You quit the main line at Longueville, and in a quarter of an hour come upon a vast panorama12, crowned by the towers and dome13 of the still proud, defiant-looking little city of Provins, according to some writers the Agedincum of Caesar's Commentaries, according to others more ancient still. It is mentioned in the capitularies of Charlemagne, and in the Middle Ages was the important and flourishing capital of Basse-Brie and residence of the Counts of Champagne. Under Thibault VI., called Le Chansonnier, Provins reached its apogee15 of prosperity, numbering at that epoch16 80,000 souls. Like most other towns in these parts, it suffered greatly in the Hundred Years' War, being taken by the English in 1432, and retaken from them in the following year. It took part in the League, but submitted to Henry IV. in 1590, and from that time gradually declined; at present it numbers about 7,000 inhabitants only.
The rich red rose, commonly called Provence rose, is in reality the rose of Provins, having been introduced here by the Crusaders from the Holy Land. Gardens of the Provins rose may still be found at Provins, though they are little cultivated now for commercial purpose; Provence, the land of the Troubadours, has therefore no claim whatever upon rose lovers, who are indebted instead to the airy little Acropolis of Champagne. Thus much for the history of the place, which has been chronicled by two gifted citizens of modern time, Opoix and Bourquelot.
It is difficult to give any idea of the citadel17, so imposingly19 commanding the wide valleys and curling rivers at its foot. Leaving the Ville Basse, we climb for a quarter of an hour to find all the remarkable20 monuments of Provins within a stone's throw—the College, formerly22 Palace of the Counts of Champagne, the imposing18 Tour de César, the Basilica of St. Quiriace with its cupola, the famous Grange aux D?mes, the ancient fountain, lastly, the ruined city and gates and walls, called the Ville Haute. All these are close together, but conspicuously23 towering over the rest are the dome of St. Quiriace, and the picturesque, many pinnacled24 stronghold vulgarly known as Caesar's Tower. These two crown, not only the ruins, but the entire landscape, for miles around with magnificent effect. The tower itself, in reality having nothing to do with its popular name whatever, but the stronghold of the place built by one of the Counts of Champagne, is a picturesque object, with graceful25 little pinnacles26 connected by flying buttresses27 at each corner, and pointed28 tower surmounting29 all, from which now waves proudly the Tricolour flag of the French Republic. A deaf and dumb girl leads visitors through a little flower-garden into the interior, and takes them up the winding30 stone staircase to see the cells in which Louis d'Outremer and others are said to have been confined. For my own part, I prefer neither to go to the top and bottom of things, neither to climb the Pyramids nor to penetrate31 into the Mammoth32 caves of Kentucky. It is much more agreeable, and much less fatiguing33, to view everything from the level, and this fine old structure, called Caesar's Tower, is no exception to the rule. Nothing can be more picturesque than its appearance from the broken ground around, above, and below, and no less imposing is the quaint34 straggling indescribable old church of St. Quiriace close by, now a mere35 patchwork36 of different epochs, but in the twelfth and thirteenth centuries one of the most remarkable religious monuments in Brie and Champagne. Here was baptized Thibault VI., the song-maker, the lover of art, the patron of letters, and the importer into Europe of the famous Provence rose; of Thibault's poetic creations an old chronicler wrote:
"C'était les plus belles37 chansons, les plus délectables et mélodieuses qui oncques fussent ou?ses en chansons et instruments, et il les fit écrire en la salle de Provins et en celle de Troyes."
Close to this ancient church is the former palace of Thibault, now a "Collége Communal," for classic and secondary instruction. Unfortunately the director had gone off for his holiday taking the keys, with him—travellers never being looked for here—so that we could not see the interior and chapel38. It is superbly situated39, commanding from the terrace a wide view of surrounding country. Perhaps, however, the most curious relics40 of ancient Provins are the vast and handsome subterranean41 chambers42 and passages which are not only found in the Grange aux D?mes literally44 Tithe-Barn, but also under many private dwellings45 of ancient date.
Those who love to penetrate into the hovels of the earth may here visit cave after cave, and subterranean chamber43 after chamber; some of these were of course used for the storage and introduction of supplies in time of war and siege, others may have served as crypts, for purposes of religious ceremony, also a harbour of refuge for priests and monks46, lastly as workshops. Provins may therefore be called not only a town but a triple city, consisting, first, of the old; secondly47, of the new; lastly, of the underground. Captivating, from an artistic and antiquarian point of view, as are the first and last, all lovers of progress will not fail to give some time to the modern part, not, however, omitting the lovely walls round the ramparts, before quitting the region of romance for plain matter of fact. Here you have unbroken solitude48 and a wide expanse of open country; you also get a good idea of the commanding position of Provins.
A poetic halo still lingers round the rude times of Troubadour and Knight49, but fortunately no such contrast can now be found—at least in France—as there existed between court and people, lord and vassal50. The princelings of Brie and Champagne, who lived so jollily and regally in this capital of Provins, knew how to grind down the people to the uttermost, and levied51 toll-tax upon every imaginable pretext52. The Jew had to pay them for his heresy53, the assassin for his crime, the peasant for his produce, the artizan for his right to pursue a handicraft.
Now all is good feeling, peace, and prosperity in this modern town, where alike are absent signs of great wealth or great poverty. As yet I am still in a region without a beggar.
Provins affords an excellent example of that spirit of decentralization so usual in France, and unhappily so rare among ourselves. Here in a country town, numbering between seven and eight thousand inhabitants only, we find all the resources of a capital on a small scale; Public Library, Museum, Theatre, learned societies. The Library contains some curious MSS. and valuable books. The Theatre was built by one of the richest and most generous citizens of Provins, M. Gamier, who may be said to have consecrated54 his ample fortune to the embellishment and advancement55 of his native town. Space does not permit of an enumeration56 of the various acts of beneficence by which he has won the lasting57 gratitude58 of his fellow-townsmen; and on his death the charming villa59 he now inhabits, with its gardens, library, art and scientific collections, are to become the property of the town. The Rue60 Victor Garnier has been appropriately named after this public-spirited gentleman.
There are relics of antiquity61 to be found in the modern town also; nor have I given anything like a complete account of what is to be found in the old. No one who takes the trouble to diverge62 from the beaten track in order to visit this interesting little city—Weimar of the Troubadours—will be disappointed. I may add, by the way, that the H?tel de la Boule d'Or, though homely63, is comfortable, and that in this out of the way corner the English traveller is invited to partake of the famous "Bière de Bass14."
From Provins to Troyes is a three hours' journey by rail; and at Troyes, no matter how impatient the tourist may be to breathe the air of the mountains, he must stop awhile. Here there is so much to see in the way of antiquities64 that several days might be spent profitably and pleasantly, but for the hotels, of which I have little favourable65 to say. "Dear and dirty," is the verdict I must pass on the one recommended to me as the best; the fastidious traveller will do well, therefore, so to arrange his journey as to reach Troyes at early morning, and start off again at night; though, of course, such an arrangement will only allow of a hasty glimpse of the various treasures offered to him. Take the churches, for instance. Besides the Cathedral, there are six old churches, each of which has some especial interest, and all deserve to be seen in detail. Then there are picturesque mediaeval houses, one of the first libraries in France, a museum, picture-gallery, &c.
The town itself is cheerful, with decorative66 bits of window-gardening, hanging dormers, abundance of flowers growing everywhere, and much life animating67 its old and new quarters. The Cathedral, which rises grandly from the monotonous68 fields of Champagne, just as Ely towers above the flat plains of our Eastern counties, is also seen to great advantage from the quays69, though, when approached nearly, you find it hemmed70 in with narrow streets. Its noble towers, surmounted71 by airy pinnacles, and its splendid fa?ade, delight the eye no less than the interior—gem of purest architecture blazing from end to end with rich old stained glass. No light here penetrates72 through the common medium, and the effect is magical; the superb rose and lancet windows, not dazzling, rather captivating the vision with the hues73 of the rainbow, being made up, as it seems, with no commoner materials than sapphire74, emerald, ruby75, topaz, amethyst76, all these in the richest imaginable profusion77. Other interiors are more magnificent in architectural display, none are lovelier than this, and there is nothing to mar21 the general harmony, no gilding78 or artificial flowers, no ecclesiastical trumpery79, no meretricious80 decoration. We find here the glorious art of painting on glass in its perfection, and some of the finest in the Cathedral, as well as in other churches here, are the work of a celebrated81 Troyen, Linard Gonthier.
A sacristan is always at hand to exhibit the treasury82, worth, so it is said, some millions of francs, and which is to be commended to all lovers of jewels and old lace. The latter, richest old guipure, cannot be inspected by an amateur, or, indeed, a woman, without pangs83. Such treasures as these, if not appropriated to their proper use, namely dress and decoration, should, at least, be exhibited in the Town Museum, where they might be seen and studied by the artistic. There are dozens of yards of this matchless guipure, but, of course, few eyes are ever rejoiced by the sight of it; and as I turned from one treasure to another, gold and silver ecclesiastical ornaments84, carved ivory coffers, enamels85, cameos, embroideries86, inlaid reliquaries and tapestries87, I was reminded of a passage in Victor Hugo's last poem—Le Pape—wherein the Pope of his imagination, thus makes appeal to the Cardinals88 and Bishops89 in conclave90:
"Prêtre, à qui donc as-tu pris tes richesses? Aux pauvres.
Quand l'or s'enfle dans ton sac, Dieu dans ton coeur décroit;
Apprends qu'on est sans pain et sache qu'on a froid.
Les jeunes filles vont r?dant le soir dans l'ombre,
Tes rochets, tes chasubles, aux topazes sans nombre,
Ta robe en l'Orient doré s'épanouit,
Sont de spectres qui sont noirs et vivant la nuit.
Que te sert d'empiler sur des planches d'armoires,
Du velours, du damas, du satin, de la moire,
D'avoir des bonnets91 d'or et d'emplir des tiroirs
Des chapes qu'on dirait couvertes de miroirs?
Oh! pauvres, que j'entends raler, for?ats augustes,
Tous ces trésors, chez vous sacrés, chez nous sont injustes;
Ce diamant qui met à la mitre un éclair,
Cette émeraude me semble errer toute la mer,
Ces resplendissements sombres de pierreries,
C'est votre sang …
… Brodés d'or, cousus d'or, chaussés d'or, coiffés d'or,
Nous avons des saints Jeans et des saintes Maries,
Que nous emmaillottons dans des verroteries,
Nous dépensons Golconde à vêtir le néant,
… Prêtres, votre richesse est un crime flagrant.
Vos erreurs sont-ils méchants? Non, vos têtes sont d?res,
Frères, j'avais aussi sur moi ce tas d'ordures,
Des perles, des onyx, des saphirs, des rubis,
Oui, j'avais sur moi, partout, sur mes habits,
Sur mon ame; mais j'ai vidé bien vite
Chez les pauvres."
The sacristan exhibited a tooth of St. Peter and skulls92 of the saints, but these are treasures we can look on without envy. This little Museum—as, indeed, the Treasury may be called—exposed at the Paris Exhibition of 1867 one of its richest objects, the reliquary of St. Bernard and St. Malachi, a chef-d'oeuvre of the twelfth century; but as some of the jewels were stolen upon that occasion, nothing this year, very naturally, found its way from Troyes Cathedral to the Trocadéro.
Close to the Cathedral are the Town Library, Museum, and Picture Gallery, the two first well worth careful inspection93. The famous Library has largely contributed to the historic galleries of the Trocadéro; but, nevertheless, many exquisite94 specimens95 of binding96, printing, and illuminating97 remain; whilst the windows are adorned98 with most curious and beautiful old glass paintings from the hand of the gifted Linard Gonthier before mentioned. It is hardly necessary to say that strangers are admitted to all the privileges of the reading-room without any form whatever. The library contains a hundred and some odd thousand volumes, besides between two and three thousand rare MSS.
The present population of Troyes is forty thousand; and I am not aware of any small town in England so well off in the matter of books. The Museum is divided into several sections, and, though of recent date, it possesses some interesting and valuable collections. Near the Library and Museum is the most beautiful old church in Troyes, St. Urbain, but as it is unfortunately in the hands of the restorer, we can see nothing of the interior, and the splendid Gothic fa?ade is partly hidden by scaffolding. The traveller may next proceed on a voyage of discovery, coming upon the picturesque H?tel de Ville; quaint relics of mediaeval architecture, and half a dozen old churches, all noteworthy from some point of view.
It is impossible to do more than suggest the rewards that await such an explorer. Troyes, like Angers and Poitiers, abounds99 in architectural treasures and historical souvenirs; and all these cities cannot be visited too soon. Restoration and renovation100 are here, as elsewhere, the order of the day, and every year takes something from their character and charm. Two objects, particularly striking amongst so many, shall be mentioned only, as no mere description can convey any idea of the whole. The first is the entrance hall of the H?tel Vauluisant, the features of which should be photographed for the benefit of art-schools and art-decorators generally. The first is a magnificent oak ceiling; the second, a Renaissance101 chimney piece in carved wood, no less magnificent. The solidity, richness of design, and workmanship of both ceiling and mantel-piece afford an invaluable102 lesson to artists, whilst beholders can but examine them without a feeling of sadness.
How little we have in modern art-furniture and decoration to be compared with such an achievement: Here we find that cost, labour, and display went for nothing, and artistic perfection alone was aimed at. Not far from the H?tel Vauluisant is Ste. Madeleine, the most ancient church in Troyes, originally Gothic, but now, what with dilapidations and restorations, a curious medley103 of all various styles. To its architecture, however, the traveller will pay little heed104, his whole attention being at once transferred to the famous jubé, or rood-loft, or what passes by that name. Bather let me call it a curtain of rare lace cut out in marble, a screen of transparent105 ivory, a light stalactite roof of some fairy grotto106!
On entering, you see nothing but this airy piece of work, one of the daintiest, richest creations of the period, the achievement of Juan Gualde in the sixteenth century. The proportions of the interior seem to diminish, and we cannot help fancying that the church was built for the rood-loft, rather than the rood-loft for the church, so dwarfed107 is the latter by comparison. The centre aisle108 is indeed bridged over by a piece of stone-carving, so exquisite in design, so graceful in detail, so airy and fanciful in conception, that we are with difficulty brought to realize its size and solidity. This unique rood-loft measures over six yards in depth, is proportionately long, and is symmetrical in every part, yet it looks as if a breath were only needed to disperse109 its delicate galleries, hanging arcades110, and miniature vaults111, gorgeous painted windows forming the background—jewels flashing through a veil of guipure. English travellers may be reminded that Shakespeare's favourite hero, Henry V., was married to Katherine of France in the ancient church of St. Jean at Troyes, now the oldest congeries of different kinds of architecture. The betrothal112 took place before the high altar of Troyes Cathedral. Lovers of old stained glass must visit St. Nizier and other old churches here; all possess some peculiar113 interest either within or without.
Troyes—from the standard weight of which we have our Troy weight—is the birth-place of many illustrious men. Mignard the painter, Girardon, sculptor114, whose monument to Richelieu in the church of the Sorbonne will not fail to be visited by English travellers, and of the famous painter on glass, Linard Gonthier, who had engraved115 on his tomb that he awaited the Last Day,
"Sans peur d'être écrasé."
Among minor116 accomplishments117 of the Troyen of to-day, it may be mentioned that nowhere throughout all France—land par1 excellence118 of good washing and clear-starching—is linen119 got up to such perfection as at Troyes. The Blanchisserie Troyenne is unhappily an art unknown in England. It is curious that, much as cleanliness is thought of among ourselves, we are content to wear linen washed and ironed so execrably as we do. Clean linen in England means one thing, in France another; and no French maid or waiter would put on the half-washed, half-ironed linen we aristocratic insulars wear so complacently120. Here indeed is a field for female enterprize!
From Troyes to Belfort is a journey best made by night-mail express, as there is little to see on the way; nor need Belfort—famous for its heroic defence under Danfert, and its rescue from Prussian grasp by the no less heroic pleadings of Thiers—detain the traveller. It is pleasant to find here, as at Troyes, a Rue Thiers, and to see Thiers' portrait in every window. If there is one memory universally adored and respected throughout France, it is that of the "petit bourgeois121." No one who gets a glimpse of Belfort with its double ramparts and commanding position, will wonder at Thiers' pertinacity122 on the one hand, and Bismarck's reluctance123 on the other. Fortunately the "petit bourgeois" gained his point, and the preservation124 of Belfort to France was the one drop of comfort in that sea of misery125.
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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eminence
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| n.卓越，显赫；高地，高处；名家 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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beholder
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| n.观看者，旁观者 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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champagne
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| n.香槟酒；微黄色 | |
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gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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panorama
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| n.全景，全景画，全景摄影，全景照片[装置] | |
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dome
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| n.圆屋顶，拱顶 | |
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bass
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| n.男低音(歌手)；低音乐器；低音大提琴 | |
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apogee
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| n.远地点；极点；顶点 | |
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epoch
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| n.(新)时代；历元 | |
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citadel
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| n.城堡；堡垒；避难所 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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imposingly
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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mar
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| vt.破坏，毁坏，弄糟 | |
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formerly
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| adv.从前，以前 | |
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conspicuously
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| ad.明显地，惹人注目地 | |
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pinnacled
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| 小尖塔般耸立的，顶处的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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buttresses
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| n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 ) | |
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pointed
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| adj.尖的，直截了当的 | |
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surmounting
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| 战胜( surmount的现在分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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winding
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| n.绕，缠，绕组，线圈 | |
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penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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mammoth
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| n.长毛象；adj.长毛象似的，巨大的 | |
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fatiguing
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| a.使人劳累的 | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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patchwork
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| n.混杂物；拼缝物 | |
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belles
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| n.美女( belle的名词复数 )；最美的美女 | |
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chapel
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| n.小教堂，殡仪馆 | |
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situated
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| adj.坐落在...的，处于某种境地的 | |
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relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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subterranean
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| adj.地下的，地表下的 | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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dwellings
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| n.住处，处所( dwelling的名词复数 ) | |
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monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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secondly
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| adv.第二，其次 | |
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solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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knight
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| n.骑士，武士；爵士 | |
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vassal
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| n.附庸的；属下；adj.奴仆的 | |
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levied
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| 征（兵）( levy的过去式和过去分词 )； 索取； 发动（战争）； 征税 | |
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pretext
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| n.借口，托词 | |
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heresy
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| n.异端邪说；异教 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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advancement
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| n.前进，促进，提升 | |
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enumeration
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| n.计数，列举；细目；详表；点查 | |
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57
lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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58
gratitude
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| adj.感激，感谢 | |
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59
villa
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| n.别墅，城郊小屋 | |
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60
rue
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| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
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61
antiquity
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| n.古老；高龄；古物，古迹 | |
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62
diverge
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| v.分叉，分歧，离题，使...岔开，使转向 | |
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63
homely
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| adj.家常的，简朴的；不漂亮的 | |
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64
antiquities
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| n.古老( antiquity的名词复数 )；古迹；古人们；古代的风俗习惯 | |
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65
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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66
decorative
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| adj.装饰的，可作装饰的 | |
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67
animating
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| v.使有生气( animate的现在分词 )；驱动；使栩栩如生地动作；赋予…以生命 | |
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68
monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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69
quays
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| 码头( quay的名词复数 ) | |
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70
hemmed
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| 缝…的褶边( hem的过去式和过去分词 )； 包围 | |
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71
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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72
penetrates
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| v.穿过( penetrate的第三人称单数 )；刺入；了解；渗透 | |
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73
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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74
sapphire
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| n.青玉，蓝宝石；adj.天蓝色的 | |
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75
ruby
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| n.红宝石，红宝石色 | |
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76
amethyst
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| n.紫水晶 | |
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77
profusion
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| n.挥霍；丰富 | |
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78
gilding
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| n.贴金箔，镀金 | |
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79
trumpery
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| n.无价值的杂物；adj.（物品）中看不中用的 | |
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80
meretricious
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| adj.华而不实的，俗艳的 | |
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81
celebrated
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| adj.有名的，声誉卓著的 | |
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82
treasury
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| n.宝库；国库，金库；文库 | |
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83
pangs
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| 突然的剧痛( pang的名词复数 )； 悲痛 | |
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84
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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85
enamels
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| 搪瓷( enamel的名词复数 )； 珐琅； 釉药； 瓷漆 | |
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86
embroideries
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| 刺绣( embroidery的名词复数 )； 刺绣品； 刺绣法 | |
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87
tapestries
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| n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 ) | |
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88
cardinals
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| 红衣主教( cardinal的名词复数 )； 红衣凤头鸟（见于北美，雄鸟为鲜红色）； 基数 | |
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89
bishops
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| （基督教某些教派管辖大教区的）主教( bishop的名词复数 )； （国际象棋的）象 | |
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90
conclave
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| n.秘密会议，红衣主教团 | |
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91
bonnets
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| n.童帽( bonnet的名词复数 )；（烟囱等的）覆盖物；（苏格兰男子的）无边呢帽；（女子戴的）任何一种帽子 | |
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skulls
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| 颅骨( skull的名词复数 )； 脑袋； 脑子； 脑瓜 | |
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inspection
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| n.检查，审查，检阅 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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binding
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| 有约束力的，有效的，应遵守的 | |
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97
illuminating
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| a.富于启发性的，有助阐明的 | |
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98
adorned
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| [计]被修饰的 | |
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99
abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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100
renovation
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| n.革新，整修 | |
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101
renaissance
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| n.复活，复兴，文艺复兴 | |
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102
invaluable
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| adj.无价的，非常宝贵的，极为贵重的 | |
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103
medley
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| n.混合 | |
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104
heed
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| v.注意，留意；n.注意，留心 | |
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105
transparent
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| adj.明显的，无疑的；透明的 | |
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106
grotto
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| n.洞穴 | |
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107
dwarfed
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| vt.（使）显得矮小（dwarf的过去式与过去分词形式） | |
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108
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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109
disperse
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| vi.使分散；使消失；vt.分散；驱散 | |
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110
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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111
vaults
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| n.拱顶( vault的名词复数 )；地下室；撑物跳高；墓穴 | |
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112
betrothal
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| n. 婚约, 订婚 | |
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113
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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114
sculptor
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| n.雕刻家，雕刻家 | |
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115
engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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116
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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117
accomplishments
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| n.造诣；完成( accomplishment的名词复数 )；技能；成绩；成就 | |
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118
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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119
linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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120
complacently
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| adv. 满足地, 自满地, 沾沾自喜地 | |
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121
bourgeois
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| adj./n.追求物质享受的(人)；中产阶级分子 | |
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122
pertinacity
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| n.执拗，顽固 | |
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123
reluctance
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| n.厌恶，讨厌，勉强，不情愿 | |
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124
preservation
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| n.保护，维护，保存，保留，保持 | |
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125
misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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