顶上和周围刷上一层蛋浆。
  • Tang three-color glaze horses are famous for their perfect design and realism.唐三彩上釉马以其造型精美和形态生动而著名。
4 artistic IeWyG     
adj.艺术(家)的,美术(家)的;善于艺术创作的
参考例句:
  • The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
  • These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。
5 iridescent IaGzo     
adj.彩虹色的,闪色的
参考例句:
  • The iridescent bubbles were beautiful.这些闪着彩虹般颜色的大气泡很美。
  • Male peacocks display their iridescent feathers for prospective female mates.雄性孔雀为了吸引雌性伴侣而展现了他们彩虹色的羽毛。
6 scent WThzs     
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉
参考例句:
  • The air was filled with the scent of lilac.空气中弥漫着丁香花的芬芳。
  • The flowers give off a heady scent at night.这些花晚上散发出醉人的芳香。
7 glazes be984588a40c607ec1fefa50f4837fa7     
n.上釉的表面( glaze的名词复数 );釉料;(浇在糕点上增加光泽的)蛋浆v.装玻璃( glaze的第三人称单数 );上釉于,上光;(目光)变得呆滞无神
参考例句:
  • Glazes had been used from ancient times in Egypt. 埃及自古代起就使用釉料。 来自《现代汉英综合大词典》
  • Especially indicated for glazes which contain lead and boron. 尤其适用于含铅、含硼的釉药。 来自互联网
8 enamels cc4e0802f2aa071398885fe7a422c5b9     
搪瓷( enamel的名词复数 ); 珐琅; 釉药; 瓷漆
参考例句:
  • I'm glad you've kept your enamels! 我很高兴,你保留了那些珐琅物品!
  • A trademark used for a transparent thermoplastic acrylic resin enamels, and primers. (商标名称)一种透明的热塑性丙烯酸树脂。
9 enamel jZ4zF     
n.珐琅,搪瓷,瓷釉;(牙齿的)珐琅质
参考例句:
  • I chipped the enamel on my front tooth when I fell over.我跌倒时门牙的珐琅质碰碎了。
  • He collected coloured enamel bowls from Yugoslavia.他藏有来自南斯拉夫的彩色搪瓷碗。
10 varied giIw9     
adj.多样的,多变化的
参考例句:
  • The forms of art are many and varied.艺术的形式是多种多样的。
  • The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。
11 versatile 4Lbzl     
adj.通用的,万用的;多才多艺的,多方面的
参考例句:
  • A versatile person is often good at a number of different things.多才多艺的人通常擅长许多种不同的事情。
  • He had been one of the game's most versatile athletes.他是这项运动中技术最全面的运动员之一。
12 glazing efbb002113a7b05827a36cd681ab6eb5     
n.玻璃装配业;玻璃窗;上釉;上光v.装玻璃( glaze的现在分词 );上釉于,上光;(目光)变得呆滞无神
参考例句:
  • You should ensure against loss of heat by having double glazing. 你应装双层玻璃以免散热。 来自《简明英汉词典》
  • You should ensure yourself against loss of heat by having double glazing. 你应该装双层玻璃防止热量散失。 来自《简明英汉词典》
13 ceramics 0a6d841bb40f677207869b9f856b3b21     
n.制陶业;陶器
参考例句:
  • an exhibition of ceramics by Picasso 毕加索陶瓷作品展
  • The ceramics bore the imprint of Luca della Robbia. 陶器上印有卢卡·德拉·罗比亚的字样。
14 entirely entirely     
ad.全部地,完整地;完全地,彻底地
参考例句:
  • The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
  • His life was entirely given up to the educational work. 他的一生统统献给了教育工作。
15 specially Hviwq     
adv.特定地;特殊地;明确地
参考例句:
  • They are specially packaged so that they stack easily.它们经过特别包装以便于堆放。
  • The machine was designed specially for demolishing old buildings.这种机器是专为拆毁旧楼房而设计的。
16 domain ys8xC     
n.(活动等)领域,范围;领地,势力范围
参考例句:
  • This information should be in the public domain.这一消息应该为公众所知。
  • This question comes into the domain of philosophy.这一问题属于哲学范畴。
17 impartiality 5b49bb7ab0b3222fd7bf263721e2169d     
n. 公平, 无私, 不偏
参考例句:
  • He shows impartiality and detachment. 他表现得不偏不倚,超然事外。
  • Impartiality is essential to a judge. 公平是当法官所必需的。
18 fully Gfuzd     
adv.完全地,全部地,彻底地;充分地
参考例句:
  • The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气,然后全部呼出。
  • They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。
19 bent QQ8yD     
n.爱好,癖好;adj.弯的;决心的,一心的
参考例句:
  • He was fully bent upon the project.他一心扑在这项计划上。
  • We bent over backward to help them.我们尽了最大努力帮助他们。
20 propensities db21cf5e8e107956850789513a53d25f     
n.倾向,习性( propensity的名词复数 )
参考例句:
  • This paper regarded AFT as a criterion to estimate slagging propensities. 文中以灰熔点作为判断煤灰结渣倾向的标准。 来自互联网
  • Our results demonstrate that different types of authoritarian regime face different propensities to develop toward democracy. 本文研究结果显示,不同的威权主义政体所面对的民主发展倾向是不同的。 来自互联网
21 idols 7c4d4984658a95fbb8bbc091e42b97b9     
偶像( idol的名词复数 ); 受崇拜的人或物; 受到热爱和崇拜的人或物; 神像
参考例句:
  • The genii will give evidence against those who have worshipped idols. 魔怪将提供证据来反对那些崇拜偶像的人。 来自英汉非文学 - 文明史
  • Teenagers are very sequacious and they often emulate the behavior of their idols. 青少年非常盲从,经常模仿他们的偶像的行为。
22 savage ECxzR     
adj.野蛮的;凶恶的,残暴的;n.未开化的人
参考例句:
  • The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
  • He has a savage temper.他脾气粗暴。
23 urns 6df9129bd5aa442c382b5bd8a5a61135     
n.壶( urn的名词复数 );瓮;缸;骨灰瓮
参考例句:
  • Wine utensils unearthed include jars, urns, pots, bowls and cups. 发掘出的酒器皿有瓶、瓮、罐、壶、碗和杯子。 来自互联网
  • Ernie yearned to learn to turn urns. 呕尼渴望学会转咖啡壶。 来自互联网
24 aboriginal 1IeyD     
adj.(指动植物)土生的,原产地的,土著的
参考例句:
  • They managed to wipe out the entire aboriginal population.他们终于把那些土著人全部消灭了。
  • The lndians are the aboriginal Americans.印第安人是美国的土著人。
25 specimens 91fc365099a256001af897127174fcce     
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人
参考例句:
  • Astronauts have brought back specimens of rock from the moon. 宇航员从月球带回了岩石标本。
  • The traveler brought back some specimens of the rocks from the mountains. 那位旅行者从山上带回了一些岩石标本。 来自《简明英汉词典》
26 relics UkMzSr     
[pl.]n.遗物,遗迹,遗产;遗体,尸骸
参考例句:
  • The area is a treasure house of archaeological relics. 这个地区是古文物遗迹的宝库。
  • Xi'an is an ancient city full of treasures and saintly relics. 西安是一个有很多宝藏和神圣的遗物的古老城市。
27 forth Hzdz2     
adv.向前;向外,往外
参考例句:
  • The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
  • He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。
28 Vogue 6hMwC     
n.时髦,时尚;adj.流行的
参考例句:
  • Flowery carpets became the vogue.花卉地毯变成了时髦货。
  • Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。
29 dealer GyNxT     
n.商人,贩子
参考例句:
  • The dealer spent hours bargaining for the painting.那个商人为购买那幅画花了几个小时讨价还价。
  • The dealer reduced the price for cash down.这家商店对付现金的人减价优惠。
30 wares 2eqzkk     
n. 货物, 商品
参考例句:
  • They sold their wares at half-price. 他们的货品是半价出售的。
  • The peddler was crying up his wares. 小贩极力夸耀自己的货物。
31 ware sh9wZ     
n.(常用复数)商品,货物
参考例句:
  • The shop sells a great variety of porcelain ware.这家店铺出售品种繁多的瓷器。
  • Good ware will never want a chapman.好货不须叫卖。
32 forgeries ccf3756c474249ecf8bd23166b7aaaf1     
伪造( forgery的名词复数 ); 伪造的文件、签名等
参考例句:
  • The whole sky was filled with forgeries of the brain. 整个天空充满了头脑里臆造出来的膺品。
  • On inspection, the notes proved to be forgeries. 经过检查,那些钞票证明是伪造的。
33 decorative bxtxc     
adj.装饰的,可作装饰的
参考例句:
  • This ware is suitable for decorative purpose but unsuitable for utility.这种器皿中看不中用。
  • The style is ornate and highly decorative.这种风格很华丽,而且装饰效果很好。
34 tempting wgAzd4     
a.诱人的, 吸引人的
参考例句:
  • It is tempting to idealize the past. 人都爱把过去的日子说得那么美好。
  • It was a tempting offer. 这是个诱人的提议。
35 porous 91szq     
adj.可渗透的,多孔的
参考例句:
  • He added sand to the soil to make it more porous.他往土里掺沙子以提高渗水性能。
  • The shell has to be slightly porous to enable oxygen to pass in.外壳不得不有些细小的孔以便能使氧气通过。
36 hue qdszS     
n.色度;色调;样子
参考例句:
  • The diamond shone with every hue under the sun.金刚石在阳光下放出五颜六色的光芒。
  • The same hue will look different in different light.同一颜色在不同的光线下看起来会有所不同。
37 curiously 3v0zIc     
adv.有求知欲地;好问地;奇特地
参考例句:
  • He looked curiously at the people.他好奇地看着那些人。
  • He took long stealthy strides. His hands were curiously cold.他迈着悄没声息的大步。他的双手出奇地冷。
38 excavated 3cafdb6f7c26ffe41daf7aa353505858     
v.挖掘( excavate的过去式和过去分词 );开凿;挖出;发掘
参考例句:
  • The site has been excavated by archaeologists. 这个遗址已被考古学家发掘出来。
  • The archaeologists excavated an ancient fortress. 考古学家们发掘出一个古堡。 来自《简明英汉词典》
39 connoisseur spEz3     
n.鉴赏家,行家,内行
参考例句:
  • Only the real connoisseur could tell the difference between these two wines.只有真正的内行才能指出这两种酒的区别。
  • We are looking for a connoisseur of French champagne.我们想找一位法国香槟酒品酒专家。
40 connoisseurs 080d8735dcdb8dcf62724eb3f35ad3bc     
n.鉴赏家,鉴定家,行家( connoisseur的名词复数 )
参考例句:
  • Let us go, before we offend the connoisseurs. 咱们走吧,免得我们惹恼了收藏家。 来自辞典例句
  • The connoisseurs often associate it with a blackcurrant flavor. 葡萄酒鉴赏家们通常会将它跟黑醋栗口味联系起来。 来自互联网
41 excavations 185c90d3198bc18760370b8a86c53f51     
n.挖掘( excavation的名词复数 );开凿;开凿的洞穴(或山路等);(发掘出来的)古迹
参考例句:
  • The excavations are open to the public. 发掘现场对公众开放。
  • This year's excavations may reveal ancient artifacts. 今年的挖掘可能会发现史前古器物。 来自辞典例句
42 excavation RiKzY     
n.挖掘,发掘;被挖掘之地
参考例句:
  • The bad weather has hung up the work of excavation.天气不好耽误了挖掘工作。
  • The excavation exposed some ancient ruins.这次挖掘暴露出一些古遗迹。
43 inspection y6TxG     
n.检查,审查,检阅
参考例句:
  • On random inspection the meat was found to be bad.经抽查,发现肉变质了。
  • The soldiers lined up for their daily inspection by their officers.士兵们列队接受军官的日常检阅。
44 metropolitan mCyxZ     
adj.大城市的,大都会的
参考例句:
  • Metropolitan buildings become taller than ever.大城市的建筑变得比以前更高。
  • Metropolitan residents are used to fast rhythm.大都市的居民习惯于快节奏。
45 peculiar cinyo     
adj.古怪的,异常的;特殊的,特有的
参考例句:
  • He walks in a peculiar fashion.他走路的样子很奇特。
  • He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。
46 neophyte L5bzt     
n.新信徒;开始者
参考例句:
  • The neophyte began to stammer out a reply,but fell silent.新门徒嗫嚅了两句,然后沉默了。
  • He is a neophyte at politics.他是个初涉政界的人。
47 ascertain WNVyN     
vt.发现,确定,查明,弄清
参考例句:
  • It's difficult to ascertain the coal deposits.煤储量很难探明。
  • We must ascertain the responsibility in light of different situtations.我们必须根据不同情况判定责任。
48 opaque jvhy1     
adj.不透光的;不反光的,不传导的;晦涩的
参考例句:
  • The windows are of opaque glass.这些窗户装着不透明玻璃。
  • Their intentions remained opaque.他们的意图仍然令人费解。
49 noted 5n4zXc     
adj.著名的,知名的
参考例句:
  • The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
  • Jim is noted for arriving late for work.吉姆上班迟到出了名。
50 abound wykz4     
vi.大量存在;(in,with)充满,富于
参考例句:
  • Oranges abound here all the year round.这里一年到头都有很多橙子。
  • But problems abound in the management of State-owned companies.但是在国有企业的管理中仍然存在不少问题。
51 abounds e383095f177bb040b7344dc416ce6761     
v.大量存在,充满,富于( abound的第三人称单数 )
参考例句:
  • The place abounds with fruit, especially pears and peaches. 此地盛产水果,尤以梨桃著称。 来自《现代汉英综合大词典》
  • This country abounds with fruit. 这个国家盛产水果。 来自《现代汉英综合大词典》
52 lustrous JAbxg     
adj.有光泽的;光辉的
参考例句:
  • Mary has a head of thick,lustrous,wavy brown hair.玛丽有一头浓密、富有光泽的褐色鬈发。
  • This mask definitely makes the skin fair and lustrous.这款面膜可以异常有用的使肌肤变亮和有光泽。
53 hues adb36550095392fec301ed06c82f8920     
色彩( hue的名词复数 ); 色调; 信仰; 观点
参考例句:
  • When the sun rose a hundred prismatic hues were reflected from it. 太阳一出,更把它映得千变万化、异彩缤纷。
  • Where maple trees grow, the leaves are often several brilliant hues of red. 在枫树生长的地方,枫叶常常呈现出数种光彩夺目的红色。
54 muffle gFjxn     
v.围裹;抑制;发低沉的声音
参考例句:
  • Mother made an effort to muffle her emotions.母亲努力控制自己的感情。
  • I put my hand over my mouth to muffle my words,so only my friend could hear. 我把手挡在嘴上,遮住声音,仅让我的朋友听到。
55 meditation yjXyr     
n.熟虑,(尤指宗教的)默想,沉思,(pl.)冥想录
参考例句:
  • This peaceful garden lends itself to meditation.这个恬静的花园适于冥想。
  • I'm sorry to interrupt your meditation.很抱歉,我打断了你的沉思。
56 counterfeit 1oEz8     
vt.伪造,仿造;adj.伪造的,假冒的
参考例句:
  • It is a crime to counterfeit money.伪造货币是犯罪行为。
  • The painting looked old but was a recent counterfeit.这幅画看上去年代久远,实际是最近的一幅赝品。
57 renaissance PBdzl     
n.复活,复兴,文艺复兴
参考例句:
  • The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
  • The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。
58 plagiarism d2Pz4     
n.剽窃,抄袭
参考例句:
  • Teachers in America fight to control cheating and plagiarism.美国老师们努力对付欺骗和剽窃的问题。
  • Now he's in real trouble.He's accused of plagiarism.现在他是真遇到麻烦了。他被指控剽窃。
59 rampant LAuzm     
adj.(植物)蔓生的;狂暴的,无约束的
参考例句:
  • Sickness was rampant in the area.该地区疾病蔓延。
  • You cannot allow children to rampant through the museum.你不能任由小孩子在博物馆里乱跑。
60 enumerate HoCxf     
v.列举,计算,枚举,数
参考例句:
  • The heroic deeds of the people's soldiers are too numerous to enumerate.人民子弟兵的英雄事迹举不胜举。
  • Its applications are too varied to enumerate.它的用途不胜枚举。
61 apparently tMmyQ     
adv.显然地;表面上,似乎
参考例句:
  • An apparently blind alley leads suddenly into an open space.山穷水尽,豁然开朗。
  • He was apparently much surprised at the news.他对那个消息显然感到十分惊异。
62 enticement qoYxn     
n.诱骗,诱人
参考例句:
  • He fell victim to her enticement. 他被她的魅力征服了。
  • He ought to curb his excessive internal desires and resist unreasonable enticement. 控制过度内欲、抵制不当外惑。
63 potteries 0e451794cedbd47601e9411a30462382     
n.陶器( pottery的名词复数 );陶器厂;陶土;陶器制造(术)
参考例句:
  • Almost all potteries found in the tomb were sacrifices. 几乎所有在这个墓里找到的陶器都是祭品。 来自互联网
64 patina nLKx1     
n.铜器上的绿锈,年久而产生的光泽
参考例句:
  • The trophy has a beautiful green patina.这个奖杯表面有一层漂亮的绿锈。
  • Ancient bronze animal are covered in vivid green patina.古代青铜器动物被绿色彩铜绿笼罩。
65 lustre hAhxg     
n.光亮,光泽;荣誉
参考例句:
  • The sun was shining with uncommon lustre.太阳放射出异常的光彩。
  • A good name keeps its lustre in the dark.一个好的名誉在黑暗中也保持它的光辉。
66 deficient Cmszv     
adj.不足的,不充份的,有缺陷的
参考例句:
  • The crops are suffering from deficient rain.庄稼因雨量不足而遭受损害。
  • I always have been deficient in selfconfidence and decision.我向来缺乏自信和果断。
67 epoch riTzw     
n.(新)时代;历元
参考例句:
  • The epoch of revolution creates great figures.革命时代造就伟大的人物。
  • We're at the end of the historical epoch,and at the dawn of another.我们正处在一个历史时代的末期,另一个历史时代的开端。
68 debris debris     
n.瓦砾堆,废墟,碎片
参考例句:
  • After the bombing there was a lot of debris everywhere.轰炸之后到处瓦砾成堆。
  • Bacteria sticks to food debris in the teeth,causing decay.细菌附着在牙缝中的食物残渣上,导致蛀牙。
69 muffled fnmzel     
adj.(声音)被隔的;听不太清的;(衣服)裹严的;蒙住的v.压抑,捂住( muffle的过去式和过去分词 );用厚厚的衣帽包着(自己)
参考例句:
  • muffled voices from the next room 从隔壁房间里传来的沉闷声音
  • There was a muffled explosion somewhere on their right. 在他们的右面什么地方有一声沉闷的爆炸声。 来自《简明英汉词典》
70 incandescent T9jxI     
adj.遇热发光的, 白炽的,感情强烈的
参考例句:
  • The incandescent lamp we use in daily life was invented by Edison.我们日常生活中用的白炽灯,是爱迪生发明的。
  • The incandescent quality of his words illuminated the courage of his countrymen.他炽热的语言点燃了他本国同胞的勇气。
71 incentive j4zy9     
n.刺激;动力;鼓励;诱因;动机
参考例句:
  • Money is still a major incentive in most occupations.在许多职业中,钱仍是主要的鼓励因素。
  • He hasn't much incentive to work hard.他没有努力工作的动机。
72 aptitude 0vPzn     
n.(学习方面的)才能,资质,天资
参考例句:
  • That student has an aptitude for mathematics.那个学生有数学方面的天赋。
  • As a child,he showed an aptitude for the piano.在孩提时代,他显露出对于钢琴的天赋。
73 esteemed ftyzcF     
adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 );敬重;认为;以为
参考例句:
  • The art of conversation is highly esteemed in France. 在法国十分尊重谈话技巧。 来自《简明英汉词典》
  • He esteemed that he understood what I had said. 他认为已经听懂我说的意思了。 来自《简明英汉词典》
74 followers 5c342ee9ce1bf07932a1f66af2be7652     
追随者( follower的名词复数 ); 用户; 契据的附面; 从动件
参考例句:
  • the followers of Mahatma Gandhi 圣雄甘地的拥护者
  • The reformer soon gathered a band of followers round him. 改革者很快就获得一群追随者支持他。
75 arduous 5vxzd     
adj.艰苦的,费力的,陡峭的
参考例句:
  • We must have patience in doing arduous work.我们做艰苦的工作要有耐性。
  • The task was more arduous than he had calculated.这项任务比他所估计的要艰巨得多。
76 remains 1kMzTy     
n.剩余物,残留物;遗体,遗迹
参考例句:
  • He ate the remains of food hungrily.他狼吞虎咽地吃剩余的食物。
  • The remains of the meal were fed to the dog.残羹剩饭喂狗了。
77 abounding 08610fbc6d1324db98066903c8e6c455     
adj.丰富的,大量的v.大量存在,充满,富于( abound的现在分词 )
参考例句:
  • Ahead lay the scalloped ocean and the abounding blessed isles. 再往前是水波荡漾的海洋和星罗棋布的宝岛。 来自英汉文学 - 盖茨比
  • The metallic curve of his sheep-crook shone silver-bright in the same abounding rays. 他那弯柄牧羊杖上的金属曲线也在这一片炽盛的火光下闪着银亮的光。 来自辞典例句
78 immediate aapxh     
adj.立即的;直接的,最接近的;紧靠的
参考例句:
  • His immediate neighbours felt it their duty to call.他的近邻认为他们有责任去拜访。
  • We declared ourselves for the immediate convocation of the meeting.我们主张立即召开这个会议。
79 reign pBbzx     
n.统治时期,统治,支配,盛行;v.占优势
参考例句:
  • The reign of Queen Elizabeth lapped over into the seventeenth century.伊丽莎白王朝延至17世纪。
  • The reign of Zhu Yuanzhang lasted about 31 years.朱元璋统治了大约三十一年。
80 pastiches 3064125a3dcb437ba7683954ca3a3c19     
n.模仿作品( pastiche的名词复数 );拼凑的艺术作品;集锦;模仿的艺术风格
参考例句:
  • They were pastiches of other people's work. 这些作品都是根据其他作品模仿而来的。 来自互联网
81 motives 6c25d038886898b20441190abe240957     
n.动机,目的( motive的名词复数 )
参考例句:
  • to impeach sb's motives 怀疑某人的动机
  • His motives are unclear. 他的用意不明。
82 reptiles 45053265723f59bd84cf4af2b15def8e     
n.爬行动物,爬虫( reptile的名词复数 )
参考例句:
  • Snakes and crocodiles are both reptiles. 蛇和鳄鱼都是爬行动物。 来自《简明英汉词典》
  • Birds, reptiles and insects come from eggs. 鸟类、爬虫及昆虫是卵生的。 来自《现代汉英综合大词典》
83 vice NU0zQ     
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的
参考例句:
  • He guarded himself against vice.他避免染上坏习惯。
  • They are sunk in the depth of vice.他们堕入了罪恶的深渊。
84 truculent kUazK     
adj.野蛮的,粗野的
参考例句:
  • He was seen as truculent,temperamental,too unwilling to tolerate others.他们认为他为人蛮横无理,性情暴躁,不大能容人。
  • He was in no truculent state of mind now.这会儿他心肠一点也不狠毒了。
85 conspicuous spszE     
adj.明眼的,惹人注目的;炫耀的,摆阔气的
参考例句:
  • It is conspicuous that smoking is harmful to health.很明显,抽烟对健康有害。
  • Its colouring makes it highly conspicuous.它的色彩使它非常惹人注目。
86 depicting eaa7ce0ad4790aefd480461532dd76e4     
描绘,描画( depict的现在分词 ); 描述
参考例句:
  • a painting depicting the Virgin and Child 一幅描绘童贞马利亚和圣子耶稣的画
  • The movie depicting the battles and bloodshed is bound to strike home. 这部描写战斗和流血牺牲的影片一定会取得预期效果。
87 countless 7vqz9L     
adj.无数的,多得不计其数的
参考例句:
  • In the war countless innocent people lost their lives.在这场战争中无数无辜的人丧失了性命。
  • I've told you countless times.我已经告诉你无数遍了。
88 considerably 0YWyQ     
adv.极大地;相当大地;在很大程度上
参考例句:
  • The economic situation has changed considerably.经济形势已发生了相当大的变化。
  • The gap has narrowed considerably.分歧大大缩小了。
89 antiquity SNuzc     
n.古老;高龄;古物,古迹
参考例句:
  • The museum contains the remains of Chinese antiquity.博物馆藏有中国古代的遗物。
  • There are many legends about the heroes of antiquity.有许多关于古代英雄的传说。
90 lessen 01gx4     
vt.减少,减轻;缩小
参考例句:
  • Regular exercise can help to lessen the pain.经常运动有助于减轻痛感。
  • They've made great effort to lessen the noise of planes.他们尽力减小飞机的噪音。
91 varnish ni3w7     
n.清漆;v.上清漆;粉饰
参考例句:
  • He tried to varnish over the facts,but it was useless.他想粉饰事实,但那是徒劳的。
  • He applied varnish to the table.他给那张桌子涂上清漆。
92 purely 8Sqxf     
adv.纯粹地,完全地
参考例句:
  • I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
  • This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。
93 penetrated 61c8e5905df30b8828694a7dc4c3a3e0     
adj. 击穿的,鞭辟入里的 动词penetrate的过去式和过去分词形式
参考例句:
  • The knife had penetrated his chest. 刀子刺入了他的胸膛。
  • They penetrated into territory where no man had ever gone before. 他们已进入先前没人去过的地区。
94 manure R7Yzr     
n.粪,肥,肥粒;vt.施肥
参考例句:
  • The farmers were distributing manure over the field.农民们正在田间施肥。
  • The farmers used manure to keep up the fertility of their land.农夫们用粪保持其土质的肥沃。
95 silicate 4EXy2     
n.硅酸盐
参考例句:
  • There are large amounts of aluminum silicate in the area.这个地区有大量的硅酸铝。
  • Silicate minerals are characteristically refractory and difficult to break down.硅酸盐矿物的特点是耐熔和难以分离。
96 pigment gi0yg     
n.天然色素,干粉颜料
参考例句:
  • The Romans used natural pigments on their fabrics and walls.古罗马人在织物和墙壁上使用天然颜料。
  • Who thought he might know what the skin pigment phenomenon meant.他自认为可能知道皮肤色素出现这种现象到底是怎么回事。
97 modification tEZxm     
n.修改,改进,缓和,减轻
参考例句:
  • The law,in its present form,is unjust;it needs modification.现行的法律是不公正的,它需要修改。
  • The design requires considerable modification.这个设计需要作大的修改。
98 oxide K4dz8     
n.氧化物
参考例句:
  • Oxide is usually seen in our daily life.在我们的日常生活中氧化物很常见。
  • How can you get rid of this oxide coating?你们该怎样除去这些氧化皮?
99 flux sg4zJ     
n.流动;不断的改变
参考例句:
  • The market is in a constant state of flux.市场行情在不断变化。
  • In most reactors,there is a significant flux of fast neutrons.在大部分反应堆中都有一定强度的快中子流。
100 tempted b0182e969d369add1b9ce2353d3c6ad6     
v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词)
参考例句:
  • I was sorely tempted to complain, but I didn't. 我极想发牢骚,但还是没开口。
  • I was tempted by the dessert menu. 甜食菜单馋得我垂涎欲滴。
101 disastrous 2ujx0     
adj.灾难性的,造成灾害的;极坏的,很糟的
参考例句:
  • The heavy rainstorm caused a disastrous flood.暴雨成灾。
  • Her investment had disastrous consequences.She lost everything she owned.她的投资结果很惨,血本无归。
102 incessantly AqLzav     
ad.不停地
参考例句:
  • The machines roar incessantly during the hours of daylight. 机器在白天隆隆地响个不停。
  • It rained incessantly for the whole two weeks. 雨不间断地下了整整两个星期。
103 surmounted 74f42bdb73dca8afb25058870043665a     
战胜( surmount的过去式和过去分词 ); 克服(困难); 居于…之上; 在…顶上
参考例句:
  • She was well aware of the difficulties that had to be surmounted. 她很清楚必须克服哪些困难。
  • I think most of these obstacles can be surmounted. 我认为这些障碍大多数都是可以克服的。
104 celebrated iwLzpz     
adj.有名的,声誉卓著的
参考例句:
  • He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
  • The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。
105 rendering oV5xD     
n.表现,描写
参考例句:
  • She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
  • His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。
106 deception vnWzO     
n.欺骗,欺诈;骗局,诡计
参考例句:
  • He admitted conspiring to obtain property by deception.他承认曾与人合谋骗取财产。
  • He was jailed for two years for fraud and deception.他因为诈骗和欺诈入狱服刑两年。
107 embellish qPxz1     
v.装饰,布置;给…添加细节,润饰
参考例句:
  • I asked him not to embellish the truth with ideas of his own.我要他不对事实添油加醋。
  • Can you embellish your refusal just a little bit?你可以对你的婉拒之辞略加修饰吗?
108 obviate 10Oy4     
v.除去,排除,避免,预防
参考例句:
  • Improved public transportation would obviate the need tor everyone to have their own car.公共交通的改善消除了每人都要有车的必要性。
  • This deferral would obviate pressure on the rouble exchange rate.这一延期将消除卢布汇率面临的压力。
109 erase woMxN     
v.擦掉;消除某事物的痕迹
参考例句:
  • He tried to erase the idea from his mind.他试图从头脑中抹掉这个想法。
  • Please erase my name from the list.请把我的名字从名单上擦去。
110 authentic ZuZzs     
a.真的,真正的;可靠的,可信的,有根据的
参考例句:
  • This is an authentic news report. We can depend on it. 这是篇可靠的新闻报道, 我们相信它。
  • Autumn is also the authentic season of renewal. 秋天才是真正的除旧布新的季节。
111 defective qnLzZ     
adj.有毛病的,有问题的,有瑕疵的
参考例句:
  • The firm had received bad publicity over a defective product. 该公司因为一件次品而受到媒体攻击。
  • If the goods prove defective, the customer has the right to compensation. 如果货品证明有缺陷, 顾客有权索赔。
112 speck sFqzM     
n.微粒,小污点,小斑点
参考例句:
  • I have not a speck of interest in it.我对它没有任何兴趣。
  • The sky is clear and bright without a speck of cloud.天空晴朗,一星星云彩也没有。
113 blemish Qtuz5     
v.损害;玷污;瑕疵,缺点
参考例句:
  • The slightest blemish can reduce market value.只要有一点最小的损害都会降低市场价值。
  • He wasn't about to blemish that pristine record.他本不想去玷污那清白的过去。
114 peculiarities 84444218acb57e9321fbad3dc6b368be     
n. 特质, 特性, 怪癖, 古怪
参考例句:
  • the cultural peculiarities of the English 英国人的文化特点
  • He used to mimic speech peculiarities of another. 他过去总是模仿别人讲话的特点。
115 eventual AnLx8     
adj.最后的,结局的,最终的
参考例句:
  • Several schools face eventual closure.几所学校面临最终关闭。
  • Both parties expressed optimism about an eventual solution.双方对问题的最终解决都表示乐观。
116 unaware Pl6w0     
a.不知道的,未意识到的
参考例句:
  • They were unaware that war was near. 他们不知道战争即将爆发。
  • I was unaware of the man's presence. 我没有察觉到那人在场。
117 connoisseurship dda969a0542c2c618e8e4ae86b556848     
n.鉴赏家(或鉴定家、行家)身份,鉴赏(或鉴定)力
参考例句:
  • For centuries art detectives had to rely mainly on connoisseurship. 几个世纪以来,侦探必须主要依赖其鉴赏力。 来自互联网
118 monetary pEkxb     
adj.货币的,钱的;通货的;金融的;财政的
参考例句:
  • The monetary system of some countries used to be based on gold.过去有些国家的货币制度是金本位制的。
  • Education in the wilderness is not a matter of monetary means.荒凉地区的教育不是钱财问题。
119 affinity affinity     
n.亲和力,密切关系
参考例句:
  • I felt a great affinity with the people of the Highlands.我被苏格兰高地人民深深地吸引。
  • It's important that you share an affinity with your husband.和丈夫有共同的爱好是十分重要的。
120 antiquities c0cf3d8a964542256e19beef0e9faa29     
n.古老( antiquity的名词复数 );古迹;古人们;古代的风俗习惯
参考例句:
  • There is rest and healing in the contemplation of antiquities. 欣赏古物有休息和疗养之功。 来自辞典例句
  • Bertha developed a fine enthusiasm for the antiquities of London. 伯沙对伦敦的古迹产生了很大的热情。 来自辞典例句
121 illustrated 2a891807ad5907f0499171bb879a36aa     
adj. 有插图的,列举的 动词illustrate的过去式和过去分词
参考例句:
  • His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
  • The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。
122 artistically UNdyJ     
adv.艺术性地
参考例句:
  • The book is beautifully printed and artistically bound. 这本书印刷精美,装帧高雅。
  • The room is artistically decorated. 房间布置得很美观。
123 lessens 77e6709415979411b220a451af0eb9d3     
变少( lessen的第三人称单数 ); 减少(某事物)
参考例句:
  • Eating a good diet significantly lessens the risk of heart disease. 良好的饮食习惯能大大减少患心脏病的机率。
  • Alcohol lessens resistance to diseases. 含有酒精的饮料会减弱对疾病的抵抗力。
124 skilful 8i2zDY     
(=skillful)adj.灵巧的,熟练的
参考例句:
  • The more you practise,the more skilful you'll become.练习的次数越多,熟练的程度越高。
  • He's not very skilful with his chopsticks.他用筷子不大熟练。
125 distinguished wu9z3v     
adj.卓越的,杰出的,著名的
参考例句:
  • Elephants are distinguished from other animals by their long noses.大象以其长长的鼻子显示出与其他动物的不同。
  • A banquet was given in honor of the distinguished guests.宴会是为了向贵宾们致敬而举行的。
126 lawsuits 1878e62a5ca1482cc4ae9e93dcf74d69     
n.诉讼( lawsuit的名词复数 )
参考例句:
  • Lawsuits involving property rights and farming and grazing rights increased markedly. 涉及财产权,耕作与放牧权的诉讼案件显著地增加。 来自辞典例句
  • I've lost and won more lawsuits than any man in England. 全英国的人算我官司打得最多,赢的也多,输的也多。 来自辞典例句
127 baron XdSyp     
n.男爵;(商业界等)巨头,大王
参考例句:
  • Henry Ford was an automobile baron.亨利·福特是一位汽车业巨头。
  • The baron lived in a strong castle.男爵住在一座坚固的城堡中。
128 briefly 9Styo     
adv.简单地,简短地
参考例句:
  • I want to touch briefly on another aspect of the problem.我想简单地谈一下这个问题的另一方面。
  • He was kidnapped and briefly detained by a terrorist group.他被一个恐怖组织绑架并短暂拘禁。
129 obstinate m0dy6     
adj.顽固的,倔强的,不易屈服的,较难治愈的
参考例句:
  • She's too obstinate to let anyone help her.她太倔强了,不会让任何人帮她的。
  • The trader was obstinate in the negotiation.这个商人在谈判中拗强固执。
130 scruple eDOz7     
n./v.顾忌,迟疑
参考例句:
  • It'seemed to her now that she could marry him without the remnant of a scruple.她觉得现在她可以跟他成婚而不需要有任何顾忌。
  • He makes no scruple to tell a lie.他说起谎来无所顾忌。
131 pointed Il8zB4     
adj.尖的,直截了当的
参考例句:
  • He gave me a very sharp pointed pencil.他给我一支削得非常尖的铅笔。
  • She wished to show Mrs.John Dashwood by this pointed invitation to her brother.她想通过对达茨伍德夫人提出直截了当的邀请向她的哥哥表示出来。
132 imprisonment I9Uxk     
n.关押,监禁,坐牢
参考例句:
  • His sentence was commuted from death to life imprisonment.他的判决由死刑减为无期徒刑。
  • He was sentenced to one year's imprisonment for committing bigamy.他因为犯重婚罪被判入狱一年。
133 meditate 4jOys     
v.想,考虑,(尤指宗教上的)沉思,冥想
参考例句:
  • It is important to meditate on the meaning of life.思考人生的意义很重要。
  • I was meditating,and reached a higher state of consciousness.我在冥想,并进入了一个更高的意识境界。
134 reprehensible 7VpxT     
adj.该受责备的
参考例句:
  • Lying is not seen as being morally reprehensible in any strong way.人们并不把撒谎当作一件应该大加谴责的事儿。
  • It was reprehensible of him to be so disloyal.他如此不忠,应受谴责。
135 alluring zzUz1U     
adj.吸引人的,迷人的
参考例句:
  • The life in a big city is alluring for the young people. 大都市的生活对年轻人颇具诱惑力。
  • Lisette's large red mouth broke into a most alluring smile. 莉莎特的鲜红的大嘴露出了一副极为诱人的微笑。
136 freshman 1siz9r     
n.大学一年级学生(可兼指男女)
参考例句:
  • Jack decided to live in during his freshman year at college.杰克决定大一时住校。
  • He is a freshman in the show business.他在演艺界是一名新手。
137 meddle d7Xzb     
v.干预,干涉,插手
参考例句:
  • I hope he doesn't try to meddle in my affairs.我希望他不来干预我的事情。
  • Do not meddle in things that do not concern you.别参与和自己无关的事。
138 assuage OvZzP     
v.缓和,减轻,镇定
参考例句:
  • The medicine is used to assuage pain.这种药用来止痛。
  • Your messages of cheer should assuage her suffering.你带来的这些振奋人心的消息一定能减轻她的痛苦。


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