HE Chapel1 of the Holy Angels, which lies on the right hand as you enter the Church of St. Sulpice, was hidden behind a scaffolding of planks3. Abbé Patouille, Monsieur Gaétan, Monsieur Maurice, his nephew, and Monsieur Sariette, entered in single file through the low door cut in the wooden hoarding4, and found old Guinardon on the top of his ladder standing5 in front of the Heliodorus. The old artist, surrounded by all sorts of tools and materials, was putting a white paste in the crack which cut in two the High Priest Onias. Zéphyrine, Paul Baudry's favourite model, Zéphyrine, who had lent her golden hair and polished shoulders to so many Magdalens, Marguerites, sylphs, and mermaids6, and who, it is said, was beloved of the Emperor Napoleon III, was standing at the foot of the ladder with tangled7 locks, cadaverous cheeks, and dim eyes, older than old Guinardon, whose life she had shared for more than half a century. She had brought the painter's lunch in a basket.[38]
Although the slanting8 rays fell grey and cold through the leaded and iron-barred window, Delacroix's colouring shone resplendent, and the roses on the cheeks of men and angels dimmed with their glorious beauty the rubicund9 countenance10 of old Guinardon, which stood out in relief against one of the temple's columns. These frescoes11 of the Chapel of the Holy Angels, though derided12 and insulted when they first appeared, have now become part of the classic tradition, and are united in immortality13 with the masterpieces of Rubens and Tintoretto.
Old Guinardon, bearded and long-haired, looked like Father Time effacing14 the works of man's genius. Gaétan, in alarm, called out to him:
"Carefully, Monsieur Guinardon, carefully. Do not scrape too much."
"Fear nothing, Monsieur Gaétan. I do not paint in that style. My art is a higher one. I work after the manner of Cimabue, Giotto, and Beato Angelico, not in the style of Delacroix. This surface here is too heavily charged with contrast and opposition17 to give a really sacred effect. It is true that Chenavard said that Christianity loves the picturesque20, but Chenavard was a rascal21 with neither faith nor principle—an infidel.... Look, Monsieur d'Esparvieu, I fill up the crevice22, I relay the scales of paint which are peeling. That is all....[39] The damage, due to the sinking of the wall, or more probably to a seismic23 shock, is confined to a very small space. This painting of oil and wax applied24 on a very dry foundation is far more solid than one might think.
"I saw Delacroix engaged on this work. Impassioned but anxious, he modelled feverishly25, scraped out, re-painted unceasingly; his mighty26 hand made childish blunders, but the thing is done with the mastery of a genius and the inexperience of a schoolboy. It is a marvel27 how it holds."
The good man was silent, and went on filling in the crevice.
"How classic and traditional the composition is," said Gaétan. "Time was when one could recognise nothing but its amazing novelty; now one can see in it a multitude of old Italian formulas."
"I may allow myself the luxury of being just, I possess the qualifications," said the old man from the top of his lofty ladder. "Delacroix lived in a blasphemous28 and godless age. A painter of the decadence29, he was not without pride nor grandeur30. He was greater than his times. But he lacked faith, single-heartedness, and purity. To be able to see and paint angels he needed that virtue31 of angels and primitives32, that supreme33 virtue which, with God's help, I do my best to practise, chastity."
Thus Zéphyrine, devoured35 with jealousy36 because that very morning on the stairs she had seen her lover kiss the bread-woman's daughter, to wit the youthful Octavie, who was as squalid and radiant as one of Rembrandt's Brides. She had loved Michel madly in the happy days long since past, and love had never died out in Zéphyrine's heart.
Old Guinardon received the flattering insult with a smile that he dissembled, and raised his eyes to the ceiling, where the archangel Michael, terrible in azure37 cuirass and gilt38 helmet, was springing heavenwards in all the radiance of his glory.
Meanwhile Abbé Patouille, blinking, and shielding his eyes with his hat against the glaring light from the window, began to examine the pictures one after another: Heliodorus being scourged39 by the angels, St. Michael vanquishing40 the Demons41, and the combat of Jacob and the Angel.
"All this is exceedingly fine," he murmured at last, "but why has the artist only represented wrathful angels on these walls? Look where I will in this chapel, I see but heralds42 of celestial43 anger, ministers of divine vengeance44. God wishes to be feared; He wishes also to be loved. I would fain perceive on these walls messengers of peace and of clemency45. I should like to see the Seraphim46 who purified the lips of the prophet, St. Raphael who gave back his sight to old Tobias, Gabriel who announced the Mystery of the Incarnation to Mary,[41] the Angel who delivered St. Peter from his chains, the Cherubim who bore the dead St. Catherine to the top of Sinai. Above all, I should like to be able to contemplate47 those heavenly guardians48 which God gives to every man baptized in His name. We each have one who follows all our steps, who comforts us and upholds us. It would be pleasant indeed to admire these enchanting50 spirits, these beautiful faces."
"Ah, Abbé! it depends on the point of view," answered Gaétan. "Delacroix was no sentimentalist. Old Ingres was not very far wrong in saying that this great man's work reeks51 of fire and brimstone. Look at the sombre, splendid beauty of those angels, look at those androgynes so proud and fierce, at those pitiless youths who lift avenging52 rods against Heliodorus, note this mysterious wrestler53 touching54 the patriarch on the hip55...."
"Hush," said Abbé Patouille. "According to the Bible he is no angel like the others; if he be an angel, he is the Angel of Creation, the Eternal Son of God. I am surprised that the Venerable Curé of St. Sulpice, who entrusted56 the decoration of this chapel to Monsieur Eugène Delacroix, did not tell him that the patriarch's symbolic57 struggle with Him who was nameless took place in profound darkness, and that the subject is quite out of place here, since it prefigures the Incarnation of Jesus Christ. The best artists go[42] astray when they fail to obtain their ideas of Christian19 iconography from a qualified58 ecclesiastic59. The institutions of Christian art form the subject of numerous works with which you are doubtless acquainted, Monsieur Sariette."
Monsieur Sariette was gazing vacantly about him. It was the third morning after his adventurous60 night in the library. Being, however, thus called upon by the venerable ecclesiastic, he pulled himself together and replied:
"On this subject we may with advantage consult Molanus, De Historia Sacrarum Imaginum et Picturarum, in the edition given us by No?l Paquot, dated Louvain, 1771; Cardinal61 Frederico Borromeo, De Pictura Sacra, and the Iconography of Didron; but this last work must be read with caution."
Having thus spoken, Monsieur Sariette relapsed into silence. He was pondering on his devastated62 library.
"On the other hand," continued Abbé Patouille, "since an example of the holy anger of the angels was necessary in this chapel, the painter is to be commended for having depicted63 for us in imitation of Raphael the heavenly messengers who chastised64 Heliodorus. Ordered by Seleucus, King of Syria, to carry off the treasures contained in the Temple, Heliodorus was stricken by an angel in a cuirass of gold mounted on a magnificently caparisoned steed.[43] Two other angels smote65 him with rods. He fell to earth, as Monsieur Delacroix shows us here, and was swallowed up in darkness. It is right and salutary that this adventure should be cited as an example to the Republican Commissioners66 of Police and to the sacrilegious agents of the law. There will always be Heliodoruses, but, let it be known, every time they lay their hands on the property of the Church, which is the property of the poor, they shall be chastised with rods and blinded by the angels."
"I should like this painting, or, better still, Raphael's sublimer67 conception of the same subject, to be engraved68 in little pictures fully15 coloured, and distributed as rewards in all the schools."
"Uncle," said young Maurice, with a yawn, "I think these things are simply ghastly. I prefer Matisse and Metzinger."
"Only the primitives caught a glimpse of Heaven. Beauty is only to be found between the thirteenth and fifteenth centuries. The antique, the impure70 antique, which regained71 its pernicious influence over the minds of the sixteenth century, inspired poets and painters with criminal notions and immodest conceptions, with horrid72 impurities73, filth74. All the artists of the Renaissance75 were swine, including Michael-Angelo."[44]
Then, perceiving that Gaétan was on the point of departure, Père Guinardon assumed an air of bonhomie, and said to him in a confidential76 tone:
"Monsieur Gaétan, if you're not afraid of climbing up my five flights, come and have a look at my den2. I've got two or three little canvases I wouldn't mind parting with, and they might interest you. All good, honest, straightforward77 stuff. I'll show you, among other things, a tasty, spicy78 little Baudouin that would make your mouth water."
At this speech Gaétan made off. As he descended79 the church steps and turned down the Rue18 Princesse, he found himself accompanied by old Sariette, and fell to unburdening himself to him, as he would have done to any human creature, or indeed to a tree, a lamp-post, a dog, or his own shadow, of the indignation with which the ?sthetic theories of the old painter inspired him.
"Old Guinardon overdoes80 it with his Christian art and his Primitives! Whatever the artist conceives of Heaven is borrowed from earth; God, the Virgin81, the Angels, men and women, saints, the light, the clouds. When he was designing figures for the chapel windows at Dreux, old Ingres drew from life a pure, fine study of a woman, which may be seen, among many others, in the Musée Bonnat at Bayonne. Old Ingres had written at the bottom of the page in case he should forget: 'Made[45]moiselle Cécile, admirable legs and thighs'—and so as to make Mademoiselle Cécile into a saint in Paradise, he gave her a robe, a cloak, a veil, inflicting82 thus a shameful83 decline in her estate, for the tissues of Lyons and Genoa are worthless compared with the youthful living tissue, rosy84 with pure blood; the most beautiful draperies are despicable compared with the lines of a beautiful body. In fact, clothing for flesh that is desirable and ripe for wedlock85 is an unmerited shame, and the worst of humiliations"; and Gaétan, walking carelessly in the gutter86 of the Rue Garancière, continued: "Old Guinardon is a pestilential idiot. He blasphemes Antiquity87, sacred Antiquity, the age when the gods were kind. He exalts88 an epoch89 when the painter and the sculptor90 had all their lessons to learn over again. In point of fact, Christianity has run contrary to art in so much as it has not favoured the study of the nude91. Art is the representation of nature, and nature is pre-eminently the human body; it is the nude."
"Pardon, pardon," purred old Sariette. "There is such a thing as spiritual, or, as one might term it, inward beauty, which, since the days of Fra Angelico down to those of Hippolyte Flandrin, Christian art has—"
But Gaétan, never hearing a word of all this, went on hurling92 his impetuous observations at the stones of the old street and the snow-laden93 clouds overhead:[46]
"The Primitives cannot be judged as a whole, for they are utterly94 unlike each other. This old madman confounds them all together. Cimabue is a corrupt95 Byzantine, Giotto gives hints of powerful genius, but his modelling is bad, and, like children, he gives all his characters the same face. The early Italians have grace and joy, because they are Italians. The Venetians have an instinct for fine colour. But when all is said and done these exquisite96 craftsmen97 enamel98 and gild99 rather than paint. There is far too much softness about the heart and the colouring of your saintly Angelico for me. As for the Flemish school, that's quite another pair of shoes. They can use their hands, and in glory of workmanship they are on a level with the Chinese lacquer-workers. The technique of the brothers Van Eyck is a marvel, but I cannot discover in their Adoration100 of the Lamb the charm and mystery that some have vaunted. Everything in it is treated with a pitiless perfection; it is vulgar in feeling and cruelly ugly. Memling may touch one perhaps; but he creates nothing but sick wretches101 and cripples; under the heavy, rich, and ungraceful robing of his virgins102 and saints one divines some very lamentable103 anatomy104. I did not wait for Rogier van der Wyden to call himself Roger de la Pasture and turn Frenchman in order to prefer him to Memling. This Rogier or Roger is less of a ninny; but then[47] he is more lugubrious105, and the rigidity106 of his lines bears eloquent107 testimony108 to his poverty-stricken figures. It is a strange perversion109 to take pleasure in these carnivalesque110 figures when one can have the paintings of Leonardo, Titian, Correggio, Velasquez, Rubens, Rembrandt, Poussin, or Prud'hon. Really it is a perverted111 instinct."
Meanwhile the Abbé Patouille and Maurice d'Esparvieu were strolling leisurely112 along in the wake of the esthete and the librarian. As a general rule the Abbé Patouille was little inclined to talk theology with laymen113, or, for that matter, with clerics either. Carried away, however, by the attractiveness of the subject, he was telling the youthful Maurice all about the sacred mission of those guardian49 angels which Monsieur Delacroix had so inopportunely excluded from his picture. And in order to give more adequate expression to his thoughts on such lofty themes, the Abbé Patouille borrowed whole phrases and sentences from Bossuet. He had got them up by heart to put in his sermons, for he adhered strongly to tradition.
"Yes, my son," he was saying, "God has appointed tutelary114 spirits to be near us. They come to us laden with His gifts. They return laden with our prayers. Such is their task. Not an hour, not a moment passes but they are at our side, ready to help us, ever fervent115 and unwearying guardians, watchmen that never slumber116."[48]
"Quite so, Abbé," murmured Maurice, who was wondering by what cunning artifice117 he could get on the soft side of his mother and persuade her to give him some money of which he was urgently in need.
点击
收听单词发音
收听单词发音 |
1
chapel
|
|
| n.小教堂，殡仪馆 | |
参考例句： |
|
|
|
|
2
den
|
|
| n.兽穴；秘密地方；安静的小房间，私室 | |
参考例句： |
|
|
|
|
3
planks
|
|
| （厚）木板( plank的名词复数 )； 政纲条目，政策要点 | |
参考例句： |
|
|
|
|
4
hoarding
|
|
| n.贮藏；积蓄；临时围墙；囤积v.积蓄并储藏（某物）( hoard的现在分词 ) | |
参考例句： |
|
|
|
|
5
standing
|
|
| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
参考例句： |
|
|
|
|
6
mermaids
|
|
| n.（传说中的）美人鱼( mermaid的名词复数 ) | |
参考例句： |
|
|
|
|
7
tangled
|
|
| adj. 纠缠的，紊乱的 动词tangle的过去式和过去分词 | |
参考例句： |
|
|
|
|
8
slanting
|
|
| 倾斜的，歪斜的 | |
参考例句： |
|
|
|
|
9
rubicund
|
|
| adj.(脸色)红润的 | |
参考例句： |
|
|
|
|
10
countenance
|
|
| n.脸色，面容；面部表情；vt.支持，赞同 | |
参考例句： |
|
|
|
|
11
frescoes
|
|
| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
参考例句： |
|
|
|
|
12
derided
|
|
| v.取笑，嘲笑( deride的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
13
immortality
|
|
| n.不死，不朽 | |
参考例句： |
|
|
|
|
14
effacing
|
|
| 谦逊的 | |
参考例句： |
|
|
|
|
15
fully
|
|
| adv.完全地，全部地，彻底地；充分地 | |
参考例句： |
|
|
|
|
16
reassured
|
|
| adj.使消除疑虑的；使放心的v.再保证，恢复信心( reassure的过去式和过去分词) | |
参考例句： |
|
|
|
|
17
opposition
|
|
| n.反对，敌对 | |
参考例句： |
|
|
|
|
18
rue
|
|
| n.懊悔，芸香，后悔；v.后悔，悲伤，懊悔 | |
参考例句： |
|
|
|
|
19
Christian
|
|
| adj.基督教徒的；n.基督教徒 | |
参考例句： |
|
|
|
|
20
picturesque
|
|
| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
参考例句： |
|
|
|
|
21
rascal
|
|
| n.流氓；不诚实的人 | |
参考例句： |
|
|
|
|
22
crevice
|
|
| n.(岩石、墙等)裂缝；缺口 | |
参考例句： |
|
|
|
|
23
seismic
|
|
| a.地震的，地震强度的 | |
参考例句： |
|
|
|
|
24
applied
|
|
| adj.应用的；v.应用，适用 | |
参考例句： |
|
|
|
|
25
feverishly
|
|
| adv. 兴奋地 | |
参考例句： |
|
|
|
|
26
mighty
|
|
| adj.强有力的；巨大的 | |
参考例句： |
|
|
|
|
27
marvel
|
|
| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
参考例句： |
|
|
|
|
28
blasphemous
|
|
| adj.亵渎神明的，不敬神的 | |
参考例句： |
|
|
|
|
29
decadence
|
|
| n.衰落，颓废 | |
参考例句： |
|
|
|
|
30
grandeur
|
|
| n.伟大，崇高，宏伟，庄严，豪华 | |
参考例句： |
|
|
|
|
31
virtue
|
|
| n.德行，美德；贞操；优点；功效，效力 | |
参考例句： |
|
|
|
|
32
primitives
|
|
| 原始人（primitive的复数形式） | |
参考例句： |
|
|
|
|
33
supreme
|
|
| adj.极度的，最重要的；至高的，最高的 | |
参考例句： |
|
|
|
|
34
brute
|
|
| n.野兽，兽性 | |
参考例句： |
|
|
|
|
35
devoured
|
|
| 吞没( devour的过去式和过去分词 )； 耗尽； 津津有味地看； 狼吞虎咽地吃光 | |
参考例句： |
|
|
|
|
36
jealousy
|
|
| n.妒忌，嫉妒，猜忌 | |
参考例句： |
|
|
|
|
37
azure
|
|
| adj.天蓝色的，蔚蓝色的 | |
参考例句： |
|
|
|
|
38
gilt
|
|
| adj.镀金的；n.金边证券 | |
参考例句： |
|
|
|
|
39
scourged
|
|
| 鞭打( scourge的过去式和过去分词 )； 惩罚，压迫 | |
参考例句： |
|
|
|
|
40
vanquishing
|
|
| v.征服( vanquish的现在分词 )；战胜；克服；抑制 | |
参考例句： |
|
|
|
|
41
demons
|
|
| n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念 | |
参考例句： |
|
|
|
|
42
heralds
|
|
| n.使者( herald的名词复数 )；预报者；预兆；传令官v.预示( herald的第三人称单数 )；宣布（好或重要） | |
参考例句： |
|
|
|
|
43
celestial
|
|
| adj.天体的；天上的 | |
参考例句： |
|
|
|
|
44
vengeance
|
|
| n.报复，报仇，复仇 | |
参考例句： |
|
|
|
|
45
clemency
|
|
| n.温和，仁慈，宽厚 | |
参考例句： |
|
|
|
|
46
seraphim
|
|
| n.六翼天使(seraph的复数)；六翼天使( seraph的名词复数 ) | |
参考例句： |
|
|
|
|
47
contemplate
|
|
| vt.盘算，计议；周密考虑；注视，凝视 | |
参考例句： |
|
|
|
|
48
guardians
|
|
| 监护人( guardian的名词复数 )； 保护者，维护者 | |
参考例句： |
|
|
|
|
49
guardian
|
|
| n.监护人；守卫者，保护者 | |
参考例句： |
|
|
|
|
50
enchanting
|
|
| a.讨人喜欢的 | |
参考例句： |
|
|
|
|
51
reeks
|
|
| n.恶臭( reek的名词复数 )v.发出浓烈的臭气( reek的第三人称单数 )；散发臭气；发出难闻的气味 (of sth)；明显带有（令人不快或生疑的跡象） | |
参考例句： |
|
|
|
|
52
avenging
|
|
| adj.报仇的，复仇的v.为…复仇，报…之仇( avenge的现在分词 )；为…报复 | |
参考例句： |
|
|
|
|
53
wrestler
|
|
| n.摔角选手，扭 | |
参考例句： |
|
|
|
|
54
touching
|
|
| adj.动人的，使人感伤的 | |
参考例句： |
|
|
|
|
55
hip
|
|
| n.臀部，髋；屋脊 | |
参考例句： |
|
|
|
|
56
entrusted
|
|
| v.委托，托付( entrust的过去式和过去分词 ) | |
参考例句： |
|
|
|
|
57
symbolic
|
|
| adj.象征性的，符号的，象征主义的 | |
参考例句： |
|
|
|
|
58
qualified
|
|
| adj.合格的，有资格的，胜任的，有限制的 | |
参考例句： |
|
|
|
|
59
ecclesiastic
|
|
| n.教士，基督教会；adj.神职者的，牧师的，教会的 | |
参考例句： |
|
|
|
|
60
adventurous
|
|
| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
参考例句： |
|
|
|
|
61
cardinal
|
|
| n.(天主教的)红衣主教；adj.首要的，基本的 | |
参考例句： |
|
|
|
|
62
devastated
|
|
| v.彻底破坏( devastate的过去式和过去分词)；摧毁；毁灭；在感情上（精神上、财务上等）压垮adj.毁坏的；极为震惊的 | |
参考例句： |
|
|
|
|
63
depicted
|
|
| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
参考例句： |
|
|
|
|
64
chastised
|
|
| v.严惩（某人）（尤指责打）( chastise的过去式 ) | |
参考例句： |
|
|
|
|
65
smote
|
|
| v.猛打，重击，打击( smite的过去式 ) | |
参考例句： |
|
|
|
|
66
commissioners
|
|
| n.专员( commissioner的名词复数 )；长官；委员；政府部门的长官 | |
参考例句： |
|
|
|
|
67
sublimer
|
|
| 使高尚者，纯化器 | |
参考例句： |
|
|
|
|
|
68
engraved
|
|
| 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） | |
参考例句： |
|
|
|
|
69
forth
|
|
| adv.向前；向外，往外 | |
参考例句： |
|
|
|
|
70
impure
|
|
| adj.不纯净的，不洁的；不道德的，下流的 | |
参考例句： |
|
|
|
|
71
regained
|
|
| 复得( regain的过去式和过去分词 )； 赢回； 重回； 复至某地 | |
参考例句： |
|
|
|
|
72
horrid
|
|
| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
参考例句： |
|
|
|
|
73
impurities
|
|
| 不纯( impurity的名词复数 )； 不洁； 淫秽； 杂质 | |
参考例句： |
|
|
|
|
74
filth
|
|
| n.肮脏，污物，污秽；淫猥 | |
参考例句： |
|
|
|
|
75
renaissance
|
|
| n.复活，复兴，文艺复兴 | |
参考例句： |
|
|
|
|
76
confidential
|
|
| adj.秘（机）密的，表示信任的，担任机密工作的 | |
参考例句： |
|
|
|
|
77
straightforward
|
|
| adj.正直的，坦率的；易懂的，简单的 | |
参考例句： |
|
|
|
|
78
spicy
|
|
| adj.加香料的；辛辣的，有风味的 | |
参考例句： |
|
|
|
|
79
descended
|
|
| a.为...后裔的，出身于...的 | |
参考例句： |
|
|
|
|
80
overdoes
|
|
| v.做得过分( overdo的第三人称单数 )；太夸张；把…煮得太久；（工作等）过度 | |
参考例句： |
|
|
|
|
81
virgin
|
|
| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
参考例句： |
|
|
|
|
82
inflicting
|
|
| 把…强加给，使承受，遭受( inflict的现在分词 ) | |
参考例句： |
|
|
|
|
83
shameful
|
|
| adj.可耻的，不道德的 | |
参考例句： |
|
|
|
|
84
rosy
|
|
| adj.美好的，乐观的，玫瑰色的 | |
参考例句： |
|
|
|
|
85
wedlock
|
|
| n.婚姻，已婚状态 | |
参考例句： |
|
|
|
|
86
gutter
|
|
| n.沟，街沟，水槽，檐槽，贫民窟 | |
参考例句： |
|
|
|
|
87
antiquity
|
|
| n.古老；高龄；古物，古迹 | |
参考例句： |
|
|
|
|
88
exalts
|
|
| 赞扬( exalt的第三人称单数 )； 歌颂； 提升； 提拔 | |
参考例句： |
|
|
|
|
89
epoch
|
|
| n.(新)时代；历元 | |
参考例句： |
|
|
|
|
90
sculptor
|
|
| n.雕刻家，雕刻家 | |
参考例句： |
|
|
|
|
91
nude
|
|
| adj.裸体的；n.裸体者，裸体艺术品 | |
参考例句： |
|
|
|
|
92
hurling
|
|
| n.爱尔兰式曲棍球v.猛投，用力掷( hurl的现在分词 )；大声叫骂 | |
参考例句： |
|
|
|
|
93
laden
|
|
| adj.装满了的；充满了的；负了重担的；苦恼的 | |
参考例句： |
|
|
|
|
94
utterly
|
|
| adv.完全地，绝对地 | |
参考例句： |
|
|
|
|
95
corrupt
|
|
| v.贿赂，收买；adj.腐败的，贪污的 | |
参考例句： |
|
|
|
|
96
exquisite
|
|
| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
参考例句： |
|
|
|
|
97
craftsmen
|
|
| n. 技工 | |
参考例句： |
|
|
|
|
98
enamel
|
|
| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
参考例句： |
|
|
|
|
99
gild
|
|
| vt.给…镀金，把…漆成金色，使呈金色 | |
参考例句： |
|
|
|
|
100
adoration
|
|
| n.爱慕，崇拜 | |
参考例句： |
|
|
|
|
101
wretches
|
|
| n.不幸的人( wretch的名词复数 )；可怜的人；恶棍；坏蛋 | |
参考例句： |
|
|
|
|
102
virgins
|
|
| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
参考例句： |
|
|
|
|
103
lamentable
|
|
| adj.令人惋惜的，悔恨的 | |
参考例句： |
|
|
|
|
104
anatomy
|
|
| n.解剖学，解剖；功能，结构，组织 | |
参考例句： |
|
|
|
|
105
lugubrious
|
|
| adj.悲哀的，忧郁的 | |
参考例句： |
|
|
|
|
106
rigidity
|
|
| adj.钢性，坚硬 | |
参考例句： |
|
|
|
|
107
eloquent
|
|
| adj.雄辩的，口才流利的；明白显示出的 | |
参考例句： |
|
|
|
|
108
testimony
|
|
| n.证词；见证，证明 | |
参考例句： |
|
|
|
|
109
perversion
|
|
| n.曲解；堕落；反常 | |
参考例句： |
|
|
|
|
110
carnivalesque
|
|
| 好像过节的，快乐的 | |
参考例句： |
|
|
|
|
111
perverted
|
|
| adj.不正当的v.滥用( pervert的过去式和过去分词 )；腐蚀；败坏；使堕落 | |
参考例句： |
|
|
|
|
112
leisurely
|
|
| adj.悠闲的；从容的，慢慢的 | |
参考例句： |
|
|
|
|
113
laymen
|
|
| 门外汉，外行人( layman的名词复数 )； 普通教徒（有别于神职人员） | |
参考例句： |
|
|
|
|
114
tutelary
|
|
| adj.保护的；守护的 | |
参考例句： |
|
|
|
|
115
fervent
|
|
| adj.热的，热烈的，热情的 | |
参考例句： |
|
|
|
|
116
slumber
|
|
| n.睡眠，沉睡状态 | |
参考例句： |
|
|
|
|
117
artifice
|
|
| n.妙计，高明的手段；狡诈，诡计 | |
参考例句： |
|
|
|
| 欢迎访问英文小说网 |