FLORENCE (Continued).

 June 8th.—I went this morning to the Uffizi gallery. The entrance is from the great court of the palace, which communicates with Lung' Arno at one end, and with the Grand Ducal Piazza¹ at the other. The gallery is in the upper story of the palace, and in the vestibule are some busts³ of the princes and cardinals⁴ of the Medici family,—none of them beautiful, one or two so ugly as to be ludicrous, especially one who is all but buried in his own wig⁵. I at first travelled slowly through the whole extent of this long, long gallery, which occupies the entire length of the palace on both sides of the court, and is full of sculpture and pictures. The latter, being opposite to the light, are not seen to the best advantage; but it is the most perfect collection, in a chronological⁶ series, that I have seen, comprehending specimens⁸ of all the masters since painting began to be an art. Here are Giotto, and Cimabue, and Botticelli, and Fra Angelico, and Filippo Lippi, and a hundred others, who have haunted me in churches and galleries ever since I have been in Italy, and who ought to interest me a great deal more than they do. Occasionally to-day I was sensible of a certain degree of emotion in looking at an old picture; as, for example, by a large, dark, ugly picture of Christ hearing the cross and sinking beneath it, when, somehow or other, a sense of his agony, and the fearful wrong that mankind did (and does) its Redeemer, and the scorn of his enemies, and the sorrow of those who loved him, came knocking at any heart and got entrance there. Once more I deem it a pity that Protestantism should have entirely¹⁰ laid aside this mode of appealing to the religious sentiment.

I chiefly paid attention to the sculpture, and was interested in a long series of busts of the emperors and the members of their families, and some of the great men of Rome. There is a bust² of Pompey the Great, bearing not the slightest resemblance to that vulgar and unintellectual one in the gallery of the Capitol, altogether a different cast of countenance¹². I could not judge whether it resembled the face of the statue, having seen the latter so imperfectly in the duskiness of the hall of the Spada Palace. These, I presume, are the busts which Mr. Powers condemns¹⁵, from internal evidence, as unreliable and conventional. He may be right,—and is far more likely, of course, to be right than I am,—yet there certainly seems to be character in these marble faces, and they differ as much among themselves as the same number of living faces might. The bust of Caracalla, however, which Powers excepted from his censure¹⁶, certainly does give stronger assurance of its being an individual and faithful portrait than any other in the series. All the busts of Caracalla—of which I have seen many—give the same evidence of their truth; and I should like to know what it was in this abominable¹⁷ emperor that made him insist upon having his actual likeness¹⁸ perpetuated¹⁹, with all the ugliness of its animal and moral character. I rather respect him for it, and still more the sculptor²⁰, whose hand, methinks, must have trembled as he wrought²¹ the bust. Generally these wicked old fellows, and their wicked wives and daughters, are not so hideous²² as we might expect. Messalina, for instance, has small and pretty features, though with rather a sensual development of the lower part of the face. The busts, it seemed to me, are usually superior as works of art to those in the Capitol, and either better preserved or more thoroughly²³ restored. The bust of Nero might almost be called handsome here, though bearing his likeness unmistakably.

I wish some competent person would undertake to analyze²⁴ and develop his character, and how and by what necessity—with all his elegant tastes, his love of the beautiful, his artist nature—he grew to be such a monster. Nero has never yet had justice done him, nor have any of the wicked emperors; not that I suppose them to have been any less monstrous²⁵ than history represents them; but there must surely have been something in their position and circumstances to render the terrible moral disease which seized upon them so generally almost inevitable²⁶. A wise and profound man, tender and reverent²⁷ of the human soul, and capable of appreciating it in its height and depth, has a great field here for the exercise of his powers. It has struck me, in reading the history of the Italian republics, that many of the tyrants²⁸, who sprung up after the destruction of their liberties, resembled the worst of the Roman emperors. The subject of Nero and his brethren has often perplexed²⁹ me with vain desires to come at the truth.

There were many beautiful specimens of antique, ideal sculpture all along the gallery,—Apollos, Bacchuses, Venuses, Mercurys, Fauns,—with the general character of all of which I was familiar enough to recognize them at a glance. The mystery and wonder of the gallery, however, the Venus de' Medici, I could nowhere see, and indeed was almost afraid to see it; for I somewhat apprehended³⁰ the extinction³¹ of another of those lights that shine along a man's pathway, and go out in a snuff the instant he comes within eyeshot of the fulfilment of his hopes. My European experience has extinguished many such. I was pretty well contented³², therefore, not to find the famous statue in the whole of my long journey from end to end of the gallery, which terminates on the opposite side of the court from that where it commences. The ceiling, by the by, through the entire length, is covered with frescos, and the floor paved with a composition of stone smooth and polished like marble. The final piece of sculpture, at the end of the gallery, is a copy of the Laocoon, considered very fine. I know not why, but it did not impress me with the sense of mighty³⁴ and terrible repose³⁵—a repose growing out of the infinitude of trouble— that I had felt in the original.

Parallel with the gallery, on both sides of the palace-court, there runs a series of rooms devoted³⁶ chiefly to pictures, although statues and bas-reliefs are likewise contained in some of them. I remember an unfinished bas-relief by Michael Angelo of a Holy Family, which I touched with my finger, because it seemed as if he might have been at work upon it only an hour ago. The pictures I did little more than glance at, till I had almost completed again the circuit of the gallery, through this series of parallel rooms, and then I came upon a collection of French and Dutch and Flemish masters, all of which interested me more than the Italian generally. There was a beautiful picture by Claude, almost as good as those in the British National Gallery, and very like in subject; the sun near the horizon, of course, and throwing its line of light over the ripple³⁷ of water, with ships at the strand³⁸, and one or two palaces of stately architecture on the shore. Landscapes by Rembrandt; fat Graces and other plump nudities by Rubens; brass³⁹ pans and earthen pots and herrings by Terriers and other Dutchmen; none by Gerard Douw, I think, but several by Mieris; all of which were like bread and beef and ale, after having been fed too long on made dishes. This is really a wonderful collection of pictures; and from first, to last—from Giotto to the men of yesterday—they are in admirable condition, and may be appreciated for all the merit that they ever possessed⁴⁰.

I could not quite believe that I was not to find the Venus de' Medici; and still, as I passed from one room to another, my breath rose and fell a little, with the half-hope, half-fear, that she might stand before me. Really, I did not know that I cared so much about Venus, or any possible woman of marble. At last, when I had come from among the Dutchmen, I believe, and was looking at some works of Italian artists, chiefly Florentines, I caught a glimpse of her through the door of the next room. It is the best room of the series, octagonal in shape, and hung with red damask, and the light comes down from a row of windows, passing quite round, beneath an octagonal dome⁴¹. The Venus stands somewhat aside from the centre of the room, and is surrounded by an iron railing, a pace or two from her pedestal in front, and less behind. I think she might safely be left to the reverence⁴² her womanhood would win, without any other protection. She is very beautiful, very satisfactory; and has a fresh and new charm about her unreached by any cast or copy. The line of the marble is just so much mellowed⁴⁴ by time, as to do for her all that Gibson tries, or ought to try to do for his statues by color, softening⁴⁶ her, warming her almost imperceptibly, making her an inmate⁴⁸ of the heart, as well as a spiritual existence. I felt a kind of tenderness for her; an affection, not as if she were one woman, but all womanhood in one. Her modest attitude, which, before I saw her I had not liked, deeming that it might be an artificial shame, is partly what unmakes her as the heathen goddess, and softens⁴⁹ her into woman. There is a slight degree of alarm, too, in her face; not that she really thinks anybody is looking at her, yet the idea has flitted through her mind, and startled her a little. Her face is so beautiful and intellectual, that it is not dazzled out of sight by her form. Methinks this was a triumph for the sculptor to achieve. I may as well stop here. It is of no use to throw heaps of words upon her; for they all fall away, and leave her standing⁵⁰ in chaste⁵¹ and naked grace, as untouched as when I began.

She has suffered terribly by the mishaps⁵² of her long existence in the marble. Each of her legs has been broken into two or three fragments, her arms have been severed⁵³, her body has been broken quite across at the waist, her head has been snapped off at the neck. Furthermore, there have been grievous wounds and losses of substance in various tender parts of her person. But on account of the skill with which the statue has been restored, and also because the idea is perfect and indestructible, all these injuries do not in the least impair⁵⁴ the effect, even when you see where the dissevered fragments have been reunited. She is just as whole as when she left the hands of the sculptor. I am glad to have seen this Venus, and to have found her so tender and so chaste. On the wall of the room, and to be taken in at the same glance, is a painted Venus by Titian, reclining on a couch, naked and lustful⁵⁵.

The room of the Venus seems to be the treasure-place of the whole Uffizi Palace, containing more pictures by famous masters than are to be found in all the rest of the gallery. There were several by Raphael, and the room was crowded with the easels of artists. I did not look half enough at anything, but merely took a preliminary taste, as a prophecy of enjoyment⁵⁷ to come.

As we were at dinner to-day, at half past three, there was a ring at the door, and a minute after our servant brought a card. It was Mr. Robert Browning's, and on it was written in pencil an invitation for us to go to see them this evening. He had left the card and gone away; but very soon the bell rang again, and he had come back, having forgotten to give his address. This time he came in; and he shook hands with all of us, children and grown people, and was very vivacious⁵⁸ and agreeable. He looked younger and even handsomer than when I saw him in London, two years ago, and his gray hairs seemed fewer than those that had then strayed into his youthful head. He talked a wonderful quantity in a little time, and told us—among other things that we should never have dreamed of—that Italian people will not cheat you, if you construe⁵⁹ them generously, and put them upon their honor.

Mr. Browning was very kind and warm in his expressions of pleasure at seeing us; and, on our part, we were all very glad to meet him. He must be an exceedingly likable man. . . . They are to leave Florence very soon, and are going to Normandy, I think he said, for the rest of the summer.

The Venus de' Medici has a dimple in her chin.

June 9th.—We went last evening, at eight o'clock, to see the Brownings; and, after some search and inquiry⁶⁰, we found the Casa Guidi, which is a palace in a street not very far from our own. It being dusk, I could not see the exterior⁶¹, which, if I remember, Browning has celebrated⁶² in song; at all events, Mrs. Browning has called one of her poems "Casa Guidi Windows."

The street is a narrow one; but on entering the palace, we found a spacious⁶³ staircase and ample accommodations of vestibule and hall, the latter opening on a balcony, where we could hear the chanting of priests in a church close by. Browning told us that this was the first church where an oratorio⁶⁴ had ever been performed. He came into the anteroom to greet us, as did his little boy, Robert, whom they call Pennini for fondness. The latter cognomen⁶⁵ is a diminutive⁶⁶ of Apennino, which was bestowed⁶⁷ upon him at his first advent⁶⁹ into the world because he was so very small, there being a statue in Florence of colossal⁷⁰ size called Apennino. I never saw such a boy as this before; so slender, fragile, and spirit-like,—not as if he were actually in ill health, but as if he had little or nothing to do with human flesh and blood. His face is very pretty and most intelligent, and exceedingly like his mother's. He is nine years old, and seems at once less childlike and less manly⁷¹ than would befit that age. I should not quite like to be the father of such a boy, and should fear to stake so much interest and affection on him as he cannot fail to inspire. I wonder what is to become of him,—whether he will ever grow to be a man,—whether it is desirable that he should. His parents ought to turn their whole attention to making him robust⁷² and earthly, and to giving him a thicker scabbard to sheathe⁷³ his spirit in. He was born in Florence, and prides himself on being a Florentine, and is indeed as un-English a production as if he were native of another planet.

Mrs. Browning met us at the door of the drawing-room, and greeted us most kindly⁷⁴,—a pale, small person, scarcely embodied⁷⁵ at all; at any rate, only substantial enough to put forth⁷⁶ her slender fingers to be grasped, and to speak with a shrill⁷⁷, yet sweet, tenuity of voice. Really, I do not see how Mr. Browning can suppose that he has an earthly wife any more than an earthly child; both are of the elfin race, and will flit away from him some day when he least thinks of it. She is a good and kind fairy, however, and sweetly disposed towards the human race, although only remotely akin⁴⁷ to it. It is wonderful to see how small she is, how pale her cheek, how bright and dark her eyes. There is not such another figure in the world; and her black ringlets cluster down into her neck, and make her face look the whiter by their sable⁷⁹ profusion⁸⁰. I could not form any judgment⁸¹ about her age; it may range anywhere within the limits of human life or elfin life. When I met her in London at Lord Houghton's breakfast-table, she did not impress me so singularly; for the morning light is more prosaic⁸² than the dim illumination of their great tapestried⁸³ drawing-room; and besides, sitting next to her, she did not have occasion to raise her voice in speaking, and I was not sensible what a slender voice she has. It is marvellous to me how so extraordinary, so acute, so sensitive a creature can impress us, as she does, with the certainty of her benevolence⁸⁴. It seems to me there were a million chances to one that she would have been a miracle of acidity⁸⁵ and bitterness.

We were not the only guests. Mr. and Mrs. E———, Americans, recently from the East, and on intimate terms with the Brownings, arrived after us; also Miss F. H———, an English literary lady, whom I have met several times in Liverpool; and lastly came the white head and palmer-like beard of Mr. ——— with his daughter. Mr. Browning was very efficient in keeping up conversation with everybody, and seemed to be in all parts of the room and in every group at the same moment; a most vivid and quick-thoughted person, logical and common-sensible, as, I presume, poets generally are in their daily talk.

Mr. ———, as usual, was homely⁸⁶ and plain of manner, with an old-fashioned dignity, nevertheless, and a remarkable⁸⁷ deference⁸⁸ and gentleness of tone in addressing Mrs. Browning. I doubt, however, whether he has any high appreciation⁸⁹ either of her poetry or her husband's, and it is my impression that they care as little about his.

We had some tea and some strawberries, and passed a pleasant evening. There was no very noteworthy conversation; the most interesting topic being that disagreeable and now wearisome one of spiritual communications, as regards which Mrs. Browning is a believer, and her husband an infidel. Mr. ——— appeared not to have made up his mind on the matter, but told a story of a successful communication between Cooper the novelist and his sister, who had been dead fifty years. Browning and his wife had both been present at a spiritual session held by Mr. Hume, and had seen and felt the unearthly hands, one of which had placed a laurel wreath on Mrs. Browning's head. Browning, however, avowed⁹¹ his belief that these hands were affixed⁹² to the feet of Mr. Hume, who lay extended in his chair, with his legs stretched far under the table. The marvellousness of the fact, as I have read of it, and heard it from other eye-witnesses, melted strangely away in his hearty⁹³ gripe, and at the sharp touch of his logic⁷; while his wife, ever and anon, put in a little gentle word of expostulation.

I am rather surprised that Browning's conversation should be so clear, and so much to the purpose at the moment, since his poetry can seldom proceed far without running into the high grass of latent meanings and obscure allusions⁹⁵.

Mrs. Browning's health does not permit late hours, so we began to take heave at about ten o'clock. I heard her ask Mr. ——— if he did not mean to revisit Europe, and heard him answer, not uncheerfully, taking hold of his white hair, "It is getting rather too late in the evening now." If any old age can be cheerful, I should think his might be; so good a man, so cool, so calm, so bright, too, we may say. His life has been like the days that end in pleasant sunsets. He has a great loss, however, or what ought to be a great loss,—soon to be encountered in the death of his wife, who, I think, can hardly live to reach America. He is not eminently⁹⁷ an affectionate man. I take him to be one who cannot get closely home to his sorrow, nor feel it so sensibly as he gladly would; and, in consequence of that deficiency, the world lacks substance to him. It is partly the result, perhaps, of his not having sufficiently⁹⁸ cultivated his emotional nature. His poetry shows it, and his personal intercourse⁹⁹, though kindly, does not stir one's blood in the least.

Little Pennini, during the evening, sometimes helped the guests to cake and strawberries; joined in the conversation, when he had anything to say, or sat down upon a couch to enjoy his own meditations¹⁰⁰. He has long curling hair, and has not yet emerged from his frock and short hose. It is funny to think of putting him into trousers. His likeness to his mother is strange to behold¹⁰¹.

June 10th.—My wife and I went to the Pitti Palace to-day; and first entered a court where, yesterday, she had seen a carpet of flowers, arranged for some great ceremony. It must have been a most beautiful sight, the pavement of the court being entirely covered by them, in a regular pattern of brilliant lines, so as really to be a living mosaic¹⁰². This morning, however, the court had nothing but its usual stones, and the show of yesterday seemed so much the more inestimable as having been so evanescent. Around the walls of the court there were still some pieces of splendid tapestry¹⁰³ which had made part of yesterday's magnificence. We went up the staircase, of regally broad and easy ascent¹⁰⁴, and made application to be admitted to see the grand-ducal apartments. An attendant accordingly took the keys, and ushered¹⁰⁵ us first into a great hall with a vaulted¹⁰⁶ ceiling, and then through a series of noble rooms, with rich frescos above and mosaic floors, hung with damask, adorned¹⁰⁷ with gilded¹⁰⁹ chandeliers, and glowing, in short, with more gorgeousness than I could have imagined beforehand, or can now remember. In many of the rooms were those superb antique cabinets which I admire more than any other furniture ever invented; only these were of unexampled art and glory, inlaid with precious stones, and with beautiful Florentine mosaics¹¹⁰, both of flowers and landscapes,—each cabinet worth a lifetime's toil¹¹¹ to make it, and the cost a whole palace to pay for it. Many of the rooms were covered with arras, of landscapes, hunting-scenes, mythological¹¹² subjects, or historical scenes, equal to pictures in truth of representation, and possessing an indescribable richness that makes them preferable as a mere⁵⁶ adornment¹¹³ of princely halls and chambers¹¹⁴. Some of the rooms, as I have said, were laid in mosaic of stone and marble, otherwise in lovely patterns of various woods; others were covered with carpets, delightful¹¹⁶ to tread upon, and glowing like the living floor of flowers which my wife saw yesterday. There were tables, too, of Florentine mosaic, the mere materials of which—lapis lazuli, malachite, pearl, and a hundred other precious things—were worth a fortune, and made a thousand times more valuable by the artistic¹¹⁸ skill of the manufacturer. I toss together brilliant words by the handful, and make a rude sort of patchwork¹¹⁹, but can record no adequate idea of what I saw in this suite¹²⁰ of rooms; and the taste, the subdued¹²¹ splendor¹²², so that it did not shine too high, but was all tempered into an effect at once grand and soft,—this was quite as remarkable as the gorgeous material. I have seen a very dazzling effect produced in the principal cabin of an American clipper-ship quite opposed to this in taste.

After making the circuit of the grand-ducal apartments, we went into a door in the left wing of the palace, and ascended¹²⁴ a narrow flight of stairs,—several tortuous¹²⁵ flights indeed,—to the picture-gallery. It fills a great many stately halls, which themselves are well worth a visit for the architecture and frescos; only these matters become commonplace after travelling through a mile or two of them. The collection of pictures—as well for their number as for the celebrity¹²⁶ and excellence¹²⁷ of many of them—is the most interesting that I have seen, and I do not yet feel in a condition, nor perhaps ever shall, to speak of a single one. It gladdened my very heart to find that they were not darkened out of sight, nor apparently¹²⁸ at all injured by time, but were well kept and varnished¹²⁹, brilliantly framed, and, no doubt, restored by skilful¹³⁰ touches if any of them needed it. The artists and amateurs may say what they like; for my part, I know no drearier¹³¹ feeling than that inspired by a ruined picture,—ruined, that is, by time, damp, or rough treatment,—and I would a thousand times rather an artist should do his best towards reviving it, than have it left in such a condition. I do not believe, however, that these pictures have been sacrilegiously interfered¹³² with; at all events, I saw in the masterpieces no touch but what seemed worthy⁹⁰ of the master-hand.

The most beautiful picture in the world, I am convinced, is Raphael's "Madonna della Seggiola." I was familiar with it in a hundred engravings and copies, and therefore it shone upon one as with a familiar beauty, though infinitely¹³⁵ more divine than I had ever seen it before. An artist was copying it, and producing certainly something very like a fac-simile, yet leaving out, as a matter of course, that mysterious something that renders the picture a miracle. It is my present opinion that the pictorial¹³⁶ art is capable of something more like magic, more wonderful and inscrutable in its methods, than poetry or any other mode of developing the beautiful. But how does this accord with what I have been saying only a minute ago? How then can the decayed picture of a great master ever be restored by the touches of an inferior hand? Doubtless it never can be restored; but let some devoted worshipper do his utmost, and the whole inherent spirit of the divine picture may pervade¹³⁷ his restorations likewise.

I saw the "Three Fates" of Michael Angelo, which were also being copied, as were many other of the best pictures. Miss Fanny Howorth, whom I met in the gallery, told me that to copy the "Madonna della Seggiola," application must be made five years beforehand, so many are the artists who aspire¹³⁸ to copy it. Michael Angelo's Fates are three very grim and pitiless old women, who respectively spin, hold, and cut the thread of human destiny, all in a mood of sombre gloom, but with no more sympathy than if they had nothing to do with us. I remember seeing an etching of this when I was a child, and being struck, even then, with the terrible, stern, passionless severity, neither loving us nor hating us, that characterizes these ugly old women. If they were angry, or had the least spite against human kind, it would render them the more tolerable. They are a great work, containing and representing the very idea that makes a belief in fate such a cold torture to the human soul. God give me the sure belief in his Providence¹³⁹!

In a year's time, with the advantage of access to this magnificent gallery, I think I might come to have some little knowledge of pictures. At present I still know nothing; but am glad to find myself capable, at least, of loving one picture better than another. I cannot always "keep the heights I gain," however, and after admiring and being moved by a picture one day, it is within my experience to look at it the next as little moved as if it were a tavern-sign. It is pretty much the same with statuary; the same, too, with those pictured windows of the Duomo, which I described so rapturously a few days ago. I looked at them again the next morning, and thought they would have been hardly worthy of my eulogium, even had all the separate windows of the cathedral combined their narrow lights into one grand, resplendent, many-colored arch at the eastern end. It is a pity they are so narrow. England has many a great chancel-window that, though dimmer in its hues¹⁴², dusty, and perhaps made up of heterogeneous¹⁴³ fragments, eclipses these by its spacious breadth.

From the gallery, I went into the Boboli Gardens, which are contiguous to the palace; but found them too sunny for enjoyment. They seem to consist partly of a wilderness¹⁴⁴; but the portion into which I strayed was laid out with straight walks, lined with high box-hedges, along which there was only a narrow margin¹⁴⁵ of shade. I saw an amphitheatre, with a wide sweep of marble seat around it, enclosing a grassy¹⁴⁶ space, where, doubtless, the Medici may have witnessed splendid spectacles.

June 11th.—I paid another visit to the Uffizi gallery this morning, and found that the Venus is one of the things the charm of which does not diminish on better acquaintance. The world has not grown weary of her in all these ages; and mortal man may look on her with new delight from infancy¹⁴⁷ to old age, and keep the memory of her, I should imagine, as one of the treasures of spiritual existence hereafter. Surely, it makes me more ready to believe in the high destinies of the human race, to think that this beautiful form is but nature's plan for all womankind, and that the nearer the actual woman approaches it, the more natural she is. I do not, and cannot think of her as a senseless image, but as a being that lives to gladden the world, incapable¹⁴⁸ of decay and death; as young and fair to-day as she was three thousand years ago, and still to be young and fair as long as a beautiful thought shall require physical embodiment. I wonder how any sculptor has had the impertinence to aim at any other presentation of female beauty. I mean no disrespect to Gibson or Powers, or a hundred other men who people the world with nudities, all of which are abortions¹⁴⁹ as compared with her; but I think the world would be all the richer if their Venuses, their Greek Slaves, their Eves, were burnt into quicklime, leaving us only this statue as our image of the beautiful. I observed to-day that the eyes of the statue are slightly hollowed out, in a peculiar¹⁵⁰ way, so as to give them a look of depth and intelligence. She is a miracle. The sculptor must have wrought religiously, and have felt that something far beyond his own skill was working through his hands. I mean to leave off speaking of the Venus hereafter, in utter despair of saying what I wish; especially as the contemplation of the statue will refine and elevate my taste, and make it continually more difficult to express my sense of its excellence, as the perception of it grows upon one. If at any time I become less sensible of it, it will be my deterioration¹⁵¹, not any defect in the statue.

I looked at many of the pictures, and found myself in a favorable mood for enjoying them. It seems to me that a work of art is entitled to credit for all that it makes us feel in our best moments; and we must judge of its merits by the impression it then makes, and not by the coldness and insensibility of our less genial¹⁵² moods.

After leaving the Uffizi Palace, . . . . I went into the Museum of Natural History, near the Pitti Palace. It is a very good collection of almost everything that Nature has made,—or exquisite¹⁵³ copies of what she has made,—stones, shells, vegetables, insects, fishes, animals, man; the greatest wonders of the museum being some models in wax of all parts of the human frame. It is good to have the wholeness and summed-up beauty of woman in the memory, when looking at the details of her system as here displayed; for these last, to the natural eye, are by no means beautiful. But they are what belong only to our mortality. The beauty that makes them invisible is our immortal¹⁵⁴ type, which we shall take away with us. Under glass cases, there were some singular and horribly truthful¹⁵⁵ representations, in small wax figures, of a time of pestilence¹⁵⁶; the hasty burial, or tossing into one common sepulchre, of discolored corpses,—a very ugly piece of work, indeed. I think Murray says that these things were made for the Grand Duke Cosmo; and if so, they do him no credit, indicating something dark and morbid¹⁵⁷ in his character.

June 13th.—We called at the Powers's yesterday morning to leave R——- there for an hour or two to play with the children; and it being not yet quite time for the Pitti Palace, we stopped into the studio. Soon Mr. Powers made his appearance, in his dressing-gown and slippers¹⁵⁸ and sculptor's cap, smoking a cigar. . . . He was very cordial and pleasant, as I have always found him, and began immediately to be communicative about his own works, or any other subject that came up. There were two casts of the Venus de' Medici in the rooms, which he said were valuable in a commercial point of view, being genuine casts from the mould taken from the statue. He then gave us a quite unexpected but most interesting lecture on the Venus, demonstrating it, as he proceeded, by reference to the points which he criticised. The figure, he seemed to allow, was admirable, though I think he hardly classes it so high as his own Greek Slave or Eva; but the face, he began with saying, was that of an idiot. Then, leaning on the pedestal of the cast, he continued, "It is rather a bold thing to say, isn't it, that the sculptor of the Venus de' Medici did not know what he was about?"

Truly, it appeared to me so; but Powers went on remorselessly, and showed, in the first place, that the eye was not like any eye that Nature ever made; and, indeed, being examined closely, and abstracted from the rest of the face, it has a very queer look,—less like a human eye than a half-worn buttonhole! Then he attacked the ear, which, he affirmed and demonstrated, was placed a good deal too low on the head, thereby¹⁶⁰ giving an artificial and monstrous height to the portion of the head above it. The forehead met with no better treatment in his hands, and as to the mouth, it was altogether wrong, as well in its general make as in such niceties as the junction¹⁶¹ of the skin of the lips to the common skin around them. In a word, the poor face was battered¹⁶² all to pieces and utterly¹⁶³ demolished¹⁶⁴; nor was it possible to doubt or question that it fell by its own demerits. All that could be urged in its defence—and even that I did not urge—being that this very face had affected¹⁶⁵ me, only the day before, with a sense of higher beauty and intelligence than I had ever then received from sculpture, and that its expression seemed to accord with that of the whole figure, as if it were the sweetest note of the same music. There must be something in this; the sculptor disregarded technicalities, and the imitation of actual nature, the better to produce the effect which he really does produce, in somewhat the same way as a painter works his magical illusions by touches that have no relation to the truth if looked at from the wrong point of view. But Powers considers it certain that the antique sculptor had bestowed all his care on the study of the human figure, and really did not know how to make a face. I myself used to think that the face was a much less important thing with the Greeks, among whom the entire beauty of the form was familiarly seen, than with ourselves, who allow no other nudity.

After annihilating¹⁶⁶ the poor visage, Powers showed us his two busts of Proserpine and Psyche¹⁶⁷, and continued his lecture by showing the truth to nature with which these are modelled. I freely acknowledge the fact; there is no sort of comparison to be made between the beauty, intelligence, feeling, and accuracy of representation in these two faces and in that of the Venus de' Medici. A light—the light of a soul proper to each individual character—seems to shine from the interior of the marble, and beam forth from the features, chiefly from the eyes. Still insisting upon the eye, and hitting the poor Venus another and another and still another blow on that unhappy feature, Mr. Powers turned up and turned inward and turned outward his own Titanic¹⁶⁸ orb,—the biggest, by far, that ever I saw in mortal head,—and made us see and confess that there was nothing right in the Venus and everything right in Psyche and Proserpine. To say the truth, their marble eyes have life, and, placing yourself in the proper position towards them, you can meet their glances, and feel them mingle¹⁶⁹ with your own. Powers is a great man, and also a tender and delicate one, massive and rude of surface as he looks; and it is rather absurd to feel how he impressed his auditor¹⁷⁰, for the time being, with his own evident idea that nobody else is worthy to touch marble. Mr. B——— told me that Powers has had many difficulties on professional grounds, as I understood him, and with his brother artists. No wonder! He has said enough in my hearing to put him at swords' points with sculptors¹⁷¹ of every epoch¹⁷² and every degree between the two inclusive extremes of Phidias and Clark Mills.

He has a bust of the reigning¹⁷³ Grand Duchess of Tuscany, who sat to him for it. The bust is that of a noble-looking lady; and Powers remarked that royal personages have a certain look that distinguishes them from other people, and is seen in individuals of no lower rank. They all have it; the Queen of England and Prince Albert have it; and so likewise has every other Royalty¹⁷⁴, although the possession of this kingly look implies nothing whatever as respects kingly and commanding qualities. He said that none of our public men, whatever authority they may have held, or for whatever length of time, possess this look, but he added afterwards that Washington had it. Commanders of armies sometimes have it, but not in the degree that royal personages do. It is, as well as I could make out Powers's idea, a certain coldness of demeanor¹⁷⁵, and especially of eye, that surrounds them with an atmosphere through which the electricity of human brotherhood¹⁷⁶ cannot pass. From their youth upward they are taught to feel themselves apart from the rest of mankind, and this manner becomes a second nature to them in consequence, and as a safeguard to their conventional dignity. They put themselves under glass, as it were (the illustration is my own), so that, though you see them, and see them looking no more noble and dignified¹⁷⁷ than other mortals, nor so much so as many, still they keep themselves within a sort of sanctity, and repel¹⁷⁸ you by an invisible barrier. Even if they invite you with a show of warmth and hospitality, you cannot get through. I, too, recognize this look in the portraits of Washington; in him, a mild, benevolent¹⁷⁹ coldness and apartness, but indicating that formality which seems to have been deeper in him than in any other mortal, and which built up an actual fortification between himself and human sympathy. I wish, for once, Washington could come out of his envelopment¹⁸⁰ and show us what his real dimensions were.

Among other models of statues heretofore made, Powers showed us one of Melancholy¹⁸¹, or rather of Contemplation, from Milton's "Penseroso"; a female figure with uplifted face and rapt look, "communing with the skies." It is very fine, and goes deeply into Milton's thought; but, as far as the outward form and action are concerned, I remember seeing a rude engraving¹³⁴ in my childhood that probably suggested the idea. It was prefixed to a cheap American edition of Milton's poems, and was probably as familiar to Powers as to myself. It is very remarkable how difficult it seems to be to strike out a new attitude in sculpture; a new group, or a new single figure.

One piece of sculpture Powers exhibited, however, which was very exquisite, and such as I never saw before. Opening a desk, he took out something carefully enclosed between two layers of cotton-wool, on removing which there appeared a little baby's hand most delicately represented in the whitest marble; all the dimples where the knuckles¹⁸² were to be, all the creases¹⁸³ in the plump flesh, every infantine wrinkle of the soft skin being lovingly recorded. "The critics condemn¹⁴ minute representation," said Powers; "but you may look at this through a microscope and see if it injures the general effect." Nature herself never made a prettier or truer little hand. It was the hand of his daughter,—"Luly's hand," Powers called it,—the same that gave my own such a frank and friendly grasp when I first met "Luly." The sculptor made it only for himself and his wife, but so many people, he said, had insisted on having a copy, that there are now forty scattered¹⁸⁴ about the world. At sixty years, Luly ought to have her hand sculptured again, and give it to her grandchildren with the baby's hand of five months old. The baby-hand that had done nothing, and felt only its mother's kiss; the old lady's hand that had exchanged the love-pressure, worn the marriage-ring, closed dead eyes,—done a lifetime's work, in short. The sentiment is rather obvious, but true nevertheless.

Before we went away, Powers took us into a room apart—apparently the secretest room he had—and showed us some tools and machinery¹⁸⁵, all of his own contrivance and invention. "You see I am a bit of a Yankee," he observed.

This machinery is chiefly to facilitate the process of modelling his works, for—except in portrait-busts—he makes no clay model as other sculptors do, but models directly in the plaster; so that instead of being crumbled¹⁸⁶, like clay, the original model remains¹⁸⁹ a permanent possession. He has also invented a certain open file, which is of great use in finishing the surface of the marble; and likewise a machine for making these files and for punching holes through iron, and he demonstrated its efficiency by punching a hole through an iron bar, with a force equivalent to ten thousand pounds, by the mere application of a part of his own weight. These inventions, he says, are his amusement, and the bent¹⁹⁰ of his nature towards sculpture must indeed have been strong, to counteract¹⁹¹, in an American, such a capacity for the contrivance of steam-engines. . . .

I had no idea of filling so many pages of this journal with the sayings and characteristics of Mr. Powers, but the man and his talk are fresh, original, and full of bone and muscle, and I enjoy him much.

We now proceeded to the Pitti Palace, and spent several hours pleasantly in its saloons of pictures. I never enjoyed pictures anywhere else as I do in Florence. There is an admirable Judith in this gallery by Allori; a face of great beauty and depth, and her hand clutches the head of Holofernes by the hair in a way that startles the spectator. There are two peasant Madonnas by Murillo; simple women, yet with a thoughtful sense of some high mystery connected with the baby in their arms.

Raphael grows upon me; several other famous painters—Guido, for instance—are fading out of my mind. Salvator Rosa has two really wonderful landscapes, looking from the shore seaward; and Rubens too, likewise on a large scale, of mountain and plain. It is very idle and foolish to talk of pictures; yet, after poring over them and into them, it seems a pity to let all the thought excited by them pass into nothingness.

The copyists of pictures are very numerous, both in the Pitti and Uffizi galleries; and, unlike sculptors, they appear to be on the best of terms with one another, chatting sociably¹⁹², exchanging friendly criticism, and giving their opinions as to the best mode of attaining¹⁹³ the desired effects. Perhaps, as mere copyists, they escape the jealousy¹⁹⁴ that might spring up between rival painters attempting to develop original ideas. Miss Howorth says that the business of copying pictures, especially those of Raphael, is a regular profession, and she thinks it exceedingly obstructive to the progress or existence of a modern school of painting, there being a regular demand and sure sale for all copies of the old masters, at prices proportioned to their merit; whereas the effort to be original insures nothing, except long neglect, at the beginning of a career, and probably ultimate failure, and the necessity of becoming a copyist at last. Some artists employ themselves from youth to age in nothing else but the copying of one single and selfsame picture by Raphael, and grow at last to be perfectly¹³ mechanical, making, I suppose, the same identical stroke of the brush in fifty successive pictures.

The weather is very hot now,—hotter in the sunshine, I think, than a midsummer day usually is in America, but with rather a greater possibility of being comfortable in the shade. The nights, too, are warm, and the bats fly forth at dusk, and the fireflies quite light up the green depths of our little garden. The atmosphere, or something else, causes a sort of alacrity¹⁹⁵ in my mind and an affluence¹⁹⁶ of ideas, such as they are; but it does not thereby make me the happier. I feel an impulse to be at work, but am kept idle by the sense of being unsettled with removals to be gone through, over and over again, before I can shut myself into a quiet room of my own, and turn the key. I need monotony too, an eventless exterior life, before I can live in the world within.

June 15th.—Yesterday we went to the Uffizi gallery, and, of course, I took the opportunity to look again at the Venus de' Medici after Powers's attack upon her face. Some of the defects he attributed to her I could not see in the statue; for instance, the ear appeared to be in accordance with his own rule, the lowest part of it being about in a straight line with the upper lip. The eyes must be given up, as not, when closely viewed, having the shape, the curve outwards¹⁹⁷, the formation of the lids, that eyes ought to have; but still, at a proper distance, they seemed to have intelligence in them beneath the shadow cast by the brow. I cannot help thinking that the sculptor intentionally¹⁹⁸ made every feature what it is, and calculated them all with a view to the desired effect. Whatever rules may be transgressed¹⁹⁹, it is a noble and beautiful face,—more so, perhaps, than if all rules had been obeyed. I wish Powers would do his best to fit the Venus's figure (which he does not deny to be admirable) with a face which he would deem equally admirable and in accordance with the sentiment of the form.

We looked pretty thoroughly through the gallery, and I saw many pictures that impressed me; but among such a multitude, with only one poor mind to take note of them, the stamp of each new impression helps to obliterate²⁰⁰ a former one. I am sensible, however, that a process is going on, and has been ever since I came to Italy, that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before. It is the sign, I presume, of a taste still very defective²⁰¹, that I take singular pleasure in the elaborate imitations of Van Mieris, Gerard Douw, and other old Dutch wizards, who painted such brass pots that you can see your face in them, and such earthen pots that they will surely hold water; and who spent weeks and months in turning a foot or two of canvas into a perfect microscopic²⁰³ illusion of some homely scene. For my part, I wish Raphael had painted the "Transfiguration" in this style, at the same time preserving his breadth and grandeur²⁰⁴ of design; nor do I believe that there is any real impediment to the combination of the two styles, except that no possible space of human life could suffice to cover a quarter part of the canvas of the "Transfiguration" with such touches as Gerard Douw's. But one feels the vast scope of this wonderful art, when we think of two excellences²⁰⁵ so far apart as that of this last painter and Raphael. I pause a good while, too, before the Dutch paintings of fruit and flowers, where tulips and roses acquire an immortal bloom, and grapes have kept the freshest juice in them for two or three hundred years. Often, in these pictures, there is a bird's-nest, every straw perfectly represented, and the stray feather, or the down that the mother-bird plucked from her bosom²⁰⁶, with the three or four small speckled eggs, that seem as if they might be yet warm. These pretty miracles have their use in assuring us that painters really can do something that takes hold of us in our most matter-of-fact moods; whereas, the merits of the grander style of art may be beyond our ordinary appreciation, and leave us in doubt whether we have not befooled ourselves with a false admiration²⁰⁸.

Until we learn to appreciate the cherubs²⁰⁹ and angels that Raphael scatters²¹⁰ through the blessed air, in a picture of the "Nativity," it is not amiss to look at, a Dutch fly settling on a peach, or a bumblebee burying himself in a flower.

It is another token of imperfect taste, no doubt, that queer pictures and absurd pictures remain in my memory, when better ones pass away by the score. There is a picture of Venus, combing her son Cupid's head with a small-tooth comb, and looking with maternal²¹¹ care among his curls; this I shall not forget. Likewise, a picture of a broad, rubicund²¹² Judith by Bardone,—a widow of fifty, of an easy, lymphatic, cheerful temperament²¹³, who has just killed Holofernes, and is as self-complacent as if she had been carving²¹⁴ a goose. What could possibly have stirred up this pudding of a woman (unless it were a pudding-stick) to do such a deed! I looked with much pleasure at an ugly, old, fat, jolly Bacchus, astride on a barrel, by Rubens; the most natural and lifelike representation of a tipsy rotundity of flesh that it is possible to imagine. And sometimes, amid these sensual images, I caught the divine pensiveness²¹⁵ of a Madonna's face, by Raphael, or the glory and majesty²¹⁷ of the babe Jesus in her arm, with his Father shining through him. This is a sort of revelation, whenever it comes.

This morning, immediately after breakfast, I walked into the city, meaning to make myself better acquainted with its appearance, and to go into its various churches; but it soon grew so hot, that I turned homeward again. The interior of the Duomo was deliciously cool, to be sure,—cool and dim, after the white-hot sunshine; but an old woman began to persecute²¹⁸ me, so that I came away. A male beggar drove me out of another church; and I took refuge in the street, where the beggar and I would have been two cinders²¹⁹ together, if we had stood long enough on the sunny sidewalk. After my five summers' experience of England, I may have forgotten what hot weather is; but it does appear to me that an American summer is not so fervent²²⁰ as this. Besides the direct rays, the white pavement throws a furnace-heat up into one's face; the shady margin of the street is barely tolerable; but it is like going through the ordeal²²¹ of fire to cross the broad bright glare of an open piazza. The narrow streets prove themselves a blessing²²² at this season, except when the sun looks directly into them; the broad eaves of the houses, too, make a selvage of shade, almost always. I do not know what becomes of the street-merchants at the noontide of these hot days. They form a numerous class in Florence, displaying their wares—linen²²⁴ or cotton cloth, threads, combs, and all manner of haberdashery—on movable counters that are borne about on wheels. In the shady morning, you see a whole side of a street in a piazza occupied by them, all offering their merchandise at full cry. They dodge²²⁵ as they can from shade to shade; but at last the sunshine floods the whole space, and they seem to have melted away, leaving not a rag of themselves or what they dealt in.

Cherries are very abundant now, and have been so ever since we came here, in the markets and all about the streets. They are of various kinds, some exceedingly large, insomuch that it is almost necessary to disregard the old proverb about making two bites of a cherry. Fresh figs²²⁶ are already spoken of, though I have seen none; but I saw some peaches this morning, looking as if they might be ripe.

June 16th.—Mr. and Mrs. Powers called to see us last evening. Mr. Powers, as usual, was full of talk, and gave utterance²²⁸ to a good many instructive and entertaining ideas.

As one instance of the little influence the religion of the Italians has upon their morals, he told a story of one of his servants, who desired leave to set up a small shrine²²⁹ of the Virgin²³⁰ in their room—a cheap print, or bas-relief, or image, such as are sold everywhere at the shops —and to burn a lamp before it; she engaging, of course, to supply the oil at her own expense. By and by, her oil-flask appeared to possess a miraculous²³¹ property of replenishing itself, and Mr. Powers took measures to ascertain²³² where the oil came from. It turned out that the servant had all the time been stealing the oil from them, and keeping up her daily sacrifice and worship to the Virgin by this constant theft.

His talk soon turned upon sculpture, and he spoke²²⁷ once more of the difficulty imposed upon an artist by the necessity of clothing portrait statues in the modern costume. I find that he does not approve either of nudity or of the Roman toga for a modern statue; neither does he think it right to shirk the difficulty—as Chantrey did in the case of Washington —by enveloping²³³ him in a cloak; but acknowledges the propriety²³⁴ of taking the actual costume of the age and doing his best with it. He himself did so with his own Washington, and also with a statue that he made of Daniel Webster. I suggested that though this costume might not appear ridiculous to us now, yet, two or three centuries hence, it would create, to the people of that day, an impossibility of seeing the real man through the absurdity²³⁵ of his envelopment, after it shall have entirely grown out of fashion and remembrance; and Webster would seem as absurd to them then as he would to us now in the masquerade of some bygone day. It might be well, therefore, to adopt some conventional costume, never actual, but always graceful²³⁶ and noble. Besides, Webster, for example, had other costumes than that which he wore in public, and perhaps it was in those that he lived his most real life; his dressing-gown, his drapery of the night, the dress that he wore on his fishing-excursions; in these other costumes he spent three fourths of his time, and most probably was thus arrayed when he conceived the great thoughts that afterwards, in some formal and outside mood, he gave forth to the public. I scarcely think I was right, but am not sure of the contrary. At any rate, I know that I should have felt much more sure that I knew the real Webster, if I had seen him in any of the above-mentioned dresses, than either in his swallow-tailed coat or frock.

Talking of a taste for painting and sculpture, Powers observed that it was something very different and quite apart from the moral sense, and that it was often, perhaps generally, possessed by unprincipled men of ability and cultivation²³⁷. I have had this perception myself. A genuine love of painting and sculpture, and perhaps of music, seems often to have distinguished²³⁸ men capable of every social crime, and to have formed a fine and hard enamel²³⁹ over their characters. Perhaps it is because such tastes are artificial, the product of cultivation, and, when highly developed, imply a great remove from natural simplicity²⁴⁰.

This morning I went with U—— to the Uffizi gallery, and again looked with more or less attention at almost every picture and statue. I saw a little picture of the golden age, by Zucchero, in which the charms of youths and virgins²⁴¹ are depicted²⁴² with a freedom that this iron age can hardly bear to look at. The cabinet of gems²⁴³ happened to be open for the admission of a privileged party, and we likewise went in and saw a brilliant collection of goldsmiths' work, among which, no doubt, were specimens from such hands as Benvenuto Cellini. Little busts with diamond eyes; boxes of gems; cups carved out of precious material; crystal vases, beautifully chased and engraved²⁴⁴, and sparkling with jewels; great pearls, in the midst of rubies²⁴⁵; opals, rich with all manner of lovely lights. I remember Benvenuto Cellini, in his memoirs²⁴⁶, speaks of manufacturing such playthings as these.

I observed another characteristic of the summer streets of Florence to-day; tables, movable to and fro, on wheels, and set out with cool iced drinks and cordials.

June 17th.—My wife and I went, this morning, to the Academy of Fine Arts, and, on our way thither²⁴⁷, went into the Duomo, where we found a deliciously cool twilight²⁴⁸, through which shone the mild gleam of the painted windows. I cannot but think it a pity that St. Peter's is not lighted by such windows as these, although I by no means saw the glory in them now that I have spoken of in a record of my former visit. We found out the monument of Giotto, a tablet, and portrait in bas-relief, on the wall, near the entrance of the cathedral, on the right hand; also a representation, in fresco³³, of a knight²⁴⁹ on horseback, the memorial of one John Rawkwood, close by the door, to the left. The priests were chanting a service of some kind or other in the choir²⁵⁰, terribly inharmonious, and out of tune¹¹⁷. . . .

On reaching the Academy, the soldier or policeman at the entrance directed us into the large hall, the walls of which were covered on both sides with pictures, arranged as nearly as possible in a progressive series, with reference to the date of the painters; so that here the origin and procession of the art may be traced through the course of, at least, two hundred years. Giotto, Cimabue, and others of unfamiliar²⁵¹ names to me, are among the earliest; and, except as curiosities, I should never desire to look once at them, nor think of looking twice. They seem to have been executed with great care and conscientiousness²⁵², and the heads are often wrought out with minuteness and fidelity²⁵³, and have so much expression that they tell their own story clearly enough; but it seems not to have been the painter's aim to effect a lifelike illusion, the background and accessories being conventional. The trees are no more like real trees than the feather of a pen, and there is no perspective, the figure of the picture being shadowed forth on a surface of burnished²⁵⁴ gold. The effect, when these pictures, some of them very large, were new and freshly gilded, must have been exceedingly brilliant, and much resembling, on an immensely larger scale, the rich illuminations in an old monkish²⁵⁵ missal. In fact, we have not now, in pictorial ornament²⁵⁷, anything at all comparable to what their splendor must have been. I was most struck with a picture, by Fabriana Gentile, of the Adoration²⁵⁸ of the Magi, where the faces and figures have a great deal of life and action, and even grace, and where the jewelled crowns, the rich embroidered²⁵⁹ robes, and cloth of gold, and all the magnificence of the three kings, are represented with the vividness of the real thing: a gold sword-hilt, for instance, or a pair of gold spurs, being actually embossed on the picture. The effect is very powerful, and though produced in what modern painters would pronounce an unjustifiable way, there is yet pictorial art enough to reconcile it to the spectator's mind. Certainly, the people of the Middle Ages knew better than ourselves what is magnificence, and how to produce it; and what a glorious work must that have been, both in its mere sheen of burnished gold, and in its illuminating²⁶⁰ art, which shines thus through the gloom of perhaps four centuries.

Fra Angelico is a man much admired by those who have a taste for Pre-Raphaelite painters; and, though I take little or no pleasure in his works, I can see that there is great delicacy²⁶¹ of execution in his heads, and that generally he produces such a Christ, and such a Virgin, and such saints, as he could not have foreseen, except in a pure and holy imagination, nor have wrought out without saying a prayer between every two touches of his brush. I might come to like him, in time, if I thought it worth while; but it is enough to have an outside perception of his kind and degree of merit, and so to let him pass into the garret of oblivion, where many things as good, or better, are piled away, that our own age may not stumble over them. Perugino is the first painter whose works seem really worth preserving for the genuine merit that is in them, apart from any quaintness²⁶² and curiosity of an ancient and new-born art. Probably his religion was more genuine than Raphael's, and therefore the Virgin often revealed herself to him in a loftier and sweeter face of divine womanhood than all the genius of Raphael could produce. There is a Crucifixion by him in this gallery, which made me partly feel as if I were a far-off spectator,—no, I did not mean a Crucifixion, but a picture of Christ dead, lying, with a calm, sweet face, on his mother's knees ["a Pieta"].

The most inadequate²⁶³ and utterly absurd picture here, or in any other gallery, is a head of the Eternal Father, by Carlo Dolce; it looks like a feeble saint, on the eve of martyrdom, and very doubtful how he shall be able to bear it; very finely and prettily²⁶⁴ painted, nevertheless.

After getting through the principal gallery we went into a smaller room, in which are contained a great many small specimens of the old Tuscan artists, among whom Fra Angelico makes the principal figure. These pictures are all on wood, and seem to have been taken from the shrines²⁶⁵ and altars of ancient churches; they are predellas and triptychs, or pictures on three folding tablets, shaped quaintly²⁶⁶, in Gothic peaks or arches, and still gleaming with backgrounds of antique gold. The wood is much worm-eaten, and the colors have often faded or changed from what the old artists meant then to be; a bright angel darkening into what looks quite as much like the Devil. In one of Fra Angelico's pictures,—a representation of the Last Judgment,—he has tried his saintly hand at making devils indeed, and showing them busily at work, tormenting²⁶⁷ the poor, damned souls in fifty ghastly ways. Above sits Jesus, with the throng²⁶⁸ of blessed saints around him, and a flow of tender and powerful love in his own face, that ought to suffice to redeem⁹ all the damned, and convert the very fiends, and quench²⁶⁹ the fires of hell. At any rate, Fra Angelico had a higher conception of his Saviour²⁷⁰ than Michael Angelo.

June 19th.—This forenoon we have been to the Church of St. Lorenzo, which stands on the site of an ancient basilica, and was itself built more than four centuries ago. The facade²⁷¹ is still an ugly height of rough brickwork, as is the case with the Duomo, and, I think, some other churches in Florence; the design of giving them an elaborate and beautiful finish having been delayed from cycle to cycle, till at length the day for spending mines of wealth on churches is gone by. The interior had a nave²⁷² with a flat roof, divided from the side aisles²⁷³ by Corinthian pillars, and, at the farther end, a raised space around the high altar. The pavement is a mosaic of squares of black and white marble, the squares meeting one another cornerwise; the pillars, pilasters, and other architectural material is dark brown or grayish stone; and the general effect is very sombre, especially as the church is somewhat dimly lighted, and as the shrines along the aisles, and the statues, and the monuments of whatever kind, look dingy²⁷⁴ with time and neglect. The nave is thickly set with wooden seats, brown and worn. What pictures there are, in the shrines and chapels²⁷⁵, are dark and faded. On the whole, the edifice²⁷⁷ has a shabby aspect. On each side of the high altar, elevated on four pillars of beautiful marble, is what looks like a great sarcophagus of bronze. They are, in fact, pulpits, and are ornamented²⁷⁸ with mediaeval bas-reliefs, representing scenes in the life of our Saviour. Murray says that the resting-place of the first Cosmo de' Medici, the old banker, who so managed his wealth as to get the posthumous²⁷⁹ title of "father of his country," and to make his posterity²⁸⁰ its reigning princes,—is in front of the high altar, marked by red and green porphyry and marble, inlaid into the pavement. We looked, but could not see it there.

There were worshippers at some of the shrines, and persons sitting here and there along the nave, and in the aisles, rapt in devotional thought, doubtless, and sheltering themselves here from the white sunshine of the piazzas²⁸¹. In the vicinity of the choir and the high altar, workmen were busy repairing the church, or perhaps only making arrangements for celebrating the great festival of St. John.

On the left hand of the choir is what is called the old sacristy, with the peculiarities²⁸² or notabilities of which I am not acquainted. On the right hand is the new sacristy, otherwise called the Capella dei Depositi, or Chapel²⁷⁶ of the Buried, built by Michael Angelo, to contain two monuments of the Medici family. The interior is of somewhat severe and classic architecture, the walls and pilasters being of dark stone, and surmounted²⁸³ by a dome, beneath which is a row of windows, quite round the building, throwing their light down far beneath, upon niches²⁸⁴ of white marble. These niches are ranged entirely around the chapel, and might have sufficed to contain more than all the Medici monuments that the world would ever care to have. Only two of these niches are filled, however. In one of them sits Giuliano de' Medici, sculptured by Michael Angelo,—a figure of dignity, which would perhaps be very striking in any other presence than that of the statue which occupies the corresponding niche²⁸⁵. At the feet of Giuliano recline two allegorical statues, Day and Night, whose meaning there I do not know, and perhaps Michael Angelo knew as little. As the great sculptor's statues are apt to do, they fling their limbs abroad with adventurous²⁸⁶ freedom. Below the corresponding niche, on the opposite side of the chapel, recline two similar statues, representing Morning and Evening, sufficiently like Day and Night to be their brother and sister; all, in truth, having sprung from the same father. . . .

But the statue that sits above these two latter allegories, Morning and Evening, is like no other that ever came from a sculptor's hand. It is the one work worthy of Michael Angelo's reputation, and grand enough to vindicate²⁸⁷ for him all the genius that the world gave him credit for. And yet it seems a simple thing enough to think of or to execute; merely a sitting figure, the face partly overshadowed by a helmet, one hand supporting the chin, the other resting on the thigh²⁸⁸. But after looking at it a little while the spectator ceases to think of it as a marble statue; it comes to life, and you see that the princely figure is brooding over some great design, which, when he has arranged in his own mind, the world will be fain to execute for him. No such grandeur and majesty has elsewhere been put into human shape. It is all a miracle; the deep repose, and the deep life within it. It is as much a miracle to have achieved this as to make a statue that would rise up and walk. The face, when one gazes earnestly into it, beneath the shadow of its helmet, is seen to be calmly sombre; a mood which, I think, is generally that of the rulers of mankind, except in moments of vivid action. This statue is one of the things which I look at with highest enjoyment, but also with grief and impatience²⁸⁹, because I feel that I do not come at all which it involves, and that by and by I must go away and leave it forever. How wonderful! To take a block of marble, and convert it wholly into thought, and to do it through all the obstructions²⁹⁰ and impediments of drapery; for there is nothing nude²⁹¹ in this statue but the face and hands. The vest is the costume of Michael Angelo's century. This is what I always thought a sculptor of true genius should be able to do,—to show the man of whatever epoch, nobly and heroically, through the costume which he might actually have worn.

The statue sits within a square niche of white marble, and completely fills it. It seems to me a pity that it should be thus confined. At the Crystal Palace, if I remember, the effect is improved by a free surrounding space. Its naturalness is as if it came out of the marble of its own accord, with all its grandeur hanging heavily about it, and sat down there beneath its weight. I cannot describe it. It is like trying to stop the ghost of Hamlet's father, by crossing spears before it.

Communicating with the sacristy is the Medicean Chapel, which was built more than two centuries ago, for the reception of the Holy Sepulchre; arrangements having been made about that time to steal this most sacred relic²⁹² from the Turks. The design failing, the chapel was converted by Cosmo II. into a place of sepulture for the princes of his family. It is a very grand and solemn edifice, octagonal in shape, with a lofty dome, within which is a series of brilliant frescos, painted not more than thirty years ago. These pictures are the only portion of the adornment of the chapel which interferes²⁹³ with the sombre beauty of the general effect; for though the walls are incrusted, from pavement to dome, with marbles of inestimable cost, and it is a Florentine mosaic on a grander scale than was ever executed elsewhere, the result is not gaudy²⁹⁴, as in many of the Roman chapels, but a dark and melancholy richness. The architecture strikes me as extremely fine; each alternate side of the octagon being an arch, rising as high as the cornice of the lofty dome, and forming the frame of a vast niche. All the dead princes, no doubt, according to the general design, were to have been honored with statues within this stately mausoleum; but only two—those of Ferdinand I. and Cosmo II.—seem to have been placed here. They were a bad breed, and few of them deserved any better monument than a dunghill; and yet they have this grand chapel for the family at large, and yonder grand statue for one of its most worthless members. I am glad of it; and as for the statue, Michael Angelo wrought it through the efficacy of a kingly idea, which had no reference to the individual whose name it bears.

In the piazza adjoining the church is a statue of the first Cosmo, the old banker, in Roman costume, seated, and looking like a man fit to hold authority. No, I mistake; the statue is of John de' Medici, the father of Cosmo, and himself no banker, but a soldier.

June 21st.—Yesterday, after dinner, we went, with the two eldest²⁹⁵ children, to the Boboli Gardens. . . . We entered by a gate, nearer to our house than that by the Pitti Palace, and found ourselves almost immediately among embowered walks of box and shrubbery, and little wildernesses²⁹⁶ of trees, with here and there a seat under an arbor²⁹⁷, and a marble statue, gray with ancient weather-stains. The site of the garden is a very uneven²⁹⁸ surface, and the paths go upward and downward, and ascend¹²³, at their ultimate point, to a base of what appears to be a fortress²⁹⁹, commanding the city. A good many of the Florentines were rambling³⁰⁰ about the gardens, like ourselves: little parties of school-boys; fathers and mothers, with their youthful progeny³⁰¹; young men in couples, looking closely into every female face; lovers, with a maid or two attendant on the young lady. All appeared to enjoy themselves, especially the children, dancing on the esplanades, or rolling down the slopes of the hills; and the loving pairs, whom it was rather embarrassing to come upon unexpectedly, sitting together on the stone seat of an arbor, with clasped hands, a passionate³⁰² solemnity in the young man's face, and a downcast pleasure in the lady's. Policemen, in cocked hats and epaulets, cross-belts, and swords, were scattered about the grounds, but interfered with nobody, though they seemed to keep an eye on all. A sentinel stood in the hot sunshine, looking down over the garden from the ramparts of the fortress.

For my part, in this foreign country, I have no objection to policemen or any other minister of authority; though I remember, in America, I had an innate³⁰³ antipathy³⁰⁴ to constables³⁰⁵, and always sided with the mob against law. This was very wrong and foolish, considering that I was one of the sovereigns; but a sovereign, or any number of sovereigns, or the twenty-millionth part of a sovereign, does not love to find himself, as an American must, included within the delegated authority of his own servants.

There is a sheet of water somewhere in the Boboli Gardens, inhabited by swans; but this we did not see. We found a smaller pond, however, set in marble, and surrounded by a parapet, and alive with a multitude of fish. There were minnows by the thousand, and a good many gold-fish; and J——-, who had brought some bread to feed the swans, threw in handfuls of crumbs³⁰⁶ for the benefit of these finny people. They seemed to be accustomed to such courtesies on the part of visitors; and immediately the surface of the water was blackened, at the spot where each crumb¹⁸⁷ fell, with shoals of minnows, thrusting one another even above the surface in their eagerness to snatch it. Within the depths of the pond, the yellowish-green water—its hue¹⁴¹ being precisely³⁰⁷ that of the Arno— would be reddened duskily with the larger bulk of two or three gold-fishes, who finally poked³⁰⁸ their great snouts up among the minnows, but generally missed the crumb. Beneath the circular margin of the pond, there are little arches, into the shelter of which the fish retire, when the noonday sun burns straight down into their dark waters. We went on through the garden-paths, shadowed quite across by the high walls of box, and reached an esplanade, whence we had a good view of Florence, with the bare brown ridges³¹⁰ on the northern side of the Arno, and glimpses of the river itself, flowing like a street, between two rows of palaces. A great way off, too, we saw some of the cloud-like peaks of the Apennines, and, above them, the clouds into which the sun was descending³¹¹, looking quite as substantial as the distant mountains. The city did not present a particularly splendid aspect, though its great Duomo was seen in the middle distance, sitting in its circle of little domes³¹², with the tall campanile close by, and within one or two hundred yards of it, the high, cumbrous bulk of the Palazzo Vecchio, with its lofty, machicolated, and battlemented tower, very picturesque³¹³, yet looking exceedingly like a martin-box, on a pole. There were other domes and towers and spires³¹⁴, and here and there the distinct shape of an edifice; but the general picture was of a contiguity³¹⁵ of red earthen roofs, filling a not very broad or extensive valley, among dry and ridgy³¹⁶ hills, with a river-gleam lightening up the landscape a little. U—— took out her pencil and tablets, and began to sketch³¹⁷ the tower of the Palazzo Vecchio; in doing which, she immediately became an object of curiosity to some little boys and larger people, who failed not, under such pretences³¹⁹ as taking a grasshopper³²⁰ off her dress, or no pretence³¹⁸ at all, to come and look over her shoulder. There is a kind of familiarity among these Florentines, which is not meant to be discourteous³²¹, and ought to be taken in good part.

We continued to ramble³²² through the gardens, in quest of a good spot from which to see the sunset, and at length found a stone bench, on the slope of a hill, whence the entire cloud and sun scenery was fully⁹⁶ presented to us. At the foot of the hill were statues, and among them a Pegasus, with wings outspread; and, a little beyond, the garden-front of the Pitti Palace, which looks a little less like a state-prison here, than as it fronts the street. Girls and children, and young men and old, were taking their pleasure in our neighborhood; and, just before us, a lady stood talking with her maid. By and by, we discovered her to be Miss Howorth. There was a misty³²³ light, streaming down on the hither side of the ridge³⁰⁹ of hills, that was rather peculiar; but the most remarkable thing was the shape into which the clouds gathered themselves, after the disappearance³²⁴ of the sun. It was like a tree, with a broad and heavy mass of foliage³²⁵, spreading high upward on the sky, and a dark and well-defined trunk, which rooted itself on the verge³²⁶ of the horizon.

This morning we went to the Pitti Palace. The air was very sultry, and the pavements, already heated with the sun, made the space between the buildings seem like a close room. The earth, I think, is too much stoned out of the streets of an Italian city,—paved, like those of Florence, quite across, with broad flagstones, to the line where the stones of the houses on each side are piled up. Thunder rumbled¹⁸⁸ over our heads, however, and the clouds were so dark that we scarcely hoped to reach the palace without feeling the first drops of the shower. The air still darkened and darkened, so that by the time we arrived at the suite of picture-rooms the pictures seemed all to be changed to Rembrandts; the shadows as black as midnight, with only some highly illuminated³²⁷ portions gleaming out. The obscurity of the atmosphere made us sensible how splendid is the adornment of these saloons. For the gilded cornices shone out, as did the gilding³²⁹ of the arches and wreathed circles that divide the ceiling into compartments³³⁰, within which the frescos are painted, and whence the figures looked dimly down, like gods out of a mysterious sky. The white marble sculptures also gleamed from their height, where winged cupids or cherubs gambolled³³¹ aloft in bas-reliefs; or allegoric shapes reclined along the cornices, hardly noticed, when the daylight comes brightly into the window. On the walls, all the rich picture-frames glimmered³³² in gold, as did the framework of the chairs, and the heavy gilded pedestals of the marble, alabaster³³³, and mosaic tables. These are very magnificent saloons; and since I have begun to speak of their splendor, I may as well add that the doors are framed in polished, richly veined marble, and the walls hung with scarlet³³⁵ damask.

It was useless to try to see the pictures. All the artists engaged in copying laid aside their brushes; and we looked out into the square before the palace, where a mighty wind sprang up, and quickly raised a prodigious³³⁶ cloud of dust. It hid the opposite side of the street, and was carried, in a great dusky whirl, higher than the roofs of the houses, higher than the top of the Pitti Palace itself. The thunder muttered and grumbled³³⁷, the lightning now and then flashed, and a few rain-drops pattered against the windows; but, for a long time, the shower held off. At last it came down in a stream, and lightened the air to such a degree that we could see some of the pictures, especially those of Rubens, and the illuminated parts of Salvator Rosa's, and, best of all, Titian's "Magdalen," the one with golden hair clustering round her naked body. The golden hair, indeed, seemed to throw out a glory of its own. This Magdalen is very coarse and sensual, with only an impudent³³⁹ assumption of penitence³⁴⁰ and religious sentiment, scarcely so deep as the eyelids³⁴¹; but it is a splendid picture, nevertheless, with those naked, lifelike arms, and the hands that press the rich locks about her, and so carefully permit those voluptuous³⁴² breasts to be seen. She a penitent³⁴³! She would shake off all pretence to it as easily as she would shake aside that clustering hair. . . . Titian must have been a very good-for-nothing old man.

I looked again at Michael Angelo's Fates to-day; but cannot satisfactorily make out what he meant by them. One of them—she who holds the distaff—has her mouth open, as if uttering a cry, and might be fancied to look somewhat irate³⁴⁴. The second, who holds the thread, has a pensive²¹⁶ air, but is still, I think, pitiless at heart. The third sister looks closely and coldly into the eyes of the second, meanwhile cutting the thread with a pair of shears³⁴⁵. Michael Angelo, if I may presume to say so, wished to vary the expression of these three sisters, and give each a different one, but did not see precisely how, inasmuch as all the fatal Three are united, heart and soul, in one purpose. It is a very impressive group. But, as regards the interpretation³⁴⁶ of this, or of any other profound picture, there are likely to be as many interpretations³⁴⁷ as there are spectators. It is very curious to read criticisms upon pictures, and upon the same face in a picture, and by men of taste and feeling, and to find what different conclusions they arrive at. Each man interprets the hieroglyphic³⁴⁸ in his own way; and the painter, perhaps, had a meaning which none of them have reached; or possibly he put forth a riddle³⁴⁹, without himself knowing the solution. There is such a necessity, at all events, of helping³⁵⁰ the painter out with the spectator's own resources of feeling and imagination, that you can never be sure how much of the picture you have yourself made. There is no doubt that the public is, to a certain extent, right and sure of its ground, when it declares, through a series of ages, that a certain picture is a great work. It is so; a great symbol, proceeding³⁵¹ out of a great mind; but if it means one thing, it seems to mean a thousand, and, often, opposite things.

June 27th.—I have had a heavy cold and fever almost throughout the past week, and have thereby lost the great Florentine festivity, the Feast of St. John, which took place on Thursday last, with the fireworks and illuminations the evening before, and the races and court ceremonies on the day itself. However, unless it were more characteristic and peculiar than the Carnival³⁵², I have not missed anything very valuable.

Mr. Powers called to see me one evening, and poured out, as usual, a stream of talk, both racy and oracular in its character. Speaking of human eyes, he observed that they did not depend for their expression upon color, nor upon any light of the soul beaming through them, nor any glow of the eyeball, nor upon anything but the form and action of the surrounding muscles. He illustrates³⁵³ it by saying, that if the eye of a wolf, or of whatever fiercest animal, could be placed in another setting, it would be found capable of the utmost gentleness of expression. "You yourself," said he, "have a very bright and sharp look sometimes; but it is not in the eye itself." His own eyes, as I could have sworn, were glowing all the time he spoke; and, remembering how many times I have seemed to see eyes glow, and blaze, and flash, and sparkle, and melt, and soften⁴⁵; and how all poetry is illuminated with the light of ladies' eyes; and how many people have been smitten³⁵⁴ by the lightning of an eye, whether in love or anger, it was difficult to allow that all this subtlest and keenest fire is illusive³⁵⁵, not even phosphorescent, and that any other jelly in the same socket³⁵⁶ would serve as well as the brightest eye. Nevertheless, he must be right; of course he must, and I am rather ashamed ever to have thought otherwise. Where should the light come from? Has a man a flame inside of his head? Does his spirit manifest itself in the semblance¹¹ of flame? The moment we think of it, the absurdity becomes evident. I am not quite sure, however, that the outer surface of the eye may not reflect more light in some states of feeling than in others; the state of the health, certainly, has an influence of this kind.

I asked Powers what he thought of Michael Angelo's statue of Lorenzo de' Medici. He allowed that its effect was very grand and mysterious; but added that it owed this to a trick,—the effect being produced by the arrangement of the hood⁴³, as he called it, or helmet, which throws the upper part of the face into shadow. The niche in which it sits has, I suppose, its part to perform in throwing a still deeper shadow. It is very possible that Michael Angelo may have calculated upon this effect of sombre shadow, and legitimately³⁵⁷, I think; but it really is not worthy of Mr. Powers to say that the whole effect of this mighty statue depends, not on the positive efforts of Michael Angelo's chisel³⁵⁸, but on the absence of light in a space of a few inches. He wrought the whole statue in harmony with that small part of it which he leaves to the spectator's imagination, and if he had erred³⁵⁹ at any point, the miracle would have been a failure; so that, working in marble, he has positively³⁶⁰ reached a degree of excellence above the capability³⁶¹ of marble, sculpturing his highest touches upon air and duskiness.

Mr. Powers gave some amusing anecdotes³⁶² of his early life, when he was a clerk in a store in Cincinnati. There was a museum opposite, the proprietor³⁶⁴ of which had a peculiar physiognomy that struck Powers, insomuch that he felt impelled³⁶⁵ to make continual caricatures of it. He used to draw them upon the door of the museum, and became so familiar with the face, that he could draw them in the dark; so that, every morning, here was this absurd profile of himself, greeting the museum-man when he came to open his establishment. Often, too, it would reappear within an hour after it was rubbed out. The man was infinitely annoyed, and made all possible efforts to discover the unknown artist, but in vain; and finally concluded, I suppose, that the likeness broke out upon the door of its own accord, like the nettle-rash. Some years afterwards, the proprietor of the museum engaged Powers himself as an assistant; and one day Powers asked him if he remembered this mysterious profile. "Yes," said he, "did you know who drew them?" Powers took a piece of chalk, and touched off the very profile again, before the man's eyes. "Ah," said he, "if I had known it at the time, I would have broken every bone in your body!"

Before he began to work in marble, Powers had greater practice and success in making wax figures, and he produced a work of this kind called "The Infernal Regions," which he seemed to imply had been very famous. He said he once wrought a face in wax which was life itself, having made the eyes on purpose for it, and put in every hair in the eyebrows³⁶⁶ individually, and finished the whole with similar minuteness; so that, within the distance of a foot or two, it was impossible to tell that the face did not live.

I have hardly ever before felt an impulse to write down a man's conversation as I do that of Mr. Powers. The chief reason is, probably, that it is so possible to do it, his ideas being square, solid, and tangible³⁶⁷, and therefore readily grasped and retained. He is a very instructive man, and sweeps one's empty and dead notions out of the way with exceeding vigor³⁶⁸; but when you have his ultimate thought and perception, you feel inclined to think and see a little further for yourself. He sees too clearly what is within his range to be aware of any region of mystery beyond. Probably, however, this latter remark does him injustice³⁶⁹. I like the man, and am always glad to encounter the mill-stream of his talk. . . . Yesterday he met me in the street (dressed in his linen blouse and slippers, with a little bit of a sculptor's cap on the side of his head), and gave utterance to a theory of colds, and a dissertation³⁷⁰ on the bad effects of draughts³⁷¹, whether of cold air or hot, and the dangers of transfusing³⁷² blood from the veins³⁷³ of one living subject to those of another. On the last topic, he remarked that, if a single particle of air found its way into the veins, along with the transfused³⁷⁴ blood, it caused convulsions and inevitable death; otherwise the process might be of excellent effect.

Last evening, we went to pass the evening with Miss Blagden, who inhabits a villa³⁷⁵ at Bellosguardo, about a mile outside of the walls. The situation is very lofty, and there are good views from every window of the house, and an especially fine one of Florence and the hills beyond, from the balcony of the drawing-room. By and by came Mr. Browning, Mr. Trollope, Mr. Boott and his young daughter, and two or three other gentlemen. . . .

Browning was very genial and full of life, as usual, but his conversation has the effervescent aroma³⁷⁶ which you cannot catch, even if you get the very words that seem to be imbued³⁷⁷ with it. He spoke most rapturously of a portrait of Mrs. Browning, which an Italian artist is painting for the wife of an American gentleman, as a present from her husband. The success was already perfect, although there had been only two sittings as yet, and both on the same day; and in this relation, Mr. Browning remarked that P———, the American artist, had had no less than seventy-three sittings of him for a portrait. In the result, every hair and speck²⁰⁷ of him was represented; yet, as I inferred from what he did not say, this accumulation of minute truths did not, after all, amount to the true whole.

I do not remember much else that Browning said, except a playful abuse of a little King Charles spaniel, named Frolic, Miss Blagden's lap-dog, whose venerable age (he is eleven years old) ought to have pleaded in his behalf. Browning's nonsense is of very genuine and excellent quality, the true babble³⁷⁸ and effervescence of a bright and powerful mind; and he lets it play among his friends with the faith and simplicity of a child. He must be an amiable³⁷⁹ man. I should like him much, and should make him like me, if opportunities were favorable.

I conversed³⁸⁰ principally with Mr. Trollope, the son, I believe, of the Mrs. Trollope to whom America owes more for her shrewd criticisms than we are ever likely to repay. Mr. Trollope is a very sensible and cultivated man, and, I suspect, an author: at least, there is a literary man of repute of this name, though I have never read his works. He has resided in Italy eighteen years. It seems a pity to do this. It needs the native air to give life a reality; a truth which I do not fail to take home regretfully to myself, though without feeling much inclination³⁸¹ to go back to the realities of my own.

We had a pleasant cup of tea, and took a moonlight view of Florence from the balcony. . . .

June 28th.—Yesterday afternoon, J——- and I went to a horse-race, which took place in the Corso and contiguous line of streets, in further celebration of the Feast of St. John. A crowd of people was already collected, all along the line of the proposed race, as early as six o'clock; and there were a great many carriages driving amid the throng, open barouches mostly, in which the beauty and gentility of Florence were freely displayed. It was a repetition of the scene in the Corso at Rome, at Carnival time, without the masks, the fun, and the confetti. The Grand Duke and Duchess and the Court likewise made their appearance in as many as seven or eight coaches-and-six, each with a coachman, three footmen, and a postilion in the royal livery, and attended by a troop of horsemen in scarlet coats and cocked hats. I did not particularly notice the Grand Duke himself; but, in the carriage behind him, there sat only a lady, who favored the people along the street with a constant succession of bows, repeated at such short intervals³⁸³, and so quickly, as to be little more than nods; therefore not particularly graceful or majestic³⁸⁴. Having the good fortune, to be favored with one of these nods, I lifted my hat in response, and may therefore claim a bowing acquaintance with the Grand Duchess. She is a Bourbon of the Naples family, and was a pale, handsome woman, of princely aspect enough. The crowd evinced no enthusiasm, nor the slightest feeling of any kind, in acknowledgment of the presence of their rulers; and, indeed, I think I never saw a crowd so well behaved; that is, with so few salient points, so little ebullition, so absolutely tame, as the Florentine one. After all, and much contrary to my expectations, an American crowd has incomparably more life than any other; and, meeting on any casual occasion, it will talk, laugh, roar, and be diversified³⁸⁵ with a thousand characteristic incidents and gleams and shadows, that you see nothing of here. The people seems to have no part even in its own gatherings³⁸⁶. It comes together merely as a mass of spectators, and must not so much as amuse itself by any activity of mind.

The race, which was the attraction that drew us all together, turned out a very pitiful affair. When we had waited till nearly dusk, the street being thronged³⁸⁷ quite across, insomuch that it seemed impossible that it should be cleared as a race-course, there came suddenly from every throat a quick, sharp exclamation³⁸⁸, combining into a general shout. Immediately the crowd pressed back on each side of the street; a moment afterwards, there was a rapid pattering of hoofs³⁸⁹ over the earth with which the pavement was strewn, and I saw the head and back of a horse rushing past. A few seconds more, and another horse followed; and at another little interval³⁸², a third. This was all that we had waited for; all that I saw, or anybody else, except those who stood on the utmost verge of the course, at the risk of being trampled³⁹⁰ down and killed. Two men were killed in this way on Thursday, and certainly human life was never spent for a poorer object. The spectators at the windows, to be sure, having the horses in sight for a longer time, might get a little more enjoyment out of the affair. By the by, the most picturesque aspect of the scene was the life given to it by the many faces, some of them fair ones, that looked out from window and balcony, all along the curving line of lofty palaces and edifices³⁹¹, between which the race-course lay; and from nearly every window, and over every balcony, was flung a silken texture³⁹², or cloth of brilliant line, or piece of tapestry or carpet, or whatever adornment of the kind could be had, so as to dress up the street in gala attire³⁹³. But, the Feast of St. John, like the Carnival, is but a meagre semblance of festivity, kept alive factitiously, and dying a lingering death of centuries. It takes the exuberant³⁹⁴ mind and heart of a people to keep its holidays alive.

I do not know whether there be any populace in Florence, but I saw none that I recognized as such, on this occasion. All the people were respectably dressed and perfectly well behaved; and soldiers and priests were scattered abundantly among the throng. On my way home, I saw the Teatro Goldoni, which is in our own street, lighted up for a representation this Sunday evening. It shocked my New England prejudices a little.

Thus forenoon, my wife and I went to the Church of Santa Croce, the great monumental deposit of Florentine worthies³⁹⁵. The piazza before it is a wide, gravelled square, where the liberty of Florence, if it really ever had any genuine liberty, came into existence some hundreds of years ago, by the people's taking its own rights into its hands, and putting its own immediate¹⁵⁹ will in execution. The piazza has not much appearance of antiquity³⁹⁶, except that the facade of one of the houses is quite covered with ancient frescos, a good deal faded and obliterated³⁹⁷, yet with traces enough of old glory to show that the colors must have been well laid on.

The front of the church, the foundation of which was laid six centuries ago, is still waiting for its casing of marbles, and I suppose will wait forever, though a carpenter's staging is now erected³⁹⁸ before it, as if with the purpose of doing something.

The interior is spacious, the length of the church being between four and five hundred feet. There is a nave, roofed with wooden cross-beams, lighted by a clere-story and supported on each side by seven great pointed³⁹⁹ arches, which rest upon octagonal pillars. The octagon seems to be a favorite shape in Florence. These pillars were clad in yellow and scarlet damask, in honor of the Feast of St. John. The aisles, on each side of the nave, are lighted with high and somewhat narrow windows of painted glass, the effect of which, however, is much diminished by the flood of common daylight that comes in through the windows of the clere-story. It is like admitting too much of the light of reason and worldly intelligence into the mind, instead of illuminating it wholly through a religious medium. The many-hued saints and angels lose their mysterious effulgence⁴⁰⁰, when we get white light enough, and find we see all the better without their help.

The main pavement of the church is brickwork; but it is inlaid with many sepulchral⁴⁰¹ slabs⁴⁰² of marble, on some of which knightly⁴⁰³ or priestly figures are sculptured in bas-relief. In both of the side aisles there are saintly shrines, alternating with mural monuments, some of which record names as illustrious as any in the world. As you enter, the first monument, on your right is that of Michael Angelo, occupying the ancient burial-site of his family. The general design is a heavy sarcophagus of colored marble, with the figures of Sculpture, Painting, and Architecture as mourners, and Michael Angelo's bust above, the whole assuming a pyramidal form. You pass a shrine, within its framework of marble pillars and a pediment, and come next to Dante's monument, a modern work, with likewise its sarcophagus, and some huge, cold images weeping and sprawling⁴⁰⁴ over it, and an unimpressive statue of Dante sitting above.

Another shrine intervenes, and next you see the tomb of Alfieri, erected to his memory by the Countess of Albany, who pays, out of a woman's love, the honor which his country owed him. Her own monument is in one of the chapels of the transept.

Passing the next shrine you see the tomb of Macchiavelli, which, I think, was constructed not many years after his death. The rest of the monuments, on this side of the church, commemorate⁴⁰⁵ people of less than world-wide fame; and though the opposite side has likewise a monument alternating with each shrine, I remember only the names of Raphael Morghen and of Galileo. The tomb of the latter is over against that of Michael Angelo, being the first large tomb on the left-hand wall as you enter the church. It has the usual heavy sarcophagus, surmounted by a bust of Galileo, in the habit of his time, and is, of course, duly provided with mourners in the shape of Science or Astronomy, or some such cold-hearted people. I wish every sculptor might be at once imprisoned⁴⁰⁶ for life who shall hereafter chisel an allegoric figure; and as for those who have sculptured them heretofore, let them be kept in purgatory⁴⁰⁷ till the marble shall have crumbled away. It is especially absurd to assign to this frozen sisterhood of the allegoric family the office of weeping for the dead, inasmuch as they have incomparably less feeling than a lump of ice, which might contrive⁴⁰⁸ to shed a tear if the sun shone on it. But they seem to let themselves out, like the hired mourners of an English funeral, for the very reason that, having no interest in the dead person, nor any affections or emotions whatever, it costs them no wear and tear of heart.

All round both transepts of the church there is a series of chapels, into most of which we went, and generally found an inscrutably dark picture over the altar, and often a marble bust or two, or perhaps a mediaeval statue of a saint or a modern monumental bas-relief in marble, as white as new-fallen snow. A chapel of the Bonapartes is here, containing memorials of two female members of the family. In several chapels, moreover, there were some of those distressing⁴⁰⁹ frescos, by Giotto, Cimabue, or their compeers, which, whenever I see them,—poor, faded relics⁴¹⁰, looking as if the Devil had been rubbing and scrubbing them for centuries, in spite against the saints,—my heart sinks and my stomach sickens. There is no other despondency like this; it is a new shade of human misery⁴¹¹, akin to the physical disease that comes from dryrot in a wall. These frescos are to a church what dreary⁴¹², old remembrances are to a mind; the drearier because they were once bright: Hope fading into Disappointment, Joy into Grief, and festal splendor passing into funereal⁴¹³ duskiness, and saddening you all the more by the grim identity that you find to exist between gay things and sorrowful ones. Only wait long enough, and they turn out to be the very same.

All the time we were in the church some great religious ceremony had been going forward; the organ playing and the white-robed priests bowing, gesticulating, and making Latin prayers at the high altar, where at least a hundred wax tapers⁴¹⁴ were burning in constellations⁴¹⁵. Everybody knelt, except ourselves, yet seemed not to be troubled by the echoes of our passing footsteps, nor to require that we should pray along with them. They consider us already lost irrevocably, no doubt, and therefore right enough in taking no heed⁴¹⁶ of their devotions; not but what we took so much heed, however, as to give the smallest possible disturbance⁴¹⁷. By and by we sat down in the nave of the church till the ceremony should be concluded; and then my wife left me to go in quest of yet another chapel, where either Cimabue or Giotto, or both, have left some of their now ghastly decorations. While she was gone I threw my eyes about the church, and came to the conclusion that, in spite of its antiquity, its size, its architecture, its painted windows, its tombs of great men, and all the reverence and interest that broods over them, it is not an impressive edifice. Any little Norman church in England would impress me as much, and more. There is something, I do not know what, but it is in the region of the heart, rather than in the intellect, that Italian architecture, of whatever age or style, never seems to reach.

Leaving the Santa Croce, we went next in quest of the Riccardi Palace. On our way, in the rear of the Grand Ducal Piazza, we passed by the Bargello, formerly⁴¹⁸ the palace of the Podesta of Florence, and now converted into a prison. It is an immense square edifice of dark stone, with a tall, lank⁴¹⁹ tower rising high above it at one corner. Two stone lions, symbols of the city, lash³³⁸ their tails and glare at the passers-by; and all over the front of the building windows are scattered irregularly, and grated with rusty⁴²⁰ iron bars; also there are many square holes, which probably admit a little light and a breath or two of air into prisoners' cells. It is a very ugly edifice, but looks antique, and as if a vast deal of history might have been transacted⁴²¹ within it, or have beaten, like fierce blasts, against its dark, massive walls, since the thirteenth century. When I first saw the city it struck me that there were few marks of antiquity in Florence; but I am now inclined to think otherwise, although the bright Italian atmosphere, and the general squareness and monotony of the Italian architecture, have their effect in apparently modernizing⁴²² everything. But everywhere we see the ponderous⁴²³ Tuscan basements that never can decay, and which will look, five hundred years hence, as they look now; and one often passes beneath an abbreviated⁴²⁴ remnant of what was once a lofty tower, perhaps three hundred feet high, such as used to be numerous in Florence when each noble of the city had his own warfare⁴²⁵ to wage; and there are patches of sculpture that look old on houses, the modern stucco of which causes them to look almost new. Here and there an unmistakable antiquity stands in its own impressive shadow; the Church of Or San Michele, for instance, once a market, but which grew to be a church by some inherent fitness and inevitable consecration⁴²⁶. It has not the least the aspect of a church, being high and square, like a mediaeval palace; but deep and high niches are let into its walls, within which stand great statues of saints, masterpieces of Donatello, and other sculptors of that age, before sculpture began to be congealed⁴²⁷ by the influence of Greek art.

The Riccardi Palace is at the corner of the Via Larga. It was built by the first Cosmo de' Medici, the old banker, more than four centuries ago, and was long the home of the ignoble⁴²⁸ race of princes which he left behind him. It looks fit to be still the home of a princely race, being nowise dilapidated nor decayed externally, nor likely to be so, its high Tuscan basement being as solid as a ledge¹⁴⁰ of rock, and its upper portion not much less so, though smoothed into another order of stately architecture. Entering its court from the Via Larga, we found ourselves beneath a pillared arcade⁴²⁹, passing round the court like a cloister⁴³⁰; and on the walls of the palace, under this succession of arches, were statues, bas-reliefs, and sarcophagi, in which, first, dead Pagans had slept, and then dead Christians⁴³¹, before the sculptured coffins⁴³² were brought hither to adorn¹⁰⁸ the palace of the Medici. In the most prominent place was a Latin inscription⁴³³ of great length and breadth, chiefly in praise of old Cosino and his deeds and wisdom. This mansion⁴³⁴ gives the visitor a stately notion of the life of a commercial man in the days when merchants were princes; not that it seems to be so wonderfully extensive, nor so very grand, for I suppose there are a dozen Roman palaces that excel it in both these particulars. Still, we cannot but be conscious that it must have been, in some sense, a great man who thought of founding a homestead like this, and was capable of filling it with his personality, as the hand fills a glove. It has been found spacious enough, since Cosmo's time, for an emperor and a pope and a king, all of whom have been guests in this house. After being the family mansion of the Medici for nearly two centuries, it was sold to the Riccardis, but was subsequently bought of then by the government, and it is now occupied by public offices and societies.

After sufficiently examining the court and its antiquities⁴³⁵, we ascended a noble staircase that passes, by broad flights and square turns, to the region above the basement. Here the palace is cut up and portioned off into little rooms and passages, and everywhere there were desks, inkstands, and men, with pens in their fingers or behind their ears. We were shown into a little antique chapel, quite covered with frescos in the Giotto style, but painted by a certain Gozzoli. They were in pretty good preservation⁴³⁶, and, in fact, I am wrong in comparing them to Giotto's works, inasmuch as there must have been nearly two hundred years between the two artists. The chapel was furnished with curiously⁴³⁷ carved old chairs, and looked surprisingly venerable within its little precinct.

We were next guided into the grand gallery, a hall of respectable size, with a frescoed⁴³⁸ ceiling, on which is represented the blue sky, and various members of the Medici family ascending⁴³⁹ through it by the help of angelic personages, who seem only to have waited for their society to be perfectly happy. At least, this was the meaning, so far as I could make it out. Along one side of the gallery were oil-pictures on looking-glasses, rather good than otherwise; but Rome, with her palaces and villas⁴⁴⁰, takes the splendor out of all this sort of thing elsewhere.

On our way home, and on our own side of the Ponte Vecchio, we passed the Palazzo Guicciardini, the ancient residence of the historian of Italy, who was a politic⁴⁴¹ statesman of his day, and probably as cruel and unprincipled as any of those whose deeds he has recorded. Opposite, across the narrow way, stands the house of Macchiavelli, who was his friend, and, I should judge, an honester man than he. The house is distinguished by a marble tablet, let into the wall, commemorative of Macchiavelli, but has nothing antique or picturesque about it, being in a continuous line with other smooth-faced and stuccoed edifices.

June 30th.—Yesterday, at three o'clock P. M., I went to see the final horse-race of the Feast of St. John, or rather to see the concourse of people and grandees⁴⁴² whom it brought together. I took my stand in the vicinity of the spot whence the Grand Duke and his courtiers view the race, and from this point the scene was rather better worth looking at than from the street-corners whence I saw it before. The vista⁴⁴³ of the street, stretching far adown between two rows of lofty edifices, was really gay and gorgeous with the silks, damasks, and tapestries⁴⁴⁴ of all bright hues, that flaunted⁴⁴⁵ from windows and balconies, whence ladies looked forth and looked down, themselves making the liveliest part of the show. The whole capacity of the street swarmed⁴⁴⁷ with moving heads, leaving scarce room enough for the carriages, which, as on Sunday, passed up and down, until the signal for the race was given. Equipages, too, were constantly arriving at the door of the building which communicates with the open loggia, where the Grand Ducal party sit to see and to be seen. Two sentinels were standing at the door, and presented arms as each courtier or ambassador, or whatever dignity it might be, alighted. Most of them had on gold-embroidered court-dresses; some of them had military uniforms, and medals in abundance at the breast; and ladies also came, looking like heaps of lace and gauze in the carriages, but lightly shaking themselves into shape as they went up the steps. By and by a trumpet⁴⁴⁸ sounded, a drum beat, and again appeared a succession of half a dozen royal equipages, each with its six horses, its postilion, coachman, and three footmen, grand with cocked hats and embroidery⁴⁴⁹; and the gray-headed, bowing Grand Duke and his nodding Grand Duchess as before. The Noble Guard ranged themselves on horseback opposite the loggia; but there was no irksome and impertinent show of ceremony and restraint upon the people. The play-guard of volunteer soldiers, who escort the President of the United States in his Northern progresses, keep back their fellow-citizens much more sternly and immitigably than the Florentine guard kept back the populace from its despotic sovereign.

This morning J——- and I have been to the Uffizi gallery. It was his first visit there, and he passed a sweeping⁴⁵⁰ condemnation⁴⁵¹ upon everything he saw, except a fly, a snail-shell, a caterpillar⁴⁵², a lemon, a piece of bread, and a wineglass, in some of the Dutch pictures. The Venus de' Medici met with no sort of favor. His feeling of utter distaste reacted upon me, and I was sensible of the same weary lack of appreciation that used to chill me through, in my earlier visits to picture-galleries; the same doubt, moreover, whether we do not bamboozle⁴⁵³ ourselves in the greater part of the admiration which we learn to bestow⁶⁸. I looked with some pleasure at one of Correggio's Madonnas in the Tribune,—no divine and deep-thoughted mother of the Saviour, but a young woman playing with her first child, as gay and thoughtless as itself. I looked at Michael Angelo's Madonna, in which William Ware²²³ saw such prophetic depth of feeling; but I suspect it was one of the many instances in which the spectator sees more than the painter ever dreamed of.

Straying through the city, after leaving the gallery, we went into the Church of Or San Michele, and saw in its architecture the traces of its transformation⁴⁵⁴ from a market into a church. In its pristine⁴⁵⁵ state it consisted of a double row of three great open arches, with the wind blowing through them, and the sunshine falling aslantwise into them, while the bustle⁴⁵⁶ of the market, the sale of fish, flesh, or fruit went on within, or brimmed over into the streets that enclosed them on every side. But, four or five hundred years ago, the broad arches were built up with stone-work; windows were pierced through and filled with painted glass; a high altar, in a rich style of pointed Gothic, was raised; shrines and confessionals were set up; and here it is, a solemn and antique church, where a man may buy his salvation⁴⁵⁷ instead of his dinner. At any rate, the Catholic priests will insure it to him, and take the price. The sculpture within the beautifully decorated niches, on the outside of the church, is very curious and interesting. The statues of those old saints seem to have that charm of earnestness which so attracts the admirers of the Pre-Raphaelite painters.

It appears that a picture of the Virgin used to hang against one of the pillars of the market-place while it was still a market, and in the year 1291 several miracles were wrought by it, insomuch that a chapel was consecrated⁴⁵⁸ for it. So many worshippers came to the shrine that the business of the market was impeded⁴⁵⁹, and ultimately the Virgin and St. Michael won the whole space for themselves. The upper part of the edifice was at that time a granary, and is still used for other than religious purposes. This church was one spot to which the inhabitants betook themselves much for refuge and divine assistance during the great plague described by Boccaccio.

July 2d.—We set out yesterday morning to visit the Palazzo Buonarotti, Michael Angelo's ancestral home. . . . It is in the Via Ghibellina, an ordinary-looking, three-story house, with broad-brimmed eaves, a stuccoed front, and two or three windows painted in fresco, besides the real ones. Adown the street, there is a glimpse of the hills outside of Florence. The sun shining heavily directly upon the front, we rang the door-bell, and then drew back into the shadow that fell from the opposite side of the street. After we had waited some time a man looked out from an upper window, and a woman from a lower one, and informed us that we could not be admitted now, nor for two or three months to come, the house being under repairs. It is a pity, for I wished to see Michael Angelo's sword and walking-stick and old slippers, and whatever other of his closest personalities⁴⁶⁰ are to be shown. . . .

We passed into the Piazza of the Grand Duke, and looked into the court of the Palazzo Vecchio, with its beautifully embossed pillars; and, seeing just beyond the court a staircase of broad and easy steps, we ascended it at a venture. Upward and upward we went, flight after flight of stairs, and through passages, till at last we found an official who ushered us into a large saloon. It was the Hall of Audience. Its heavily embossed ceiling, rich with tarnished⁴⁶¹ gold, was a feature of antique magnificence, and the only one that it retained, the floor being paved with tiles and the furniture scanty⁴⁶² or none. There were, however, three cabinets standing against the walls, two of which contained very curious and exquisite carvings⁴⁶³ and cuttings in ivory; some of them in the Chinese style of hollow, concentric balls; others, really beautiful works of art: little crucifixes, statues, saintly and knightly, and cups enriched with delicate bas-reliefs. The custode pointed to a small figure of St. Sebastian, and also to a vase around which the reliefs seemed to assume life. Both these specimens, he said, were by Benvenuto Cellini, and there were many others that might well have been wrought by his famous hand. The third cabinet contained a great number and variety of crucifixes, chalices⁴⁶⁴, and whatever other vessels⁴⁶⁵ are needed in altar service, exquisitely⁴⁶⁶ carved out of amber¹¹⁵. They belong to the chapel of the palace, and into this holy closet we were now conducted. It is large enough to accommodate comfortably perhaps thirty worshippers, and is quite covered with frescos by Ghirlandaio in good preservation, and with remnants enough of gilding and bright color to show how splendid the chapel must have been when the Medicean Grand Dukes used to pray here. The altar is still ready for service, and I am not sure that some of the wax tapers were not burning; but Lorenzo the Magnificent was nowhere to be seen.

The custode now led us back through the Hall of Audience into a smaller room, hung with pictures chiefly of the Medici and their connections, among whom was one Carolina, an intelligent and pretty child, and Bianca Capella.

There was nothing else to show us, except a very noble and most spacious saloon, lighted by two large windows at each end, coming down level with the floor, and by a row of windows on one side just beneath the cornice. A gilded framework divides the ceiling into squares, circles, and octagons, the compartments of which are filled with pictures in oil; and the walls are covered with immense frescos, representing various battles and triumphs of the Florentines. Statues by Michael Angelo, John of Bologna, and Bandinello, as well historic as ideal, stand round the hall, and it is really a fit theatre for the historic scenes of a country to be acted in. It was built, moreover, with the idea of its being the council-hall of a free people; but our own little Faneuil, which was meant, in all simplicity, to be merely a spot where the townspeople should meet to choose their selectmen, has served the world better in that respect. I wish I had more room to speak of this vast, dusky, historic hall. [This volume of journal closes here.]

July 4th 1858.—Yesterday forenoon we went to see the Church of Santa Maria Novella. We found the piazza, on one side of which the church stands, encumbered⁴⁶⁷ with the amphitheatrical ranges of wooden seats that had been erected to accommodate the spectators of the chariot-races, at the recent Feast of St. John. The front of the church is composed of black and white marble, which, in the course of the five centuries that it has been built, has turned brown and yellow. On the right hand, as you approach, is a long colonnade⁴⁶⁸ of arches, extending on a line with the facade, and having a tomb beneath every arch. This colonnade forms one of the enclosing walls of a cloister. We found none of the front entrances open, but on our left, in a wall at right angles with the church, there was an open gateway⁴⁶⁹, approaching which, we saw, within the four-sided colonnade, an enclosed green space of a cloister. This is what is called the Chiostro Verde, so named from the prevailing⁴⁷⁰ color of the frescos with which the walls beneath the arches are adorned.

This cloister is the reality of what I used to imagine when I saw the half-ruinous colonnades⁴⁷¹ connected with English cathedrals, or endeavored to trace out the lines along the broken wall of some old abbey. Not that this extant cloister, still perfect and in daily use for its original purposes, is nearly so beautiful as the crumbling⁴⁷² ruin which has ceased to be trodden by monkish feet for more than three centuries. The cloister of Santa Maria has not the seclusion⁴⁷³ that is desirable, being open, by its gateway, to the public square; and several of the neighbors, women as well as men, were loitering within its precincts. The convent, however, has another and larger cloister, which I suppose is kept free from interlopers. The Chiostro Verde is a walk round the four sides of a square, beneath an arched and groined roof. One side of the walk looks upon an enclosed green space with a fountain or a tomb (I forget which) in the centre; the other side is ornamented all along with a succession of ancient frescos, representing subjects of Scripture⁴⁷⁴ history. In the days when the designs were more distinct than now, it must have been a very effective way for a monk²⁵⁶ to read Bible history, to see its personages and events thus passing visibly beside him in his morning and evening walks. Beneath the frescos on one side of the cloistered⁴⁷⁵ walk, and along the low stone parapet that separates it from the grass-plat on the other, are inscriptions⁴⁷⁶ to the memory of the dead who are buried underneath⁴⁷⁷ the pavement. The most of these were modern, and recorded the names of persons of no particular note. Other monumental slabs were inlaid with the pavement itself. Two or three Dominican monks⁴⁷⁸, belonging to the convent, passed in and out, while we were there, in their white habits.

After going round three sides, we came to the fourth, formed by the wall of the church, and heard the voice of a priest behind a curtain that fell down before a door. Lifting it aside, we went in, and found ourselves in the ancient chapter-house, a large interior formed by two great pointed arches crossing one another in a groined roof. The broad spaces of the walls were entirely covered with frescos that are rich even now, and must have glowed with an inexpressible splendor, when fresh from the artists' hands, five hundred years ago. There is a long period, during which frescos illuminate³²⁸ a church or a hall in a way that no other adornment can; when this epoch of brightness is past, they become the dreariest⁴⁷⁹ ghosts of perished magnificence. . . . This chapter-house is the only part of the church that is now used for the purposes of public worship. There are several confessionals, and two chapels or shrines, each with its lighted tapers. A priest performed mass while we were there, and several persons, as usual, stepped in to do a little devotion, either praying on their own account, or uniting with the ceremony that was going forward. One man was followed by two little dogs, and in the midst of his prayers, as one of the dogs was inclined to stray about the church, he kept snapping his fingers to call him back. The cool, dusky refreshment⁴⁸⁰ of these holy places, affording such a refuge from the hot noon of the streets and piazzas, probably suggests devotional ideas to the people, and it may be, when they are praying, they feel a breath of Paradise fanning them. If we could only see any good effects in their daily life, we might deem it an excellent thing to be able to find incense⁴⁸¹ and a prayer always ascending, to which every individual may join his own. I really wonder that the Catholics are not better men and women.

When we had looked at the old frescos, . . . . we emerged into the cloister again, and thence ventured into a passage which would have led us to the Chiostro Grande, where strangers, and especially ladies, have no right to go. It was a secluded⁴⁸² corridor, very neatly⁴⁸³ kept, bordered with sepulchral monuments, and at the end appeared a vista of cypress-trees, which indeed were but an illusory perspective, being painted in fresco. While we loitered along the sacristan appeared and offered to show us the church, and led us into the transept on the right of the high altar, and ushered us into the sacristy, where we found two artists copying some of Fra Angelico's pictures. These were painted on the three wooden leaves of a triptych, and, as usual, were glorified⁴⁸⁴ with a great deal of gilding, so that they seemed to float in the brightness of a heavenly element. Solomon speaks of "apples of gold in pictures of silver." The pictures of Fra Angelico, and other artists of that age, are really pictures of gold; and it is wonderful to see how rich the effect, and how much delicate beauty is attained⁴⁸⁵ (by Fra Angelico at least) along with it. His miniature-heads appear to me much more successful than his larger ones. In a monkish point of view, however, the chief value of the triptych of which I am speaking does not lie in the pictures, for they merely serve as the framework of some relics, which are set all round the edges of the three leaves. They consist of little bits and fragments of bones, and of packages carefully tied up in silk, the contents of which are signified in Gothic letters appended to each parcel. The sacred vessels of the church are likewise kept in the sacristy. . . .

Re-entering the transept, our guide showed us the chapel of the Strozzi family, which is accessible by a flight of steps from the floor of the church. The walls of this chapel are covered with frescos by Orcagna, representing around the altar the Last Judgment, and on one of the walls heaven and the assembly of the blessed, and on the other, of course, hell. I cannot speak as to the truth of the representation; but, at all events, it was purgatory to look at it. . . .

We next passed into the choir, which occupies the extreme end of the church behind the great square mass of the high altar, and is surrounded with a double row of ancient oaken seats of venerable shape and carving. The choir is illuminated by a threefold Gothic window, full of richly painted glass, worth all the frescos that ever stained a wall or ceiling; but these walls, nevertheless, are adorned with frescos by Ghirlandaio, and it is easy to see must once have made a magnificent appearance. I really was sensible of a sad and ghostly beauty in many of the figures; but all the bloom, the magic of the painter's touch, his topmost art, have long ago been rubbed off, the white plaster showing through the colors in spots, and even in large spaces. Any other sort of ruin acquires a beauty proper to its decay, and often superior to that of its pristine state; but the ruin of a picture, especially of a fresco, is wholly unredeemed; and, moreover, it dies so slowly that many generations are likely to be saddened by it.

We next saw the famous picture of the Virgin by Cimabue, which was deemed a miracle in its day, . . . . and still brightens the sombre walls with the lustre⁴⁸⁶ of its gold ground. As to its artistic merits, it seems to me that the babe Jesus has a certain air of state and dignity; but I could see no charm whatever in the broad-faced Virgin, and it would relieve my mind and rejoice my spirit if the picture were borne out of the church in another triumphal procession (like the one which brought it there), and reverently⁴⁸⁷ burnt. This should be the final honor paid to all human works that have served a good office in their day, for when their day is over, if still galvanized into false life, they do harm instead of good. . . . . The interior of Santa Maria Novella is spacious and in the Gothic style, though differing from English churches of that order of architecture. It is not now kept open to the public, nor were any of the shrines and chapels, nor even the high altar itself, adorned and lighted for worship. The pictures that decorated the shrines along the side aisles have been removed, leaving bare, blank spaces of brickwork, very dreary and desolate⁴⁸⁸ to behold. This is almost worse than a black oil-painting or a faded fresco. The church was much injured by the French, and afterwards by the Austrians, both powers having quartered their troops within the holy precincts. Its old walls, however, are yet stalwart enough to outlast⁴⁸⁹ another set of frescos, and to see the beginning and the end of a new school of painting as long-lived as Cimabue's. I should be sorry to have the church go to decay, because it was here that Boccaccio's dames⁴⁹⁰ and cavaliers encountered one another, and formed their plan of retreating into the country during the plague. . . .

At the door we bought a string of beads⁴⁹¹, with a small crucifix appended, in memory of the place. The beads seem to be of a grayish, pear-shaped seed, and the seller assured us that they were the tears of St. Job. They were cheap, probably because Job shed so many tears in his lifetime.

It being still early in the day, we went to the Uffizi gallery, and after loitering a good while among the pictures, were so fortunate as to find the room of the bronzes open. The first object that attracted us was John of Bologna's Mercury, poising⁴⁹² himself on tiptoe, and looking not merely buoyant enough to float, but as if he possessed more than the eagle's power of lofty flight. It seems a wonder that he did not absolutely fling himself into the air when the artist gave him the last touch. No bolder work was ever achieved; nothing so full of life has been done since. I was much interested, too, in the original little wax model, two feet high, of Benvenuto Cellini's Perseus. The wax seems to be laid over a wooden framework, and is but roughly finished off. . . .

In an adjoining room are innumerable specimens of Roman and Etruscan bronzes, great and small. A bronze Chimera⁴⁹³ did not strike me as very ingeniously conceived, the goat's head being merely an adjunct, growing out of the back of the monster, without possessing any original and substantive⁴⁹⁴ share in its nature. The snake's head is at the end of the tail. The object most really interesting was a Roman eagle, the standard of the Twenty-fourth Legion, about the size of a blackbird.

July 8th.—On the 6th we went to the Church of the Annunziata, which stands in the piazza of the same name. On the corner of the Via dei Servi is the palace which I suppose to be the one that Browning makes the scene of his poem, "The Statue and the Bust," and the statue of Duke Ferdinand sits stately on horseback, with his face turned towards the window, where the lady ought to appear. Neither she nor the bust, however, was visible, at least not to my eyes. The church occupies one side of the piazza, and in front of it, as likewise on the two adjoining sides of the square, there are pillared arcades⁴⁹⁵, constructed by Brunelleschi or his scholars. After passing through these arches, and still before entering the church itself, you come to an ancient cloister, which is now quite enclosed in glass as a means of preserving some frescos of Andrea del Sarto and others, which are considered valuable.

Passing the threshold of the church, we were quite dazzled by the splendor that shone upon us from the ceiling of the nave, the great parallelograms of which, viewed from one end, look as if richly embossed all over with gold. The whole interior, indeed, has an effect of brightness and magnificence, the walls being covered mostly with light-colored marble, into which are inlaid compartments of rarer and richer marbles. The pillars and pilasters, too, are of variegated⁴⁹⁶ marbles, with Corinthian capitals, that shine just as brightly as if they were of solid gold, so faithfully have they been gilded and burnished. The pavement is formed of squares of black and white marble. There are no side aisles, but ranges of chapels, with communication from one to another, stand round the whole extent of the nave and choir; all of marble, all decorated with pictures, statues, busts, and mural monuments; all worth, separately, a day's inspection⁴⁹⁷. The high altar is of great beauty and richness, . . . . and also the tomb of John of Bologna in a chapel at the remotest extremity⁴⁹⁸ of the church. In this chapel there are some bas-reliefs by him, and also a large crucifix, with a marble Christ upon it. I think there has been no better sculptor since the days of Phidias. . . .

The church was founded by seven gentlemen of Florence, who formed themselves into a religious order called "Servants of Mary." Many miraculous cures were wrought here; and the church, in consequence, was so thickly hung with votive offerings of legs, arms, and other things in wax, that they used to tumble upon people's heads, so that finally they were all cleared out as rubbish. The church is still, I should imagine, looked upon as a place of peculiar sanctity; for while we were there it had an unusual number of kneeling worshippers, and persons were passing from shrine to shrine all round the nave and choir, praying awhile at each, and thus performing a pilgrimage at little cost of time and labor²⁰². One old gentleman, I observed, carried a cushion or pad, just big enough for one knee, on which he carefully adjusted his genuflexions before each altar. An old woman in the choir prayed alternately to us and to the saints, with most success, I hope, in her petitions to the latter, though certainly her prayers to ourselves seemed the more fervent of the two.

When we had gone entirely round the church, we came at last to the chapel of the Annunziata, which stands on the floor of the nave, on the left hand as we enter. It is a very beautiful piece of architecture,—a sort of canopy⁴⁹⁹ of marble, supported upon pillars; and its magnificence within, in marble and silver, and all manner of holy decoration, is quite indescribable. It was built four hundred years ago, by Pietro de' Medici, and has probably been growing richer ever since. The altar is entirely of silver, richly embossed. As many people were kneeling on the steps before it as could find room, and most of them, when they finished their prayers, ascended the steps, kissed over and over again the margin of the silver altar, laid their foreheads upon it, and then deposited an offering in a box placed upon the altar's top. From the dulness of the chink in the only case when I heard it, I judged it to be a small copper⁵⁰⁰ coin.

In the inner part of this chapel is preserved a miraculous picture of the "Santissima Annunziata," painted by angels, and held in such holy repute that forty thousand dollars have lately been expended⁵⁰¹ in providing a new crown for the sacred personage represented. The picture is now veiled behind a curtain; and as it is a fresco, and is not considered to do much credit to the angelic artists, I was well contented not to see it.

We found a side door of the church admitting us into the great cloister, which has a walk of intersecting arches round its four sides, paved with flat tombstones, and broad enough for six people to walk abreast⁵⁰². On the walls, in the semicircles of each successive arch, are frescos representing incidents in the lives of the seven founders⁵⁰³ of the church, and all the lower part of the wall is incrusted with marble inscriptions to the memory of the dead, and mostly of persons who have died not very long ago. The space enclosed by the cloistered walk, usually made cheerful by green grass, has a pavement of tombstones laid in regular ranges. In the centre is a stone octagonal structure, which at first I supposed to be the tomb of some deceased mediaeval personage; but, on approaching, I found it a well, with its bucket hanging within the curb⁵⁰⁴, and looking as if it were in constant use. The surface of the water lay deep beneath the deepest dust of the dead people, and thence threw up its picture of the sky; but I think it would not be a moderate thirst that would induce me to drink of that well.

On leaving the church we bought a little gilt⁵⁰⁵ crucifix. . . .

On Sunday evening I paid a short visit to Mr. Powers, and, as usual, was entertained and instructed with his conversation. It did not, indeed, turn upon artistical subjects; but the artistic is only one side of his character, and, I think, not the principal side. He might have achieved valuable success as an engineer and mechanician. He gave a dissertation on flying-machines, evidently from his own experience, and came to the conclusion that it is impossible to fly by means of steam or any other motive-power now known to man. No force hitherto attained would suffice to lift the engine which generated it. He appeared to anticipate that flying will be a future mode of locomotion⁵⁰⁶, but not till the moral condition of mankind is so improved as to obviate⁵⁰⁷ the bad uses to which the power might be applied⁵⁰⁸. Another topic discussed was a cure for complaints of the chest by the inhalation of nitric acid; and he produced his own apparatus⁵⁰⁹ for that purpose, being merely a tube inserted into a bottle containing a small quantity of the acid, just enough to produce the gas for inhalation. He told me, too, a remedy for burns accidentally discovered by himself; viz., to wear wash-leather, or something equivalent, over the burn, and keep it constantly wet. It prevents all pain, and cures by the exclusion⁵¹⁰ of the air. He evidently has a great tendency to empirical remedies, and would have made a natural doctor of mighty potency⁵¹¹, possessing the shrewd sense, inventive faculty⁵¹², and self-reliance that such persons require. It is very singular that there should be an ideal vein³³⁴ in a man of this character.

This morning he called to see me, with intelligence of the failure of the new attempt to lay the electric cable between England and America; and here, too, it appears the misfortune might have been avoided if a plan of his own for laying the cable had been adopted. He explained his process, and made it seem as practicable as to put up a bell-wire. I do not remember how or why (but appositely) he repeated some verses, from a pretty little ballad⁵¹³ about fairies, that had struck his fancy, and he wound up his talk with some acute observations on the characters of General Jackson and other public men. He told an anecdote³⁶³, illustrating⁵¹⁴ the old general's small acquaintance with astronomical⁵¹⁵ science, and his force of will in compelling a whole dinner-party of better instructed people than himself to succumb⁵¹⁶ to him in an argument about eclipses and the planetary system generally. Powers witnessed the scene himself. He thinks that General Jackson was a man of the keenest and surest intuitions, in respect to men and measures, but with no power of reasoning out his own conclusions, or of imparting them intellectually to other persons. Men who have known Jackson intimately, and in great affairs, would not agree as to this intellectual and argumentative deficiency, though they would fully allow the intuitive faculty. I have heard General Pierce tell a striking instance of Jackson's power of presenting his own view of a subject with irresistible⁵¹⁷ force to the mind of the auditor. President Buchanan has likewise expressed to me as high admiration of Jackson as I ever heard one man award to another. Surely he was a great man, and his native strength, as well of intellect as character, compelled every man to be his tool that came within his reach; and the more cunning the individual might be, it served only to make him the sharper tool.

Speaking of Jackson, and remembering Raphael's picture of Pope Julius II., the best portrait in the whole world, and excellent in all its repetitions, I wish it had been possible for Raphael to paint General Jackson!

Referring again to General Jackson's intuitions, and to Powers's idea that he was unable to render a reason to himself or others for what he chose to do, I should have thought that this very probably might have been the case, were there not such strong evidence to the contrary. The highest, or perhaps any high administrative⁵¹⁸ ability is intuitive, and precedes argument, and rises above it. It is a revelation of the very thing to be done, and its propriety and necessity are felt so strongly that very likely it cannot be talked about; if the doer can likewise talk, it is an additional and gratuitous⁵¹⁹ faculty, as little to be expected as that a poet should be able to write an explanatory criticism on his own poem. The English overlook this in their scheme of government, which requires that the members of the national executive should be orators⁵²⁰, and the readiest and most fluent orators that can be found. The very fact (on which they are selected) that they are men of words makes it improbable that they are likewise men of deeds. And it is only tradition and old custom, founded on an obsolete⁵²¹ state of things, that assigns any value to parliamentary oratory⁵²². The world has done with it, except as an intellectual pastime. The speeches have no effect till they are converted into newspaper paragraphs; and they had better be composed as such, in the first place, and oratory reserved for churches, courts of law, and public dinner-tables.

July 10th.—My wife and I went yesterday forenoon to see the Church of San Marco, with which is connected a convent of Dominicans. . . . The interior is not less than three or four hundred years old, and is in the classic style, with a flat ceiling, gilded, and a lofty arch, supported by pillars, between the nave and choir. There are no side aisles, but ranges of shrines on both sides of the nave, each beneath its own pair of pillars and pediments. The pavement is of brick, with here and there a marble tombstone inlaid. It is not a magnificent church; but looks dingy with time and apparent neglect, though rendered sufficiently interesting by statues of mediaeval date by John of Bologna and other old sculptors, and by monumental busts and bas-reliefs: also, there is a wooden crucifix by Giotto, with ancient gilding on it; and a painting of Christ, which was considered a wonderful work in its day. Each shrine, or most of them, at any rate, had its dark old picture, and there is a very old and hideous mosaic of the Virgin and two saints, which I looked at very slightly, with the purpose of immediately forgetting it. Savonarola, the reforming monk, was a brother of this convent, and was torn from its shelter, to be subsequently hanged and burnt in the Grand Ducal Piazza. A large chapel in the left transept is of the Salviati family, dedicated⁵²³ to St. Anthony, and decorated with several statues of saints, and with some old frescos. When we had more than sufficiently examined these, the custode proposed to show us some frescos of Fra Angelico, and conducted us into a large cloister, under the arches of which, and beneath a covering of glass, he pointed to a picture of St. Dominic kneeling at the Cross. There are two or three others by the angelic friar in different parts of the cloister, and a regular series, filling up all the arches, by various artists. Its four-sided, cloistered walk surrounds a square, open to the sky as usual, and paved with gray stones that have no inscriptions, but probably are laid over graves. Its walls, however, are incrusted, and the walk itself is paved with monumental inscriptions on marble, none of which, so far as I observed, were of ancient date. Either the fashion of thus commemorating⁵²⁴ the dead is not ancient in Florence, or the old tombstones have been removed to make room for new ones. I do not know where the monks themselves have their burial-place; perhaps in an inner cloister, which we did not see. All the inscriptions here, I believe, were in memory of persons not connected with the convent.

A door in the wall of the cloister admitted us into the chapter-house, its interior moderately spacious, with a roof formed by intersecting arches. Three sides of the walls were covered with blessed whitewash⁵²⁵; but on the fourth side, opposite to the entrance, was a great fresco of the Crucifixion, by Fra Angelico, surrounded with a border or pictured framework, in which are represented the heads of saints, prophets, and sibyls, as large as life. The cross of the Saviour and those of the thieves were painted against a dark red sky; the figures upon them were lean and attenuated⁵²⁶, evidently the vague conceptions of a man who had never seen a naked figure. Beneath, was a multitude of people, most of whom were saints who had lived and been martyred long after the Crucifixion; and some of these had wounds from which gilded rays shone forth, as if the inner glory and blessedness of the holy men blazed through them. It is a very ugly picture, and its ugliness is not that of strength and vigor, but of weakness and incompetency⁵²⁷. Fra Angelico should have confined himself to miniature heads, in which his delicacy of touch and minute labor often produce an excellent effect. The custode informed us that there were more frescos of this pious⁵²⁸ artist in the interior of the convent, into which I might be allowed admittance, but not my wife. I declined seeing them, and heartily⁵²⁹ thanked heaven for my escape.

Returning through the church, we stopped to look at a shrine on the right of the entrance, where several wax candles were lighted, and the steps of which were crowded with worshippers. It was evidently a spot of special sanctity, and, approaching the steps, we saw, behind a gilded framework of stars and protected by glass, a wooden image of the Saviour, naked, covered with spots of blood, crowned with thorns, and expressing all the human wretchedness that the carver's skill could represent. The whole shrine, within the glass, was hung with offerings, as well of silver and gold as of tinsel and trumpery⁵³⁰, and the body of Christ glistened⁵³¹ with gold chains and ornaments⁵³², and with watches of silver and gold, some of which appeared to be of very old manufacture, and others might be new. Amid all this glitter the face of pain and grief looked forth, not a whit⁷⁸ comforted. While we stood there, a woman, who had been praying, arose from her knees and laid an offering of a single flower upon the shrine.

The corresponding arch, on the opposite side of the entrance, contained a wax-work within a large glass case, representing the Nativity. I do not remember how the Blessed Infant looked, but the Virgin was gorgeously dressed in silks, satins, and gauzes, with spangles and ornaments of all kinds, and, I believe, brooches of real diamonds on her bosom. Her attire, judging from its freshness and newness of glitter, might have been put on that very morning.

July 13th.—We went for the second time, this morning, to the Academy of Fine Arts, and I looked pretty thoroughly at the Pre-Raphaelite pictures, few of which are really worth looking at nowadays. Cimabue and Giotto might certainly be dismissed, henceforth and forever, without any detriment⁵³³ to the cause of good art. There is what seems to me a better picture than either of these has produced, by Bonamico Buffalmacco, an artist of about their date or not long after. The first real picture in the series is the "Adoration of the Magi," by Gentile da Fabriano, a really splendid work in all senses, with noble and beautiful figures in it, and a crowd of personages, managed with great skill. Three pictures by Perugino are the only other ones I cared to look at. In one of these, the face of the Virgin who holds the dead Christ on her knees has a deeper expression of woe⁵³⁴ than can ever have been painted since. After Perugino the pictures cease to be interesting; the art came forward with rapid strides, but the painters and their productions do not take nearly so much hold of the spectator as before. They all paint better than Giotto and Cimabue,—in some respects better than Perugino; but they paint in vain, probably because they were not nearly so much in earnest, and meant far less, though possessing the dexterity⁵³⁵ to express far more. Andrea del Sarto appears to have been a good painter, yet I always turn away readily from his pictures. I looked again, and for a good while, at Carlo Dolce's portrait of the Eternal Father, for it is a miracle and masterpiece of absurdity, and almost equally a miracle of pictorial art. It is the All-powerless, a fair-haired, soft, consumptive deity⁵³⁶, with a mouth that has fallen open through very weakness. He holds one hand on his stomach, as if the wickedness and wretchedness of mankind made him qualmish; and he is looking down out of Heaven with an expression of pitiable appeal, or as if seeking somewhere for assistance in his heavy task of ruling the universe. You might fancy such a being falling on his knees before a strong-willed man, and beseeching⁵³⁷ him to take the reins⁵³⁸ of omnipotence⁵³⁹ out of his hands. No wonder that wrong gets the better of right, and that good and ill are confounded, if the Supreme⁵⁴⁰ Head were as here depicted; for I never saw, and nobody else ever saw, so perfect a representation of a person burdened with a task infinitely above his strength. If Carlo Dolce had been wicked enough to know what he was doing, the picture would have been most blasphemous,—a satire⁵⁴¹, in the very person of the Almighty⁵⁴², against all incompetent⁵⁴³ rulers, and against the rickety machine and crazy action of the universe. Heaven forgive me for such thoughts as this picture has suggested! It must be added that the great original defect in the character as here represented is an easy good-nature. I wonder what Michael Angelo would have said to this painting.

In the large, enclosed court connected with the Academy there are a number of statues, bas-reliefs, and casts, and what was especially interesting, the vague and rude commencement of a statue of St. Matthew by Michael Angelo. The conceptions of this great sculptor were so godlike that he seems to have been discontented at not likewise possessing the godlike attribute of creating and embodying⁵⁴⁴ them with an instantaneous thought, and therefore we often find sculptures from his hand left at the critical point of their struggle to get out of the marble. The statue of St. Matthew looks like the antediluvian⁵⁴⁵ fossil of a human being of an epoch when humanity was mightier⁵⁴⁶ and more majestic than now, long ago imprisoned in stone, and half uncovered again.

July 16th.—We went yesterday forenoon to see the Bargello. I do not know anything more picturesque in Florence than the great interior court of this ancient Palace of the Podesta, with the lofty height of the edifice looking down into the enclosed space, dark and stern, and the armorial bearings of a long succession of magistrates⁵⁴⁷ carved in stone upon the walls, a garland, as it were, of these Gothic devices extending quite round the court. The best feature of the whole is the broad stone staircase, with its heavy balustrade, ascending externally from the court to the iron-grated door in the second story. We passed the sentinels under the lofty archway that communicates with the street, and went up the stairs without being questioned or impeded. At the iron-grated door, however, we were met by two officials in uniform, who courteously⁵⁴⁸ informed us that there was nothing to be exhibited in the Bargello except an old chapel containing some frescos by Giotto, and that these could only be seen by making a previous appointment with the custode, he not being constantly on hand. I was not sorry to escape the frescos, though one of them is a portrait of Dante.

We next went to the Church of the Badia, which is built in the form of a Greek cross, with a flat roof embossed and once splendid with now tarnished gold. The pavement is of brick, and the walls of dark stone, similar to that of the interior of the cathedral (pietra serena), and there being, according to Florentine custom, but little light, the effect was sombre, though the cool gloomy dusk was refreshing⁵⁴⁹ after the hot turmoil⁵⁵⁰ and dazzle of the adjacent street. Here we found three or four Gothic tombs, with figures of the deceased persons stretched in marble slumber⁵⁵¹ upon them. There were likewise a picture or two, which it was impossible to see; indeed, I have hardly ever met with a picture in a church that was not utterly wasted and thrown away in the deep shadows of the chapel it was meant to adorn. If there is the remotest chance of its being seen, the sacristan hangs a curtain before it for the sake of his fee for withdrawing it. In the chapel of the Bianco family we saw (if it could be called seeing) what is considered the finest oil-painting of Fra Filippo Lippi. It was evidently hung with reference to a lofty window on the other side of the church, whence sufficient light might fall upon it to show a picture so vividly⁵⁵² painted as this is, and as most of Fra Filippo Lippi's are. The window was curtained, however, and the chapel so dusky that I could make out nothing.

Several persons came in to say their prayers during the little time that we remained in the church, and as we came out we passed a good woman who sat knitting in the coolness of the vestibule, which was lined with mural tombstones. Probably she spends the day thus, keeping up the little industry of her fingers, slipping into the church to pray whenever a devotional impulse swells⁵⁵³ into her heart, and asking an alms as often as she sees a person of charitable aspect.

From the church we went to the Uffizi gallery, and reinspected the greater part of it pretty faithfully. We had the good fortune, too, again to get admittance into the cabinet of bronzes, where we admired anew the wonderful airiness of John of Bologna's Mercury, which, as I now observed, rests on nothing substantial, but on the breath of a zephyr⁵⁵⁴ beneath him. We also saw a bronze bust of one of the Medici by Benvenuto Cellini, and a thousand other things the curiosity of which is overlaid by their multitude. The Roman eagle, which I have recorded to be about the size of a blackbird, I now saw to be as large as a pigeon.

On our way towards the door of the gallery, at our departure, we saw the cabinet of gems open, and again feasted our eyes with its concentrated brilliancies and magnificences. Among them were two crystal cups, with engraved devices, and covers of enamelled gold, wrought by Benvenuto Cellini, and wonderfully beautiful. But it is idle to mention one or two things, when all are so beautiful and curious; idle, too, because language is not burnished gold, with here and there a brighter word flashing like a diamond; and therefore no amount of talk will give the slightest idea of one of these elaborate handiworks.

July 27th.—I seldom go out nowadays, having already seen Florence tolerably well, and the streets being very hot, and myself having been engaged in sketching⁵⁵⁵ out a romance [The Marble Faun.—ED.], which whether it will ever come to anything is a point yet to be decided⁵⁵⁶. At any rate, it leaves me little heart for journalizing and describing new things; and six months of uninterrupted monotony would be more valuable to me just now, than the most brilliant succession of novelties.

Yesterday I spent a good deal of time in watching the setting out of a wedding party from our door; the bride being the daughter of an English lady, the Countess of ———. After all, there was nothing very characteristic. The bridegroom is a young man of English birth, son of the Countess of St. G———, who inhabits the third piano of this Casa del Bello. The very curious part of the spectacle was the swarm⁴⁴⁶ of beggars who haunted the street all day; the most wretched mob conceivable, chiefly women, with a few blind people, and some old men and boys. Among these the bridal party distributed their beneficence in the shape of some handfuls of copper, with here and there a half-paul intermixed; whereupon the whole wretched mob flung themselves in a heap upon the pavement, struggling, lighting⁵⁵⁷, tumbling one over another, and then looking up to the windows with petitionary gestures for more and more, and still for more. Doubtless, they had need enough, for they looked thin, sickly, ill-fed, and the women ugly to the last degree. The wedding party had a breakfast above stairs, which lasted till four o'clock, and then the bridegroom took his bride in a barouche and pair, which was already crammed⁵⁵⁸ with his own luggage and hers. . . . He was a well-looking young man enough, in a uniform of French gray with silver epaulets; more agreeable in aspect than his bride, who, I think, will have the upper hand in their domestic life. I observed that, on getting into the barouche, he sat down on her dress, as he could not well help doing, and received a slight reprimand in consequence. After their departure, the wedding guests took their leave; the most noteworthy person being the Pope's Nuncio (the young man being son of the Pope's Chamberlain, and one of the Grand Duke's Noble Guard), an ecclesiastical personage in purple stockings, attended by two priests, all of whom got into a coach, the driver and footmen of which wore gold-laced cocked hats and other splendors⁵⁵⁹.

To-day I paid a short visit to the gallery of the Pitti Palace. I looked long at a Madonna of Raphael's, the one which is usually kept in the Grand Duke's private apartments, only brought into the public gallery for the purpose of being copied. It is the holiest of all Raphael's Madonnas, with a great reserve in the expression, a sense of being apart, and yet with the utmost tenderness and sweetness; although she drops her eyelids before her like a veil, as it were, and has a primness⁵⁶⁰ of eternal virginity about the mouth. It is one of Raphael's earlier works, when he mixed more religious sentiment with his paint than afterwards. Perugino's pictures give the impression of greater sincerity⁵⁶¹ and earnestness than Raphael's, though the genius of Raphael often gave him miraculous vision.

July 28th.—Last evening we went to the Powers's, and sat with them on the terrace, at the top of the house, till nearly ten o'clock. It was a delightful, calm, summer evening, and we were elevated far above all the adjacent roofs, and had a prospect⁵⁶² of the greater part of Florence and its towers, and the surrounding hills, while directly beneath us rose the trees of a garden, and they hardly sent their summits higher than we sat. At a little distance, with only a house or two between, was a theatre in full action, the Teatro Goldoni, which is an open amphitheatre, in the ancient fashion, without any roof. We could see the upper part of the proscenium, and, had we been a little nearer, might have seen the whole performance, as did several boys who crept along the tops of the surrounding houses. As it was, we heard the music and the applause, and now and then an actor's stentorian⁵⁶³ tones, when we chose to listen. Mrs. P——— and my wife, U—— and Master Bob, sat in a group together, and chatted in one corner of our aerial drawing-room, while Mr. Powers and myself leaned against the parapet, and talked of innumerable things. When the clocks struck the hour, or the bells rang from the steeples, as they are continually doing, I spoke of the sweetness of the Florence bells, the tones of some of them being as if the bell were full of liquid melody, and shed it through the air on being upturned. I had supposed, in my lack of musical ear, that the bells of the Campanile were the sweetest; but Mr. Powers says that there is a defect in their tone, and that the bell of the Palazzo Vecchio is the most melodious⁵⁶⁴ he ever heard. Then he spoke of his having been a manufacturer of organs, or, at least, of reeds for organs, at one period of his life. I wonder what he has not been! He told me of an invention of his in the musical line, a jewsharp with two tongues; and by and by he produced it for my inspection. It was carefully kept in a little wooden case, and was very neatly and elaborately constructed, with screws to tighten⁵⁶⁵ it, and a silver centre-piece between the two tongues. Evidently a great deal of thought had been bestowed on this little harp⁹⁴; but Mr. Powers told me that it was an utter failure, because the tongues were apt to interfere¹³³ and jar with one another, although the strain of music was very sweet and melodious— as he proved, by playing on it a little—when everything went right. It was a youthful production, and he said that its failure had been a great disappointment to him at the time; whereupon I congratulated him that his failures had been in small matters, and his successes in great ones.

We talked, furthermore, about instinct and reason, and whether the brute⁵⁶⁶ creation have souls, and, if they have none, how justice is to be done them for their sufferings here; and Mr. Powers came finally to the conclusion that brutes⁵⁶⁷ suffer only in appearance, and that God enjoys for them all that they seem to enjoy, and that man is the only intelligent and sentient⁵⁶⁸ being. We reasoned high about other states of being; and I suggested the possibility that there might be beings inhabiting this earth, contemporaneously with us, and close beside us, but of whose existence and whereabout we could have no perception, nor they of ours, because we are endowed with different sets of senses; for certainly it was in God's power to create beings who should communicate with nature by innumerable other senses than those few which we possess. Mr. Powers gave hospitable⁵⁶⁹ reception to this idea, and said that it had occurred to himself; and he has evidently thought much and earnestly about such matters; but is apt to let his idea crystallize into a theory, before he can have sufficient data for it. He is a Swedenborgian in faith.

The moon had risen behind the trees, while we were talking, and Powers intimated his idea that beings analogous⁵⁷⁰ to men—men in everything except the modifications⁵⁷¹ necessary to adapt them to their physical circumstances—inhabited the planets, and peopled them with beautiful shapes. Each planet, however, must have its own standard of the beautiful, I suppose; and probably his sculptor's eye would not see much to admire in the proportions of an inhabitant of Saturn⁵⁷².

The atmosphere of Florence, at least when we ascend a little way into it, suggests planetary speculations⁵⁷³. Galileo found it so, and Mr. Powers and I pervaded⁵⁷⁴ the whole universe; but finally crept down his garret-stairs, and parted, with a friendly pressure of the hand.

 

1 piazza   

n.广场；走廊

参考例句：

• Siena's main piazza was one of the sights of Italy.锡耶纳的主要广场是意大利的名胜之一。
• They walked out of the cafeteria,and across the piazzadj.他们走出自助餐厅,穿过广场。

2 bust   

vt.打破；vi.爆裂；n.半身像；胸部

参考例句：

• I dropped my camera on the pavement and bust it. 我把照相机掉在人行道上摔坏了。
• She has worked up a lump of clay into a bust.她把一块黏土精心制作成一个半身像。

3 busts   

半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕

参考例句：

• Dey bags swells up and busts. 那奶袋快胀破了。
• Marble busts all looked like a cemetery. 大理石的半身象，简直就象是坟山。

4 cardinals   

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

参考例句：

• cardinals in scarlet robes 身披红袍的枢机主教
• A conclave of cardinals was held to elect the new Pope. 红衣主教团举行了秘密会议来选举新教皇。

5 wig   

n.假发

参考例句：

• The actress wore a black wig over her blond hair.那个女演员戴一顶黑色假发罩住自己的金黄色头发。
• He disguised himself with a wig and false beard.他用假发和假胡须来乔装。

6 chronological   

adj.按年月顺序排列的，年代学的

参考例句：

• The paintings are exhibited in chronological sequence.这些画是按创作的时间顺序展出的。
• Give me the dates in chronological order.把日期按年月顺序给我。

7 logic   

n.逻辑(学)；逻辑性

参考例句：

• What sort of logic is that?这是什么逻辑？
• I don't follow the logic of your argument.我不明白你的论点逻辑性何在。

8 specimens   

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》

9 redeem   

v.买回，赎回，挽回，恢复，履行（诺言等）

参考例句：

• He had no way to redeem his furniture out of pawn.他无法赎回典当的家具。
• The eyes redeem the face from ugliness.这双眼睛弥补了他其貌不扬之缺陷。

10 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。

11 semblance   

n.外貌，外表

参考例句：

• Her semblance of anger frightened the children.她生气的样子使孩子们感到害怕。
• Those clouds have the semblance of a large head.那些云的形状像一个巨大的人头。

12 countenance   

n.脸色，面容；面部表情；vt.支持，赞同

参考例句：

• At the sight of this photograph he changed his countenance.他一看见这张照片脸色就变了。
• I made a fierce countenance as if I would eat him alive.我脸色恶狠狠地，仿佛要把他活生生地吞下去。

13 perfectly   

adv.完美地，无可非议地，彻底地

参考例句：

• The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。
• Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

14 condemn   

vt.谴责，指责；宣判(罪犯)，判刑

参考例句：

• Some praise him,whereas others condemn him.有些人赞扬他，而有些人谴责他。
• We mustn't condemn him on mere suppositions.我们不可全凭臆测来指责他。

15 condemns   

v.（通常因道义上的原因而）谴责( condemn的第三人称单数 )；宣判；宣布…不能使用；迫使…陷于不幸的境地

参考例句：

• Her widowhood condemns her to a lonely old age. 守寡使她不得不过着孤独的晚年生活。 来自《简明英汉词典》
• The public opinion condemns prostitution. 公众舆论遣责卖淫。 来自《现代汉英综合大词典》

16 censure   

v./n.责备；非难；责难

参考例句：

• You must not censure him until you know the whole story.在弄清全部事实真相前不要谴责他。
• His dishonest behaviour came under severe censure.他的不诚实行为受到了严厉指责。

17 abominable   

adj.可厌的，令人憎恶的

参考例句：

• Their cruel treatment of prisoners was abominable.他们虐待犯人的做法令人厌恶。
• The sanitary conditions in this restaurant are abominable.这家饭馆的卫生状况糟透了。

18 likeness   

n.相像，相似（之处）

参考例句：

• I think the painter has produced a very true likeness.我认为这位画家画得非常逼真。
• She treasured the painted likeness of her son.她珍藏她儿子的画像。

19 perpetuated   

vt.使永存（perpetuate的过去式与过去分词形式）

参考例句：

• This system perpetuated itself for several centuries. 这一制度维持了几个世纪。
• I never before saw smile caught like that, and perpetuated. 我从来没有看见过谁的笑容陷入这样的窘况，而且持续不变。 来自辞典例句

20 sculptor   

n.雕刻家，雕刻家

参考例句：

• A sculptor forms her material.雕塑家把材料塑造成雕塑品。
• The sculptor rounded the clay into a sphere.那位雕塑家把黏土做成了一个球状。

21 wrought   

v.引起；以…原料制作；运转；adj.制造的

参考例句：

• Events in Paris wrought a change in British opinion towards France and Germany.巴黎发生的事件改变了英国对法国和德国的看法。
• It's a walking stick with a gold head wrought in the form of a flower.那是一个金质花形包头的拐杖。

22 hideous   

adj.丑陋的，可憎的，可怕的，恐怖的

参考例句：

• The whole experience had been like some hideous nightmare.整个经历就像一场可怕的噩梦。
• They're not like dogs,they're hideous brutes.它们不像狗，是丑陋的畜牲。

23 thoroughly   

adv.完全地，彻底地，十足地

参考例句：

• The soil must be thoroughly turned over before planting.一定要先把土地深翻一遍再下种。
• The soldiers have been thoroughly instructed in the care of their weapons.士兵们都系统地接受过保护武器的训练。

24 analyze   

vt.分析，解析 (=analyse)

参考例句：

• We should analyze the cause and effect of this event.我们应该分析这场事变的因果。
• The teacher tried to analyze the cause of our failure.老师设法分析我们失败的原因。

25 monstrous   

adj.巨大的；恐怖的；可耻的，丢脸的

参考例句：

• The smoke began to whirl and grew into a monstrous column.浓烟开始盘旋上升，形成了一个巨大的烟柱。
• Your behaviour in class is monstrous!你在课堂上的行为真是丢人！

26 inevitable   

adj.不可避免的，必然发生的

参考例句：

• Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。
• The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

27 reverent   

adj.恭敬的，虔诚的

参考例句：

• He gave reverent attention to the teacher.他恭敬地听老师讲课。
• She said the word artist with a gentle,understanding,reverent smile.她说作家一词时面带高雅，理解和虔诚的微笑。

28 tyrants   

专制统治者( tyrant的名词复数 )； 暴君似的人； （古希腊的）僭主； 严酷的事物

参考例句：

• The country was ruled by a succession of tyrants. 这个国家接连遭受暴君的统治。
• The people suffered under foreign tyrants. 人民在异族暴君的统治下受苦受难。

29 perplexed   

adj.不知所措的

参考例句：

• The farmer felt the cow,went away,returned,sorely perplexed,always afraid of being cheated.那农民摸摸那头牛，走了又回来，犹豫不决，总怕上当受骗。
• The child was perplexed by the intricate plot of the story.这孩子被那头绪纷繁的故事弄得迷惑不解。

30 apprehended   

逮捕，拘押( apprehend的过去式和过去分词 )； 理解

参考例句：

• She apprehended the complicated law very quickly. 她很快理解了复杂的法律。
• The police apprehended the criminal. 警察逮捕了罪犯。

31 extinction   

n.熄灭，消亡，消灭，灭绝，绝种

参考例句：

• The plant is now in danger of extinction.这种植物现在有绝种的危险。
• The island's way of life is doomed to extinction.这个岛上的生活方式注定要消失。

32 contented   

adj.满意的，安心的，知足的

参考例句：

• He won't be contented until he's upset everyone in the office.不把办公室里的每个人弄得心烦意乱他就不会满足。
• The people are making a good living and are contented,each in his station.人民安居乐业。

33 fresco   

n.壁画；vt.作壁画于

参考例句：

• This huge fresco is extremely clear and just like nature itself.It is very harmonious.这一巨幅壁画，清晰有致且又浑然天成，十分和谐。
• So it is quite necessary to study the influence of visual thinking over fresco.因此，研究视觉思维对壁画的影响和作用是十分必要的。

34 mighty   

adj.强有力的；巨大的

参考例句：

• A mighty force was about to break loose.一股巨大的力量即将迸发而出。
• The mighty iceberg came into view.巨大的冰山出现在眼前。

35 repose   

v.(使)休息；n.安息

参考例句：

• Don't disturb her repose.不要打扰她休息。
• Her mouth seemed always to be smiling,even in repose.她的嘴角似乎总是挂着微笑，即使在睡眠时也是这样。

36 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

37 ripple   

n.涟波，涟漪，波纹，粗钢梳；vt.使...起涟漪，使起波纹； vi.呈波浪状，起伏前进

参考例句：

• The pebble made a ripple on the surface of the lake.石子在湖面上激起一个涟漪。
• The small ripple split upon the beach.小小的涟漪卷来，碎在沙滩上。

38 strand   

vt.使（船）搁浅，使（某人）困于（某地）

参考例句：

• She tucked a loose strand of hair behind her ears.她把一缕散发夹到了耳后。
• The climbers had been stranded by a storm.登山者被暴风雨困住了。

39 brass   

n.黄铜；黄铜器，铜管乐器

参考例句：

• Many of the workers play in the factory's brass band.许多工人都在工厂铜管乐队中演奏。
• Brass is formed by the fusion of copper and zinc.黄铜是通过铜和锌的熔合而成的。

40 possessed   

adj.疯狂的；拥有的，占有的

参考例句：

• He flew out of the room like a man possessed.他像着了魔似地猛然冲出房门。
• He behaved like someone possessed.他行为举止像是魔怔了。

41 dome   

n.圆屋顶，拱顶

参考例句：

• The dome was supported by white marble columns.圆顶由白色大理石柱支撑着。
• They formed the dome with the tree's branches.他们用树枝搭成圆屋顶。

42 reverence   

n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬

参考例句：

• He was a bishop who was held in reverence by all.他是一位被大家都尊敬的主教。
• We reverence tradition but will not be fettered by it.我们尊重传统，但不被传统所束缚。

43 hood   

n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖

参考例句：

• She is wearing a red cloak with a hood.她穿着一件红色带兜帽的披风。
• The car hood was dented in.汽车的发动机罩已凹了进去。

44 mellowed   

（使）成熟( mellow的过去式和过去分词 )； 使色彩更加柔和，使酒更加醇香

参考例句：

• She's mellowed over the years. 这些年来他变得成熟了。
• The colours mellowed as the sun went down. 随着太阳的落去，色泽变得柔和了。

45 soften   

v.(使)变柔软；(使)变柔和

参考例句：

• Plastics will soften when exposed to heat.塑料适当加热就可以软化。
• This special cream will help to soften up our skin.这种特殊的护肤霜有助于使皮肤变得柔软。

46 softening   

变软，软化

参考例句：

• Her eyes, softening, caressed his face. 她的眼光变得很温柔了。它们不住地爱抚他的脸。 来自汉英文学 - 家（1-26） - 家（1-26）
• He might think my brain was softening or something of the kind. 他也许会觉得我婆婆妈妈的，已经成了个软心肠的人了。

47 akin   

adj.同族的，类似的

参考例句：

• She painted flowers and birds pictures akin to those of earlier feminine painters.她画一些同早期女画家类似的花鸟画。
• Listening to his life story is akin to reading a good adventure novel.听他的人生故事犹如阅读一本精彩的冒险小说。

48 inmate   

n.被收容者；(房屋等的)居住人；住院人

参考例句：

• I am an inmate of that hospital.我住在那家医院。
• The prisoner is his inmate.那个囚犯和他同住一起。

49 softens   

（使）变软( soften的第三人称单数 )； 缓解打击； 缓和； 安慰

参考例句：

• Iron softens with heat. 铁受热就软化。
• Moonlight softens our faults; all shabbiness dissolves into shadow. 月光淡化了我们的各种缺点，所有的卑微都化解为依稀朦胧的阴影。 来自名作英译部分

50 standing   

n.持续，地位；adj.永久的，不动的，直立的，不流动的

参考例句：

• After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
• They're standing out against any change in the law.他们坚决反对对法律做任何修改。

51 chaste   

adj.贞洁的；有道德的；善良的；简朴的

参考例句：

• Comparatively speaking,I like chaste poetry better.相比较而言，我更喜欢朴实无华的诗。
• Tess was a chaste young girl.苔丝是一个善良的少女。

52 mishaps   

n.轻微的事故，小的意外( mishap的名词复数 )

参考例句：

• a series of mishaps 一连串的倒霉事
• In spite of one or two minor mishaps everything was going swimmingly. 尽管遇到了一两件小小的不幸，一切都进行得很顺利。 来自《现代汉英综合大词典》

53 severed   

v.切断，断绝( sever的过去式和过去分词 )；断，裂

参考例句：

• The doctor said I'd severed a vessel in my leg. 医生说我割断了腿上的一根血管。 来自《简明英汉词典》
• We have severed diplomatic relations with that country. 我们与那个国家断绝了外交关系。 来自《简明英汉词典》

54 impair   

v.损害，损伤；削弱，减少

参考例句：

• Loud noise can impair your hearing.巨大的噪音有损听觉。
• It can not impair the intellectual vigor of the young.这不能磨灭青年人思想活力。

55 lustful   

a.贪婪的；渴望的

参考例句：

• Adelmo agreed and duly submitted to Berengar's lustful advances. 阿德尔摩同意了并适时地顺从了贝仁格情欲的增长。
• The lustful scenes of the movie were abhorrent to the old lady. 电影里淫荡的画面让这老妇人厌恶。

56 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

57 enjoyment   

n.乐趣；享有；享用

参考例句：

• Your company adds to the enjoyment of our visit. 有您的陪同，我们这次访问更加愉快了。
• After each joke the old man cackled his enjoyment.每逢讲完一个笑话，这老人就呵呵笑着表示他的高兴。

58 vivacious   

adj.活泼的，快活的

参考例句：

• She is an artless,vivacious girl.她是一个天真活泼的女孩。
• The picture has a vivacious artistic conception.这幅画气韵生动。

59 construe   

v.翻译，解释

参考例句：

• He had tried to construe a passage from Homer.他曾尝试注释荷马著作的一段文字。
• You can construe what he said in a number of different ways.他的话可以有好几种解释。

60 inquiry   

n.打听，询问，调查，查问

参考例句：

• Many parents have been pressing for an inquiry into the problem.许多家长迫切要求调查这个问题。
• The field of inquiry has narrowed down to five persons.调查的范围已经缩小到只剩5个人了。

61 exterior   

adj.外部的，外在的；表面的

参考例句：

• The seed has a hard exterior covering.这种子外壳很硬。
• We are painting the exterior wall of the house.我们正在给房子的外墙涂漆。

62 celebrated   

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。

63 spacious   

adj.广阔的，宽敞的

参考例句：

• Our yard is spacious enough for a swimming pool.我们的院子很宽敞，足够建一座游泳池。
• The room is bright and spacious.这房间很豁亮。

64 oratorio   

n.神剧，宗教剧，清唱剧

参考例句：

• It's the world's most popular oratorio.这是世界上最流行的清唱剧。
• The Glee Club decided to present an oratorio during their recital.高兴俱乐部的决定提出的清唱剧在其演奏。

65 cognomen   

n.姓；绰号

参考例句：

• Rufus is an unusual cognomen.鲁弗斯不是一个平常的姓。
• Red got his cognomen for his red hair.“红毛”的绰号源于他的红头发。

66 diminutive   

adj.小巧可爱的，小的

参考例句：

• Despite its diminutive size,the car is quite comfortable.尽管这辆车很小，但相当舒服。
• She has diminutive hands for an adult.作为一个成年人，她的手显得非常小。

67 bestowed   

赠给，授予( bestow的过去式和过去分词 )

参考例句：

• It was a title bestowed upon him by the king. 那是国王赐给他的头衔。
• He considered himself unworthy of the honour they had bestowed on him. 他认为自己不配得到大家赋予他的荣誉。

68 bestow   

v.把…赠与，把…授予；花费

参考例句：

• He wished to bestow great honors upon the hero.他希望将那些伟大的荣誉授予这位英雄。
• What great inspiration wiII you bestow on me?你有什么伟大的灵感能馈赠给我？

69 advent   

n.(重要事件等的)到来，来临

参考例句：

• Swallows come by groups at the advent of spring. 春天来临时燕子成群飞来。
• The advent of the Euro will redefine Europe.欧元的出现将重新定义欧洲。

70 colossal   

adj.异常的，庞大的

参考例句：

• There has been a colossal waste of public money.一直存在巨大的公款浪费。
• Some of the tall buildings in that city are colossal.那座城市里的一些高层建筑很庞大。

71 manly   

adj.有男子气概的；adv.男子般地，果断地

参考例句：

• The boy walked with a confident manly stride.这男孩以自信的男人步伐行走。
• He set himself manly tasks and expected others to follow his example.他给自己定下了男子汉的任务，并希望别人效之。

72 robust   

adj.强壮的，强健的，粗野的，需要体力的，浓的

参考例句：

• She is too tall and robust.她个子太高，身体太壮。
• China wants to keep growth robust to reduce poverty and avoid job losses,AP commented.美联社评论道，中国希望保持经济强势增长，以减少贫困和失业状况。

73 sheathe   

v.（将刀剑）插入鞘；包，覆盖

参考例句：

• Sheathe your swords!把你们的剑插到鞘里！
• The two opponents decided at last to sheathe the sword and met at a dinner given.这两个对手终于决定讲和，在朋友举行的晚宴上会面了。

74 kindly   

adj.和蔼的，温和的，爽快的；adv.温和地，亲切地

参考例句：

• Her neighbours spoke of her as kindly and hospitable.她的邻居都说她和蔼可亲、热情好客。
• A shadow passed over the kindly face of the old woman.一道阴影掠过老太太慈祥的面孔。

75 embodied   

v.表现( embody的过去式和过去分词 )；象征；包括；包含

参考例句：

• a politician who embodied the hopes of black youth 代表黑人青年希望的政治家
• The heroic deeds of him embodied the glorious tradition of the troops. 他的英雄事迹体现了军队的光荣传统。 来自《简明英汉词典》

76 forth   

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。

77 shrill   

adj.尖声的；刺耳的；v尖叫

参考例句：

• Whistles began to shrill outside the barn.哨声开始在谷仓外面尖叫。
• The shrill ringing of a bell broke up the card game on the cutter.刺耳的铃声打散了小汽艇的牌局。

78 whit   

n.一点，丝毫

参考例句：

• There's not a whit of truth in the statement.这声明里没有丝毫的真实性。
• He did not seem a whit concerned.他看来毫不在乎。

79 sable   

n.黑貂；adj.黑色的

参考例句：

• Artists' brushes are sometimes made of sable.画家的画笔有的是用貂毛制的。
• Down the sable flood they glided.他们在黑黝黝的洪水中随波逐流。

80 profusion   

n.挥霍；丰富

参考例句：

• He is liberal to profusion.他挥霍无度。
• The leaves are falling in profusion.落叶纷纷。

81 judgment   

n.审判；判断力，识别力，看法，意见

参考例句：

• The chairman flatters himself on his judgment of people.主席自认为他审视人比别人高明。
• He's a man of excellent judgment.他眼力过人。

82 prosaic   

adj.单调的，无趣的

参考例句：

• The truth is more prosaic.真相更加乏味。
• It was a prosaic description of the scene.这是对场景没有想象力的一个描述。

83 tapestried   

adj.饰挂绣帷的，织在绣帷上的v.用挂毯（或绣帷）装饰( tapestry的过去式和过去分词 )

参考例句：

84 benevolence   

n.慈悲，捐助

参考例句：

• We definitely do not apply a policy of benevolence to the reactionaries.我们对反动派决不施仁政。
• He did it out of pure benevolence. 他做那件事完全出于善意。

85 acidity   

n.酸度，酸性

参考例句：

• This plant prefers alkaline soil,though it will readily tolerate some acidity.这种植物在酸性土壤中也能生存，但硷性土壤更加适宜。
• Gastric acidity would not prevent the organism from passing into the gut.胃的酸度不能防止细菌进入肠道。

86 homely   

adj.家常的，简朴的；不漂亮的

参考例句：

• We had a homely meal of bread and cheese.我们吃了一顿面包加乳酪的家常便餐。
• Come and have a homely meal with us,will you?来和我们一起吃顿家常便饭，好吗？

87 remarkable   

adj.显著的，异常的，非凡的，值得注意的

参考例句：

• She has made remarkable headway in her writing skills.她在写作技巧方面有了长足进步。
• These cars are remarkable for the quietness of their engines.这些汽车因发动机没有噪音而不同凡响。

88 deference   

n.尊重，顺从；敬意

参考例句：

• Do you treat your parents and teachers with deference?你对父母师长尊敬吗？
• The major defect of their work was deference to authority.他们的主要缺陷是趋从权威。

89 appreciation   

n.评价；欣赏；感谢；领会，理解；价格上涨

参考例句：

• I would like to express my appreciation and thanks to you all.我想对你们所有人表达我的感激和谢意。
• I'll be sending them a donation in appreciation of their help.我将送给他们一笔捐款以感谢他们的帮助。

90 worthy   

adj.(of)值得的，配得上的；有价值的

参考例句：

• I did not esteem him to be worthy of trust.我认为他不值得信赖。
• There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。

91 avowed   

adj.公开声明的，承认的v.公开声明，承认( avow的过去式和过去分词)

参考例句：

• An aide avowed that the President had known nothing of the deals. 一位助理声明，总统对这些交易一无所知。
• The party's avowed aim was to struggle against capitalist exploitation. 该党公开宣称的宗旨是与资本主义剥削斗争。 来自《简明英汉词典》

92 affixed   

adj.[医]附着的，附着的v.附加( affix的过去式和过去分词 )；粘贴；加以；盖（印章）

参考例句：

• The label should be firmly affixed to the package. 这张标签应该牢牢地贴在包裹上。
• He affixed the sign to the wall. 他将标记贴到墙上。 来自《简明英汉词典》

93 hearty   

adj.热情友好的；衷心的；尽情的，纵情的

参考例句：

• After work they made a hearty meal in the worker's canteen.工作完了，他们在工人食堂饱餐了一顿。
• We accorded him a hearty welcome.我们给他热忱的欢迎。

94 harp   

n.竖琴；天琴座

参考例句：

• She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。
• He played an Irish melody on the harp.他用竖琴演奏了一首爱尔兰曲调。

95 allusions   

暗指，间接提到( allusion的名词复数 )

参考例句：

• We should not use proverbs and allusions indiscriminately. 不要滥用成语典故。
• The background lent itself to allusions to European scenes. 眼前的情景容易使人联想到欧洲风光。

96 fully   

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。

97 eminently   

adv.突出地；显著地；不寻常地

参考例句：

• She seems eminently suitable for the job. 她看来非常适合这个工作。
• It was an eminently respectable boarding school. 这是所非常好的寄宿学校。 来自《简明英汉词典》

98 sufficiently   

adv.足够地，充分地

参考例句：

• It turned out he had not insured the house sufficiently.原来他没有给房屋投足保险。
• The new policy was sufficiently elastic to accommodate both views.新政策充分灵活地适用两种观点。

99 intercourse   

n.性交；交流，交往，交际

参考例句：

• The magazine becomes a cultural medium of intercourse between the two peoples.该杂志成为两民族间文化交流的媒介。
• There was close intercourse between them.他们过往很密。

100 meditations   

默想( meditation的名词复数 )； 默念； 沉思； 冥想

参考例句：

• Each sentence seems a quarry of rich meditations. 每一句话似乎都给人以许多冥思默想。
• I'm sorry to interrupt your meditations. 我很抱歉，打断你思考问题了。

101 behold   

v.看，注视，看到

参考例句：

• The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
• The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。

102 mosaic   

n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的

参考例句：

• The sky this morning is a mosaic of blue and white.今天早上的天空是幅蓝白相间的画面。
• The image mosaic is a troublesome work.图象镶嵌是个麻烦的工作。

103 tapestry   

n.挂毯，丰富多采的画面

参考例句：

• How about this artistic tapestry and this cloisonne vase?这件艺术挂毯和这个景泰蓝花瓶怎么样？
• The wall of my living room was hung with a tapestry.我的起居室的墙上挂着一块壁毯。

104 ascent   

n.(声望或地位)提高；上升，升高；登高

参考例句：

• His rapid ascent in the social scale was surprising.他的社会地位提高之迅速令人吃惊。
• Burke pushed the button and the elevator began its slow ascent.伯克按动电钮，电梯开始缓慢上升。

105 ushered   

v.引，领，陪同( usher的过去式和过去分词 )

参考例句：

• The secretary ushered me into his office. 秘书把我领进他的办公室。
• A round of parties ushered in the New Year. 一系列的晚会迎来了新年。 来自《简明英汉词典》

106 vaulted   

adj.拱状的

参考例句：

• She vaulted over the gate and ran up the path. 她用手一撑跃过栅栏门沿着小路跑去。
• The formal living room has a fireplace and vaulted ceilings. 正式的客厅有一个壁炉和拱形天花板。

107 adorned   

[计]被修饰的

参考例句：

• The walls were adorned with paintings. 墙上装饰了绘画。
• And his coat was adorned with a flamboyant bunch of flowers. 他的外套上面装饰着一束艳丽刺目的鲜花。

108 adorn   

vt.使美化，装饰

参考例句：

• She loved to adorn herself with finery.她喜欢穿戴华丽的服饰。
• His watercolour designs adorn a wide range of books.他的水彩设计使许多图书大为生色。

109 gilded   

a.镀金的，富有的

参考例句：

• The golden light gilded the sea. 金色的阳光使大海如金子般闪闪发光。
• "Friends, they are only gilded disks of lead!" "朋友们，这只不过是些镀金的铅饼！ 来自英汉文学 - 败坏赫德莱堡

110 mosaics   

n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案

参考例句：

• The panel shows marked similarities with mosaics found elsewhere. 这块嵌板和在其他地方找到的镶嵌图案有明显的相似之处。 来自《简明英汉词典》
• The unsullied and shining floor was paved with white mosaics. 干净明亮的地上镶嵌着白色图案。 来自辞典例句

111 toil   

vi.辛劳工作，艰难地行动；n.苦工，难事

参考例句：

• The wealth comes from the toil of the masses.财富来自大众的辛勤劳动。
• Every single grain is the result of toil.每一粒粮食都来之不易。

112 mythological   

adj.神话的

参考例句：

• He is remembered for his historical and mythological works. 他以其带有历史感和神话色彩的作品而著称。
• But even so, the cumulative process had for most Americans a deep, almost mythological significance. 不过即使如此，移民渐增的过程，对于大部分美国人，还是意味深长的，几乎有不可思议的影响。

113 adornment   

n.装饰；装饰品

参考例句：

• Lucie was busy with the adornment of her room.露西正忙着布置她的房间。
• Cosmetics are used for adornment.化妆品是用来打扮的。

114 chambers   

n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅

参考例句：

• The body will be removed into one of the cold storage chambers. 尸体将被移到一个冷冻间里。 来自《简明英汉词典》
• Mr Chambers's readable book concentrates on the middle passage: the time Ransome spent in Russia. Chambers先生的这本值得一看的书重点在中间：Ransome在俄国的那几年。 来自互联网

115 amber   

n.琥珀；琥珀色；adj.琥珀制的

参考例句：

• Would you like an amber necklace for your birthday?你过生日想要一条琥珀项链吗？
• This is a piece of little amber stones.这是一块小小的琥珀化石。

116 delightful   

adj.令人高兴的，使人快乐的

参考例句：

• We had a delightful time by the seashore last Sunday.上星期天我们在海滨玩得真痛快。
• Peter played a delightful melody on his flute.彼得用笛子吹奏了一支欢快的曲子。

117 tune   

n.调子；和谐，协调；v.调音，调节，调整

参考例句：

• He'd written a tune,and played it to us on the piano.他写了一段曲子，并在钢琴上弹给我们听。
• The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。

118 artistic   

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。

119 patchwork   

n.混杂物；拼缝物

参考例句：

• That proposal is nothing else other than a patchwork.那个建议只是一个大杂烩而已。
• She patched new cloth to the old coat,so It'seemed mere patchwork. 她把新布初到那件旧上衣上，所以那件衣服看上去就象拼凑起来的东西。

120 suite   

n.一套(家具)；套房；随从人员

参考例句：

• She has a suite of rooms in the hotel.她在那家旅馆有一套房间。
• That is a nice suite of furniture.那套家具很不错。

121 subdued   

adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词

参考例句：

• He seemed a bit subdued to me. 我觉得他当时有点闷闷不乐。
• I felt strangely subdued when it was all over. 一切都结束的时候，我却有一种奇怪的压抑感。

122 splendor   

n.光彩；壮丽，华丽；显赫，辉煌

参考例句：

• Never in his life had he gazed on such splendor.他生平从没有见过如此辉煌壮丽的场面。
• All the splendor in the world is not worth a good friend.人世间所有的荣华富贵不如一个好朋友。

123 ascend   

vi.渐渐上升，升高；vt.攀登，登上

参考例句：

• We watched the airplane ascend higher and higher.我们看着飞机逐渐升高。
• We ascend in the order of time and of development.我们按时间和发展顺序向上溯。

124 ascended   

v.上升，攀登( ascend的过去式和过去分词 )

参考例句：

• He has ascended into heaven. 他已经升入了天堂。 来自《简明英汉词典》
• The climbers slowly ascended the mountain. 爬山运动员慢慢地登上了这座山。 来自《简明英汉词典》

125 tortuous   

adj.弯弯曲曲的，蜿蜒的

参考例句：

• We have travelled a tortuous road.我们走过了曲折的道路。
• They walked through the tortuous streets of the old city.他们步行穿过老城区中心弯弯曲曲的街道。

126 celebrity   

n.名人，名流；著名，名声，名望

参考例句：

• Tom found himself something of a celebrity. 汤姆意识到自己已小有名气了。
• He haunted famous men, hoping to get celebrity for himself. 他常和名人在一起, 希望借此使自己获得名气。

127 excellence   

n.优秀，杰出，(pl.)优点，美德

参考例句：

• His art has reached a high degree of excellence.他的艺术已达到炉火纯青的地步。
• My performance is far below excellence.我的表演离优秀还差得远呢。

128 apparently   

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。

129 varnished   

浸渍过的，涂漆的

参考例句：

• The doors are then stained and varnished. 这些门还要染色涂清漆。
• He varnished the wooden table. 他给那张木桌涂了清漆。

130 skilful   

(=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。

131 drearier   

使人闷闷不乐或沮丧的( dreary的比较级 )； 阴沉的； 令人厌烦的； 单调的

参考例句：

132 interfered   

v.干预( interfere的过去式和过去分词 )；调停；妨碍；干涉

参考例句：

• Complete absorption in sports interfered with his studies. 专注于运动妨碍了他的学业。 来自《简明英汉词典》
• I am not going to be interfered with. 我不想别人干扰我的事情。 来自《简明英汉词典》

133 interfere   

v.(in)干涉，干预；(with)妨碍，打扰

参考例句：

• If we interfere, it may do more harm than good.如果我们干预的话，可能弊多利少。
• When others interfere in the affair,it always makes troubles. 别人一卷入这一事件，棘手的事情就来了。

134 engraving   

n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中）

参考例句：

• He collected an old engraving of London Bridge. 他收藏了一张古老的伦敦桥版画。 来自辞典例句
• Some writing has the precision of a steel engraving. 有的字体严谨如同钢刻。 来自辞典例句

135 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

136 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

137 pervade   

v.弥漫，遍及，充满，渗透，漫延

参考例句：

• Science and technology have come to pervade every aspect of our lives.科学和技术已经渗透到我们生活的每一个方面。
• The smell of sawdust and glue pervaded the factory.工厂里弥漫着锯屑和胶水的气味。

138 aspire   

vi.(to，after)渴望，追求，有志于

参考例句：

• Living together with you is what I aspire toward in my life.和你一起生活是我一生最大的愿望。
• I aspire to be an innovator not a follower.我迫切希望能变成个开创者而不是跟随者。

139 providence   

n.深谋远虑，天道，天意；远见；节约；上帝

参考例句：

• It is tempting Providence to go in that old boat.乘那艘旧船前往是冒大险。
• To act as you have done is to fly in the face of Providence.照你的所作所为那样去行事，是违背上帝的意志的。

140 ledge   

n.壁架，架状突出物；岩架，岩礁

参考例句：

• They paid out the line to lower him to the ledge.他们放出绳子使他降到那块岩石的突出部分。
• Suddenly he struck his toe on a rocky ledge and fell.突然他的脚趾绊在一块突出的岩石上，摔倒了。

141 hue   

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。

142 hues   

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。

143 heterogeneous   

adj.庞杂的；异类的

参考例句：

• There is a heterogeneous mass of papers in the teacher's office.老师的办公室里堆满了大批不同的论文。
• America has a very heterogeneous population.美国人口是由不同种族组成的。

144 wilderness   

n.杳无人烟的一片陆地、水等，荒漠

参考例句：

• She drove the herd of cattle through the wilderness.她赶着牛群穿过荒野。
• Education in the wilderness is not a matter of monetary means.荒凉地区的教育不是钱财问题。

145 margin   

n.页边空白；差额；余地，余裕；边，边缘

参考例句：

• We allowed a margin of 20 minutes in catching the train.我们有20分钟的余地赶火车。
• The village is situated at the margin of a forest.村子位于森林的边缘。

146 grassy   

adj.盖满草的；长满草的

参考例句：

• They sat and had their lunch on a grassy hillside.他们坐在长满草的山坡上吃午饭。
• Cattle move freely across the grassy plain.牛群自由自在地走过草原。

147 infancy   

n.婴儿期；幼年期；初期

参考例句：

• He came to England in his infancy.他幼年时期来到英国。
• Their research is only in its infancy.他们的研究处于初级阶段。

148 incapable   

adj.无能力的，不能做某事的

参考例句：

• He would be incapable of committing such a cruel deed.他不会做出这么残忍的事。
• Computers are incapable of creative thought.计算机不会创造性地思维。

149 abortions   

n.小产( abortion的名词复数 )；小产胎儿；（计划）等中止或夭折；败育

参考例句：

• The Venerable Master: By not having abortions, by not killing living beings. 上人：不堕胎、不杀生。 来自互联网
• Conclusion Chromosome abnormality is one of the causes of spontaneous abortions. 结论：染色体异常是导致反复自然流产的原因之一。 来自互联网

150 peculiar   

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。

151 deterioration   

n.退化；恶化；变坏

参考例句：

• Mental and physical deterioration both occur naturally with age. 随着年龄的增长，心智和体力自然衰退。
• The car's bodywork was already showing signs of deterioration. 这辆车的车身已经显示出了劣化迹象。

152 genial   

adj.亲切的，和蔼的，愉快的，脾气好的

参考例句：

• Orlando is a genial man.奥兰多是一位和蔼可亲的人。
• He was a warm-hearted friend and genial host.他是个热心的朋友，也是友善待客的主人。

153 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

154 immortal   

adj.不朽的；永生的，不死的；神的

参考例句：

• The wild cocoa tree is effectively immortal.野生可可树实际上是不会死的。
• The heroes of the people are immortal!人民英雄永垂不朽！

155 truthful   

adj.真实的，说实话的，诚实的

参考例句：

• You can count on him for a truthful report of the accident.你放心，他会对事故作出如实的报告的。
• I don't think you are being entirely truthful.我认为你并没全讲真话。

156 pestilence   

n.瘟疫

参考例句：

• They were crazed by the famine and pestilence of that bitter winter.他们因那年严冬的饥饿与瘟疫而折磨得发狂。
• A pestilence was raging in that area. 瘟疫正在那一地区流行。

157 morbid   

adj.病的；致病的；病态的；可怕的

参考例句：

• Some people have a morbid fascination with crime.一些人对犯罪有一种病态的痴迷。
• It's morbid to dwell on cemeteries and such like.不厌其烦地谈论墓地以及诸如此类的事是一种病态。

158 slippers   

n. 拖鞋

参考例句：

• a pair of slippers 一双拖鞋
• He kicked his slippers off and dropped on to the bed. 他踢掉了拖鞋，倒在床上。

159 immediate   

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。

160 thereby   

adv.因此，从而

参考例句：

• I have never been to that city,,ereby I don't know much about it.我从未去过那座城市，因此对它不怎么熟悉。
• He became a British citizen,thereby gaining the right to vote.他成了英国公民，因而得到了投票权。

161 junction   

n.连接，接合；交叉点，接合处，枢纽站

参考例句：

• There's a bridge at the junction of the two rivers.两河的汇合处有座桥。
• You must give way when you come to this junction.你到了这个路口必须让路。

162 battered   

adj.磨损的；v.连续猛击；磨损

参考例句：

• He drove up in a battered old car.他开着一辆又老又破的旧车。
• The world was brutally battered but it survived.这个世界遭受了惨重的创伤,但它还是生存下来了。

163 utterly   

adv.完全地，绝对地

参考例句：

• Utterly devoted to the people,he gave his life in saving his patients.他忠于人民，把毕生精力用于挽救患者的生命。
• I was utterly ravished by the way she smiled.她的微笑使我完全陶醉了。

164 demolished   

v.摧毁( demolish的过去式和过去分词 )；推翻；拆毁（尤指大建筑物）；吃光

参考例句：

• The factory is due to be demolished next year. 这个工厂定于明年拆除。
• They have been fighting a rearguard action for two years to stop their house being demolished. 两年来，为了不让拆除他们的房子，他们一直在进行最后的努力。

165 affected   

adj.不自然的，假装的

参考例句：

• She showed an affected interest in our subject.她假装对我们的课题感到兴趣。
• His manners are affected.他的态度不自然。

166 annihilating   

v.（彻底）消灭( annihilate的现在分词 )；使无效；废止；彻底击溃

参考例句：

• There are lots of ways of annihilating the planet. 毁灭地球有很多方法。 来自辞典例句
• We possess-each of us-nuclear arsenals capable of annihilating humanity. 我们两国都拥有能够毁灭全人类的核武库。 来自辞典例句

167 psyche   

n.精神；灵魂

参考例句：

• His exploration of the myth brings insight into the American psyche.他对这个神话的探讨揭示了美国人的心理。
• She spent her life plumbing the mysteries of the human psyche.她毕生探索人类心灵的奥秘。

168 titanic   

adj.巨人的，庞大的，强大的

参考例句：

• We have been making titanic effort to achieve our purpose.我们一直在作极大的努力，以达到我们的目的。
• The island was created by titanic powers and they are still at work today.台湾岛是由一个至今仍然在运作的巨大力量塑造出来的。

169 mingle   

vt.使混合，使相混；vi.混合起来；相交往

参考例句：

• If we mingle with the crowd,we should not be noticed.如果我们混在人群中，就不会被注意到。
• Oil will not mingle with water.油和水不相融。

170 auditor   

n.审计员，旁听着

参考例句：

• The auditor was required to produce his working papers.那个审计员被要求提供其工作底稿。
• The auditor examines the accounts of all county officers and departments.审计员查对所有县官员及各部门的帐目。

171 sculptors   

雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座

参考例句：

• He is one of Britain's best-known sculptors. 他是英国最有名的雕塑家之一。
• Painters and sculptors are indexed separately. 画家和雕刻家被分开，分别做了索引。

172 epoch   

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。

173 reigning   

adj.统治的，起支配作用的

参考例句：

• The sky was dark, stars were twinkling high above, night was reigning, and everything was sunk in silken silence. 天很黑，星很繁，夜阑人静。
• Led by Huang Chao, they brought down the reigning house after 300 years' rule. 在黄巢的带领下，他们推翻了统治了三百年的王朝。

174 royalty   

n.皇家，皇族

参考例句：

• She claims to be descended from royalty.她声称她是皇室后裔。
• I waited on tables，and even catered to royalty at the Royal Albert Hall.我做过服务生， 甚至在皇家阿伯特大厅侍奉过皇室的人。

175 demeanor   

n.行为；风度

参考例句：

• She is quiet in her demeanor.她举止文静。
• The old soldier never lost his military demeanor.那个老军人从来没有失去军人风度。

176 brotherhood   

n.兄弟般的关系，手中情谊

参考例句：

• They broke up the brotherhood.他们断绝了兄弟关系。
• They live and work together in complete equality and brotherhood.他们完全平等和兄弟般地在一起生活和工作。

177 dignified   

a.可敬的，高贵的

参考例句：

• Throughout his trial he maintained a dignified silence. 在整个审讯过程中，他始终沉默以保持尊严。
• He always strikes such a dignified pose before his girlfriend. 他总是在女友面前摆出这种庄严的姿态。

178 repel   

v.击退，抵制，拒绝，排斥

参考例句：

• A country must have the will to repel any invader.一个国家得有决心击退任何入侵者。
• Particles with similar electric charges repel each other.电荷同性的分子互相排斥。

179 benevolent   

adj.仁慈的，乐善好施的

参考例句：

• His benevolent nature prevented him from refusing any beggar who accosted him.他乐善好施的本性使他不会拒绝走上前向他行乞的任何一个乞丐。
• He was a benevolent old man and he wouldn't hurt a fly.他是一个仁慈的老人，连只苍蝇都不愿伤害。

180 envelopment   

n.包封，封套

参考例句：

• By microencapsulation,envelopment and mixing granulation,the stability of the CNN can be improved. 通过微囊化技术、外包及混合造粒都可以提高CNN的稳定性。 来自互联网
• The theory and applications of Data Envelopment Analysis (DEA) were discussed. 主要讨论DEA反方法在研究型高校科研绩效评价中的应用。 来自互联网

181 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

182 knuckles   

n.（指人）指关节( knuckle的名词复数 )；（指动物）膝关节，踝v.（指人）指关节( knuckle的第三人称单数 )；（指动物）膝关节，踝

参考例句：

• He gripped the wheel until his knuckles whitened. 他紧紧握住方向盘，握得指关节都变白了。
• Her thin hands were twisted by swollen knuckles. 她那双纤手因肿大的指关节而变了形。 来自《简明英汉词典》

183 creases   

（使…）起折痕，弄皱( crease的第三人称单数 )； （皮肤）皱起，使起皱纹

参考例句：

• She smoothed the creases out of her skirt. 她把裙子上的皱褶弄平。
• She ironed out all the creases in the shirt. 她熨平了衬衣上的所有皱褶。

184 scattered   

adj.分散的，稀疏的；散步的；疏疏落落的

参考例句：

• Gathering up his scattered papers,he pushed them into his case.他把散乱的文件收拾起来，塞进文件夹里。

185 machinery   

n.(总称)机械，机器；机构

参考例句：

• Has the machinery been put up ready for the broadcast?广播器材安装完毕了吗？
• Machinery ought to be well maintained all the time.机器应该随时注意维护。

186 crumbled   

（把…）弄碎， （使）碎成细屑( crumble的过去式和过去分词 )； 衰落； 坍塌； 损坏

参考例句：

• He crumbled the bread in his fingers. 他用手指把面包捻碎。
• Our hopes crumbled when the business went bankrupt. 商行破产了，我们的希望也破灭了。

187 crumb   

n.饼屑，面包屑，小量

参考例句：

• It was the only crumb of comfort he could salvage from the ordeal.这是他从这场磨难里能找到的唯一的少许安慰。
• Ruth nearly choked on the last crumb of her pastry.鲁斯几乎被糕点的最后一块碎屑所噎住。

188 rumbled   

发出隆隆声，发出辘辘声( rumble的过去式和过去分词 )； 轰鸣着缓慢行进； 发现…的真相； 看穿（阴谋）

参考例句：

• The machine rumbled as it started up. 机器轰鸣着发动起来。
• Things rapidly became calm, though beneath the surface the argument rumbled on. 事情迅速平静下来了，然而，在这种平静的表面背后争论如隆隆雷声，持续不断。

189 remains   

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。

190 bent   

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。

191 counteract   

vt.对…起反作用，对抗，抵消

参考例句：

• The doctor gave him some medicine to counteract the effect of the poison.医生给他些药解毒。
• Our work calls for mutual support.We shouldn't counteract each other's efforts.工作要互相支持，不要互相拆台。

192 sociably   

adv.成群地

参考例句：

• Hall very sociably pulled up. 霍尔和气地勒住僵绳。
• Sociably, the new neighbors invited everyone on the block for coffee. 那个喜好交际的新邻居邀请街区的每个人去喝咖啡。

193 attaining   

（通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• Jim is halfway to attaining his pilot's licence. 吉姆就快要拿到飞行员执照了。
• By that time she was attaining to fifty. 那时她已快到五十岁了。

194 jealousy   

n.妒忌，嫉妒，猜忌

参考例句：

• Some women have a disposition to jealousy.有些女人生性爱妒忌。
• I can't support your jealousy any longer.我再也无法忍受你的嫉妒了。

195 alacrity   

n.敏捷，轻快，乐意

参考例句：

• Although the man was very old,he still moved with alacrity.他虽然很老，动作仍很敏捷。
• He accepted my invitation with alacrity.他欣然接受我的邀请。

196 affluence   

n.充裕，富足

参考例句：

• Their affluence is more apparent than real.他们的富有是虚有其表。
• There is a lot of affluence in this part of the state because it has many businesses.这个州的这一部分相当富有，因为它有很多商行。

197 outwards   

adj.外面的，公开的，向外的；adv.向外；n.外形

参考例句：

• Does this door open inwards or outwards?这门朝里开还是朝外开？
• In lapping up a fur,they always put the inner side outwards.卷毛皮时，他们总是让内层朝外。

198 intentionally   

ad.故意地，有意地

参考例句：

• I didn't say it intentionally. 我是无心说的。
• The local authority ruled that he had made himself intentionally homeless and was therefore not entitled to be rehoused. 当地政府裁定他是有意居无定所，因此没有资格再获得提供住房。

199 transgressed   

v.超越( transgress的过去式和过去分词 )；越过；违反；违背

参考例句：

• You transgressed against the law. 你犯法了。 来自《现代英汉综合大词典》
• His behavior transgressed the unwritten rules of social conduct. 他的行为违反了不成文的社交规范。 来自辞典例句

200 obliterate   

v.擦去，涂抹，去掉...痕迹，消失，除去

参考例句：

• Whole villages were obliterated by fire.整座整座的村庄都被大火所吞噬。
• There was time enough to obliterate memories of how things once were for him.时间足以抹去他对过去经历的记忆。

201 defective   

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。

202 labor   

n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦

参考例句：

• We are never late in satisfying him for his labor.我们从不延误付给他劳动报酬。
• He was completely spent after two weeks of hard labor.艰苦劳动两周后，他已经疲惫不堪了。

203 microscopic   

adj.微小的，细微的，极小的，显微的

参考例句：

• It's impossible to read his microscopic handwriting.不可能看清他那极小的书写字迹。
• A plant's lungs are the microscopic pores in its leaves.植物的肺就是其叶片上微细的气孔。

204 grandeur   

n.伟大，崇高，宏伟，庄严，豪华

参考例句：

• The grandeur of the Great Wall is unmatched.长城的壮观是独一无二的。
• These ruins sufficiently attest the former grandeur of the place.这些遗迹充分证明此处昔日的宏伟。

205 excellences   

n.卓越( excellence的名词复数 )；（只用于所修饰的名词后）杰出的；卓越的；出类拔萃的

参考例句：

• Excellences do not depend on a single man's pleasure. 某人某物是否优异不取决于一人的好恶。 来自互联网
• They do not recognize her many excellences. 他们无视她的各种长处。 来自互联网

206 bosom   

n.胸，胸部；胸怀；内心；adj.亲密的

参考例句：

• She drew a little book from her bosom.她从怀里取出一本小册子。
• A dark jealousy stirred in his bosom.他内心生出一阵恶毒的嫉妒。

207 speck   

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。

208 admiration   

n.钦佩，赞美，羡慕

参考例句：

• He was lost in admiration of the beauty of the scene.他对风景之美赞不绝口。
• We have a great admiration for the gold medalists.我们对金牌获得者极为敬佩。

209 cherubs   

小天使，胖娃娃( cherub的名词复数 )

参考例句：

• The high stern castle was a riot or carved gods, demons, knights, kings, warriors, mermaids, cherubs. 其尾部高耸的船楼上雕满了神仙、妖魔鬼怪、骑士、国王、勇士、美人鱼、天使。
• Angels, Cherubs and Seraphs-Dignity, glory and honor. 天使、小天使、六翼天使－尊严、荣耀和名誉。

210 scatters   

v.（使）散开， （使）分散，驱散( scatter的第三人称单数 )；撒

参考例句：

• He scatters money about as if he were rich. 他四处挥霍，好像很有钱。 来自《简明英汉词典》
• Truth raises against itself the storm that scatters its seeds broadcast. 真理引起了反对它自己的狂风骤雨，那场风雨吹散了真理的广播的种子。 来自辞典例句

211 maternal   

adj.母亲的，母亲般的，母系的，母方的

参考例句：

• He is my maternal uncle.他是我舅舅。
• The sight of the hopeless little boy aroused her maternal instincts.那个绝望的小男孩的模样唤起了她的母性。

212 rubicund   

adj.(脸色)红润的

参考例句：

• She watched the colour drain from Colin's rubicund face.她看见科林原本红润的脸渐渐失去了血色。
• His rubicund face expressed consternation and fatigue.他那红通的脸显得又惊惶又疲乏。

213 temperament   

n.气质，性格，性情

参考例句：

• The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
• Success often depends on temperament.成功常常取决于一个人的性格。

214 carving   

n.雕刻品，雕花

参考例句：

• All the furniture in the room had much carving.房间里所有的家具上都有许多雕刻。
• He acquired the craft of wood carving in his native town.他在老家学会了木雕手艺。

215 pensiveness   

n.pensive（沉思的）的变形

参考例句：

• He caught the mixture of surprise and pensiveness in her voice and looked up immediately. 他听出她声音中惊奇夹着沉思，立即抬起头来。 来自英汉文学 - 廊桥遗梦

216 pensive   

a.沉思的,哀思的,忧沉的

参考例句：

• He looked suddenly sombre,pensive.他突然看起来很阴郁，一副忧虑的样子。
• He became so pensive that she didn't like to break into his thought.他陷入沉思之中,她不想打断他的思路。

217 majesty   

n.雄伟，壮丽，庄严，威严；最高权威，王权

参考例句：

• The king had unspeakable majesty.国王有无法形容的威严。
• Your Majesty must make up your mind quickly!尊贵的陛下，您必须赶快做出决定！

218 persecute   

vt.迫害，虐待；纠缠，骚扰

参考例句：

• They persecute those who do not conform to their ideas.他们迫害那些不信奉他们思想的人。
• Hitler's undisguised effort to persecute the Jews met with worldwide condemnation.希特勒对犹太人的露骨迫害行为遭到世界人民的谴责。

219 cinders   

n.煤渣( cinder的名词复数 )；炭渣；煤渣路；煤渣跑道

参考例句：

• This material is variously termed ash, clinker, cinders or slag. 这种材料有不同的名称，如灰、炉渣、煤渣或矿渣。 来自《简明英汉词典》
• Rake out the cinders before you start a new fire. 在重新点火前先把煤渣耙出来。 来自《简明英汉词典》

220 fervent   

adj.热的，热烈的，热情的

参考例句：

• It was a debate which aroused fervent ethical arguments.那是一场引发强烈的伦理道德争论的辩论。
• Austria was among the most fervent supporters of adolf hitler.奥地利是阿道夫希特勒最狂热的支持者之一。

221 ordeal   

n.苦难经历，（尤指对品格、耐力的）严峻考验

参考例句：

• She managed to keep her sanity throughout the ordeal.在那场磨难中她始终保持神志正常。
• Being lost in the wilderness for a week was an ordeal for me.在荒野里迷路一星期对我来说真是一场磨难。

222 blessing   

n.祈神赐福；祷告；祝福，祝愿

参考例句：

• The blessing was said in Hebrew.祷告用了希伯来语。
• A double blessing has descended upon the house.双喜临门。

223 ware   

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。

224 linen   

n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的

参考例句：

• The worker is starching the linen.这名工人正在给亚麻布上浆。
• Fine linen and cotton fabrics were known as well as wool.精细的亚麻织品和棉织品像羊毛一样闻名遐迩。

225 dodge   

v.闪开，躲开，避开；n.妙计，诡计

参考例句：

• A dodge behind a tree kept her from being run over.她向树后一闪，才没被车从身上辗过。
• The dodge was coopered by the police.诡计被警察粉碎了。

226 figs   

figures 数字，图形，外形

参考例句：

• The effect of ring dyeing is shown in Figs 10 and 11. 环形染色的影响如图10和图11所示。
• The results in Figs. 4 and 5 show the excellent agreement between simulation and experiment. 图4和图5的结果都表明模拟和实验是相当吻合的。

227 spoke   

n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说

参考例句：

• They sourced the spoke nuts from our company.他们的轮辐螺帽是从我们公司获得的。
• The spokes of a wheel are the bars that connect the outer ring to the centre.辐条是轮子上连接外圈与中心的条棒。

228 utterance   

n.用言语表达，话语，言语

参考例句：

• This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
• My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽，泣不成声。

229 shrine   

n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣

参考例句：

• The shrine was an object of pilgrimage.这处圣地是人们朝圣的目的地。
• They bowed down before the shrine.他们在神龛前鞠躬示敬。

230 virgin   

n.处女，未婚女子；adj.未经使用的；未经开发的

参考例句：

• Have you ever been to a virgin forest?你去过原始森林吗？
• There are vast expanses of virgin land in the remote regions.在边远地区有大片大片未开垦的土地。

231 miraculous   

adj.像奇迹一样的，不可思议的

参考例句：

• The wounded man made a miraculous recovery.伤员奇迹般地痊愈了。
• They won a miraculous victory over much stronger enemy.他们战胜了远比自己强大的敌人，赢得了非凡的胜利。

232 ascertain   

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。

233 enveloping   

v.包围，笼罩，包住( envelop的现在分词 )

参考例句：

• Always the eyes watching you and the voice enveloping you. 那眼睛总是死死盯着你，那声音总是紧紧围着你。 来自英汉文学
• The only barrier was a mosquito net, enveloping the entire bed. 唯一的障碍是那顶蚊帐罩住整个床。 来自辞典例句

234 propriety   

n.正当行为；正当；适当

参考例句：

• We hesitated at the propriety of the method.我们对这种办法是否适用拿不定主意。
• The sensitive matter was handled with great propriety.这件机密的事处理得极为适当。

235 absurdity   

n.荒谬，愚蠢；谬论

参考例句：

• The proposal borders upon the absurdity.这提议近乎荒谬。
• The absurdity of the situation made everyone laugh.情况的荒谬可笑使每个人都笑了。

236 graceful   

adj.优美的，优雅的；得体的

参考例句：

• His movements on the parallel bars were very graceful.他的双杠动作可帅了!
• The ballet dancer is so graceful.芭蕾舞演员的姿态是如此的优美。

237 cultivation   

n.耕作，培养，栽培（法），养成

参考例句：

• The cultivation in good taste is our main objective.培养高雅情趣是我们的主要目标。
• The land is not fertile enough to repay cultivation.这块土地不够肥沃，不值得耕种。

238 distinguished   

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。

239 enamel   

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。

240 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

241 virgins   

处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母）

参考例句：

• They were both virgins when they met and married. 他们从相识到结婚前都未曾经历男女之事。
• Men want virgins as concubines. 人家买姨太太的要整货。 来自汉英文学 - 骆驼祥子

242 depicted   

描绘，描画( depict的过去式和过去分词 )； 描述

参考例句：

• Other animals were depicted on the periphery of the group. 其他动物在群像的外围加以修饰。
• They depicted the thrilling situation to us in great detail. 他们向我们详细地描述了那激动人心的场面。

243 gems   

growth； economy； management； and customer satisfaction 增长

参考例句：

• a crown studded with gems 镶有宝石的皇冠
• The apt citations and poetic gems have adorned his speeches. 贴切的引语和珠玑般的诗句为他的演说词增添文采。

244 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：

• The silver cup was engraved with his name. 银杯上刻有他的名字。
• It was prettily engraved with flowers on the back. 此件雕刻精美，背面有花饰图案。 来自《简明英汉词典》

245 rubies   

红宝石( ruby的名词复数 )； 红宝石色，深红色

参考例句：

• a necklace of rubies intertwined with pearls 缠着珍珠的红宝石项链
• The crown was set with precious jewels—diamonds, rubies and emeralds. 王冠上镶嵌着稀世珍宝—有钻石、红宝石、绿宝石。

246 memoirs   

n.回忆录；回忆录传( mem,自oir的名词复数)

参考例句：

• Her memoirs were ghostwritten. 她的回忆录是由别人代写的。
• I watched a trailer for the screenplay of his memoirs. 我看过以他的回忆录改编成电影的预告片。 来自《简明英汉词典》

247 thither   

adv.向那里；adj.在那边的，对岸的

参考例句：

• He wandered hither and thither looking for a playmate.他逛来逛去找玩伴。
• He tramped hither and thither.他到处流浪。

248 twilight   

n.暮光，黄昏；暮年，晚期，衰落时期

参考例句：

• Twilight merged into darkness.夕阳的光辉融于黑暗中。
• Twilight was sweet with the smell of lilac and freshly turned earth.薄暮充满紫丁香和新翻耕的泥土的香味。

249 knight   

n.骑士，武士；爵士

参考例句：

• He was made an honourary knight.他被授予荣誉爵士称号。
• A knight rode on his richly caparisoned steed.一个骑士骑在装饰华丽的马上。

250 choir   

n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• The church choir is singing tonight.今晚教堂歌唱队要唱诗。

251 unfamiliar   

adj.陌生的，不熟悉的

参考例句：

• I am unfamiliar with the place and the people here.我在这儿人地生疏。
• The man seemed unfamiliar to me.这人很面生。

252 conscientiousness   

责任心

参考例句：

• Conscientiousness is expected of a student. 学生要诚实。 来自《简明英汉词典》
• Only has the conscientiousness, diligently works, can make a more splendid result! 只有脚踏实地，努力工作，才能做出更出色的成绩！ 来自互联网

253 fidelity   

n.忠诚，忠实；精确

参考例句：

• There is nothing like a dog's fidelity.没有什么能比得上狗的忠诚。
• His fidelity and industry brought him speedy promotion.他的尽职及勤奋使他很快地得到晋升。

254 burnished   

adj.抛光的，光亮的v.擦亮（金属等），磨光( burnish的过去式和过去分词 )；被擦亮，磨光

参考例句：

• The floor was spotless; the grate and fire-irons were burnished bright. 地板上没有污迹；炉栅和火炉用具擦得发亮。 来自辞典例句
• The woods today are burnished bronze. 今天的树林是一片发亮的青铜色。 来自辞典例句

255 monkish   

adj.僧侣的，修道士的，禁欲的

参考例句：

• There was an unconquerable repulsion for her in that monkish aspect. 她对这副猴子样的神气有一种无法克制的厌恶。 来自辞典例句

256 monk   

n.和尚，僧侣，修道士

参考例句：

• The man was a monk from Emei Mountain.那人是峨眉山下来的和尚。
• Buddhist monk sat with folded palms.和尚合掌打坐。

257 ornament   

v.装饰，美化；n.装饰，装饰物

参考例句：

• The flowers were put on the table for ornament.花放在桌子上做装饰用。
• She wears a crystal ornament on her chest.她的前胸戴了一个水晶饰品。

258 adoration   

n.爱慕，崇拜

参考例句：

• He gazed at her with pure adoration.他一往情深地注视着她。
• The old lady fell down in adoration before Buddhist images.那老太太在佛像面前顶礼膜拜。

259 embroidered   

adj．绣花的

参考例句：

• She embroidered flowers on the cushion covers. 她在这些靠垫套上绣了花。
• She embroidered flowers on the front of the dress. 她在连衣裙的正面绣花。

260 illuminating   

a.富于启发性的，有助阐明的

参考例句：

• We didn't find the examples he used particularly illuminating. 我们觉得他采用的那些例证启发性不是特别大。
• I found his talk most illuminating. 我觉得他的话很有启发性。

261 delicacy   

n.精致，细微，微妙，精良；美味，佳肴

参考例句：

• We admired the delicacy of the craftsmanship.我们佩服工艺师精巧的手艺。
• He sensed the delicacy of the situation.他感觉到了形势的微妙。

262 quaintness   

n.离奇有趣，古怪的事物

参考例句：

• The shops had still a pleasant quaintness. 店铺里依然弥漫着一种亲切的古雅气氛。 来自辞典例句
• She liked the old cottage; its quaintness was appealing. 她喜欢那个老旧的小屋，其奇巧的风格很吸引人。 来自互联网

263 inadequate   

adj.(for,to)不充足的，不适当的

参考例句：

• The supply is inadequate to meet the demand.供不应求。
• She was inadequate to the demands that were made on her.她还无力满足对她提出的各项要求。

264 prettily   

adv.优美地；可爱地

参考例句：

• It was prettily engraved with flowers on the back.此件雕刻精美，背面有花饰图案。
• She pouted prettily at him.她冲他撅着嘴，样子很可爱。

265 shrines   

圣地，圣坛，神圣场所( shrine的名词复数 )

参考例句：

• All three structures dated to the third century and were tentatively identified as shrines. 这3座建筑都建于3 世纪，并且初步鉴定为神庙。
• Their palaces and their shrines are tombs. 它们的宫殿和神殿成了墓穴。

266 quaintly   

adv.古怪离奇地

参考例句：

• "I don't see what that's got to do with it,'said the drummer quaintly. “我看不出这和你的事有什么联系，"杜洛埃说道，他感到莫名其妙。 来自英汉文学 - 嘉莉妹妹
• He is quaintly dressed, what a strange one he is. 他一身的奇装异服，真是另类！

267 tormenting   

使痛苦的，使苦恼的

参考例句：

• He took too much pleasure in tormenting an ugly monster called Caliban. 他喜欢一味捉弄一个名叫凯列班的丑妖怪。
• The children were scolded for tormenting animals. 孩子们因折磨动物而受到责骂。

268 throng   

n.人群，群众；v.拥挤，群集

参考例句：

• A patient throng was waiting in silence.一大群耐心的人在静静地等着。
• The crowds thronged into the mall.人群涌进大厅。

269 quench   

vt.熄灭，扑灭；压制

参考例句：

• The firemen were unable to quench the fire.消防人员无法扑灭这场大火。
• Having a bottle of soft drink is not enough to quench my thirst.喝一瓶汽水不够解渴。

270 saviour   

n.拯救者，救星

参考例句：

• I saw myself as the saviour of my country.我幻想自己为国家的救星。
• The people clearly saw her as their saviour.人们显然把她看成了救星。

271 facade   

n.(建筑物的)正面，临街正面；外表

参考例句：

• The entrance facade consists of a large full height glass door.入口正面有一大型全高度玻璃门。
• If you look carefully,you can see through Bob's facade.如果你仔细观察，你就能看穿鲍勃的外表。

272 nave   

n.教堂的中部；本堂

参考例句：

• People gathered in the nave of the house.人们聚拢在房子的中间。
• The family on the other side of the nave had a certain look about them,too.在中殿另一边的那一家人，也有着自己特有的相貌。

273 aisles   

n. (席位间的)通道, 侧廊

参考例句：

• Aisles were added to the original Saxon building in the Norman period. 在诺曼时期，原来的萨克森风格的建筑物都增添了走廊。
• They walked about the Abbey aisles, and presently sat down. 他们走到大教堂的走廊附近，并且很快就坐了下来。

274 dingy   

adj.昏暗的，肮脏的

参考例句：

• It was a street of dingy houses huddled together. 这是一条挤满了破旧房子的街巷。
• The dingy cottage was converted into a neat tasteful residence.那间脏黑的小屋已变成一个整洁雅致的住宅。

275 chapels   

n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式

参考例句：

• Both castles had their own chapels too, which was incredible to see. 两个城堡都有自己的礼拜堂，非常华美。 来自互联网
• It has an ambulatory and seven chapels. 它有一条走廊和七个小教堂。 来自互联网

276 chapel   

n.小教堂，殡仪馆

参考例句：

• The nimble hero,skipped into a chapel that stood near.敏捷的英雄跳进近旁的一座小教堂里。
• She was on the peak that Sunday afternoon when she played in chapel.那个星期天的下午，她在小教堂的演出，可以说是登峰造极。

277 edifice   

n.宏伟的建筑物(如宫殿，教室)

参考例句：

• The American consulate was a magnificent edifice in the centre of Bordeaux.美国领事馆是位于波尔多市中心的一座宏伟的大厦。
• There is a huge Victorian edifice in the area.该地区有一幢维多利亚式的庞大建筑物。

278 ornamented   

adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 )

参考例句：

• The desk was ornamented with many carvings. 这桌子装饰有很多雕刻物。 来自《简明英汉词典》
• She ornamented her dress with lace. 她用花边装饰衣服。 来自《简明英汉词典》

279 posthumous   

adj.遗腹的；父亡后出生的；死后的，身后的

参考例句：

• He received a posthumous award for bravery.他表现勇敢，死后受到了嘉奖。
• The legendary actor received a posthumous achievement award.这位传奇男星在过世后获得终身成就奖的肯定。

280 posterity   

n.后裔，子孙，后代

参考例句：

• Few of his works will go down to posterity.他的作品没有几件会流传到后世。
• The names of those who died are recorded for posterity on a tablet at the back of the church.死者姓名都刻在教堂后面的一块石匾上以便后人铭记。

281 piazzas   

n.广场，市场( piazza的名词复数 )

参考例句：

• In the cities of Italy, piazzas are the acknowledged centers of local activity. 在意大利的城市里，广场是公认的群众活动中心。 来自互联网
• Alleyways wind through the city like a maze, opening up into surprising, sunny fountained piazzas. 小巷子像迷宫一般蜿蜒穿过这座城市，出现在令人惊讶、绚烂的喷泉广场上。 来自互联网

282 peculiarities   

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。

283 surmounted   

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。

284 niches   

壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位）

参考例句：

• Some larvae extend the galleries to form niches. 许多幼虫将坑道延伸扩大成壁龛。
• In his view differences in adaptation are insufficient to create niches commensurate in number and kind. 按照他的观点，适应的差异不足以在数量上和种类上形成同量的小生境。

285 niche   

n.壁龛；合适的职务(环境、位置等)

参考例句：

• Madeleine placed it carefully in the rocky niche. 玛德琳小心翼翼地把它放在岩石壁龛里。
• The really talented among women would always make their own niche.妇女中真正有才能的人总是各得其所。

286 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

287 vindicate   

v.为…辩护或辩解，辩明；证明…正确

参考例句：

• He tried hard to vindicate his honor.他拼命维护自己的名誉。
• How can you vindicate your behavior to the teacher?你怎样才能向老师证明你的行为是对的呢？

288 thigh   

n.大腿；股骨

参考例句：

• He is suffering from a strained thigh muscle.他的大腿肌肉拉伤了，疼得很。
• The thigh bone is connected to the hip bone.股骨连着髋骨。

289 impatience   

n.不耐烦，急躁

参考例句：

• He expressed impatience at the slow rate of progress.进展缓慢，他显得不耐烦。
• He gave a stamp of impatience.他不耐烦地跺脚。

290 obstructions   

n.障碍物( obstruction的名词复数 )；阻碍物；阻碍；阻挠

参考例句：

• The absence of obstructions is of course an idealization. 没有障碍物的情况当然是一种理想化的情况。 来自辞典例句
• These obstructions could take some weeks to clear from these canals. 这些障碍物可能要花几周时间才能从运河中清除掉。 来自辞典例句

291 nude   

adj.裸体的；n.裸体者，裸体艺术品

参考例句：

• It's a painting of the Duchess of Alba in the nude.这是一幅阿尔巴公爵夫人的裸体肖像画。
• She doesn't like nude swimming.她不喜欢裸泳。

292 relic   

n.神圣的遗物，遗迹，纪念物

参考例句：

• This stone axe is a relic of ancient times.这石斧是古代的遗物。
• He found himself thinking of the man as a relic from the past.他把这个男人看成是过去时代的人物。

293 interferes   

vi. 妨碍，冲突，干涉

参考例句：

• The noise interferes with my work. 这噪音妨碍我的工作。
• That interferes with my plan. 那干扰了我的计划。

294 gaudy   

adj.华而不实的；俗丽的

参考例句：

• She was tricked out in gaudy dress.她穿得华丽而俗气。
• The gaudy butterfly is sure that the flowers owe thanks to him.浮华的蝴蝶却相信花是应该向它道谢的。

295 eldest   

adj.最年长的，最年老的

参考例句：

• The King's eldest son is the heir to the throne.国王的长子是王位的继承人。
• The castle and the land are entailed on the eldest son.城堡和土地限定由长子继承。

296 wildernesses   

荒野( wilderness的名词复数 )； 沙漠； （政治家）在野； 不再当政（或掌权）

参考例句：

• Antarctica is one of the last real wildernesses left on the earth. 南极洲是地球上所剩不多的旷野之一。
• Dartmoor is considered by many to be one of Britain's great nature wildernesses. Dartmoor被很多人认为是英国最大的荒原之一。

297 arbor   

n.凉亭；树木

参考例句：

• They sat in the arbor and chatted over tea.他们坐在凉亭里，边喝茶边聊天。
• You may have heard of Arbor Day at school.你可能在学校里听过植树节。

298 uneven   

adj.不平坦的，不规则的，不均匀的

参考例句：

• The sidewalk is very uneven—be careful where you walk.这人行道凹凸不平—走路时请小心。
• The country was noted for its uneven distribution of land resources.这个国家以土地资源分布不均匀出名。

299 fortress   

n.堡垒，防御工事

参考例句：

• They made an attempt on a fortress.他们试图夺取这一要塞。
• The soldier scaled the wall of the fortress by turret.士兵通过塔车攀登上了要塞的城墙。

300 rambling   

adj.[建]凌乱的，杂乱的

参考例句：

• We spent the summer rambling in Ireland. 我们花了一个夏天漫游爱尔兰。
• It was easy to get lost in the rambling house. 在布局凌乱的大房子里容易迷路。

301 progeny   

n.后代，子孙；结果

参考例句：

• His numerous progeny are scattered all over the country.他为数众多的后代散布在全国各地。
• He was surrounded by his numerous progeny.众多的子孙簇拥着他。

302 passionate   

adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的

参考例句：

• He is said to be the most passionate man.据说他是最有激情的人。
• He is very passionate about the project.他对那个项目非常热心。

303 innate   

adj.天生的，固有的，天赋的

参考例句：

• You obviously have an innate talent for music.你显然有天生的音乐才能。
• Correct ideas are not innate in the mind.人的正确思想不是自己头脑中固有的。

304 antipathy   

n.憎恶；反感，引起反感的人或事物

参考例句：

• I feel an antipathy against their behaviour.我对他们的行为很反感。
• Some people have an antipathy to cats.有的人讨厌猫。

305 constables   

n.警察( constable的名词复数 )

参考例句：

• The constables made a desultory attempt to keep them away from the barn. 警察漫不经心地拦着不让他们靠近谷仓。 来自辞典例句
• There were also constables appointed to keep the peace. 城里也有被派来维持治安的基层警员。 来自互联网

306 crumbs   

int. (表示惊讶)哎呀 n. 碎屑 名词crumb的复数形式

参考例句：

• She stood up and brushed the crumbs from her sweater. 她站起身掸掉了毛衣上的面包屑。
• Oh crumbs! Is that the time? 啊，天哪！都这会儿啦？

307 precisely   

adv.恰好，正好，精确地，细致地

参考例句：

• It's precisely that sort of slick sales-talk that I mistrust.我不相信的正是那种油腔滑调的推销宣传。
• The man adjusted very precisely.那个人调得很准。

308 poked   

v.伸出( poke的过去式和过去分词 )；戳出；拨弄；与（某人）性交

参考例句：

• She poked him in the ribs with her elbow. 她用胳膊肘顶他的肋部。
• His elbow poked out through his torn shirt sleeve. 他的胳膊从衬衫的破袖子中露了出来。 来自《简明英汉词典》

309 ridge   

n.山脊；鼻梁；分水岭

参考例句：

• We clambered up the hillside to the ridge above.我们沿着山坡费力地爬上了山脊。
• The infantry were advancing to attack the ridge.步兵部队正在向前挺进攻打山脊。

310 ridges   

n.脊( ridge的名词复数 )；山脊；脊状突起；大气层的)高压脊

参考例句：

• The path winds along mountain ridges. 峰回路转。
• Perhaps that was the deepest truth in Ridges's nature. 在里奇斯的思想上，这大概可以算是天经地义第一条了。

311 descending   

n. 下行 adj. 下降的

参考例句：

• The results are expressed in descending numerical order . 结果按数字降序列出。
• The climbers stopped to orient themselves before descending the mountain. 登山者先停下来确定所在的位置，然后再下山。

312 domes   

n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场

参考例句：

• The domes are circular or ovoid in cross-section. 穹丘的横断面为圆形或卵圆形。 来自辞典例句
• Parks. The facilities highlighted in text include sport complexes and fabric domes. 本书重点讲的设施包括运动场所和顶棚式结构。 来自互联网

313 picturesque   

adj.美丽如画的，（语言）生动的，绘声绘色的

参考例句：

• You can see the picturesque shores beside the river.在河边你可以看到景色如画的两岸。
• That was a picturesque phrase.那是一个形象化的说法。

314 spires   

n.（教堂的） 塔尖，尖顶( spire的名词复数 )

参考例句：

• Her masts leveled with the spires of churches. 船的桅杆和教堂的塔尖一样高。 来自《简明英汉词典》
• White church spires lift above green valleys. 教堂的白色尖顶耸立在绿色山谷中。 来自《简明英汉词典》

315 contiguity   

n.邻近，接壤

参考例句：

• The contiguity of the house and the garage was a convenience in bad weather.住宅和车库毗邻，这在天气不好的时候是很方便的。
• Scientists want to investigate the relation between xerophthalmia occurrence and smut contiguity.科学家们打算探讨干眼症与煤尘接触之间的关系。

316 ridgy   

adj.有脊的；有棱纹的；隆起的；有埂的

参考例句：

• The ridgy rock, the woods that crown its steep. 参天的岩石，山麓的树木。 来自互联网

317 sketch   

n.草图；梗概；素描；v.素描；概述

参考例句：

• My sister often goes into the country to sketch. 我姐姐常到乡间去写生。
• I will send you a slight sketch of the house.我将给你寄去房屋的草图。

318 pretence   

n.假装，作假；借口，口实；虚伪；虚饰

参考例句：

• The government abandoned any pretence of reform. 政府不再装模作样地进行改革。
• He made a pretence of being happy at the party.晚会上他假装很高兴。

319 pretences   

n.假装( pretence的名词复数 )；作假；自命；自称

参考例句：

• You've brought your old friends out here under false pretences. 你用虚假的名义把你的那些狐朋狗党带到这里来。 来自英汉文学 - 嘉莉妹妹
• There are no pretences about him. 他一点不虚伪。 来自辞典例句

320 grasshopper   

n.蚱蜢，蝗虫，蚂蚱

参考例句：

• He thought he had made an end of the little grasshopper.他以为把那个小蚱蜢干掉了。
• The grasshopper could not find anything to eat.蚱蜢找不到任何吃的东西。

321 discourteous   

adj.不恭的，不敬的

参考例句：

• I was offended by his discourteous reply.他无礼的回答使我很生气。
• It was discourteous of you to arrive late.你迟到了，真没礼貌。

322 ramble   

v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延

参考例句：

• This is the best season for a ramble in the suburbs.这是去郊区漫游的最好季节。
• I like to ramble about the street after work.我下班后在街上漫步。

323 misty   

adj.雾蒙蒙的，有雾的

参考例句：

• He crossed over to the window to see if it was still misty.他走到窗户那儿，看看是不是还有雾霭。
• The misty scene had a dreamy quality about it.雾景给人以梦幻般的感觉。

324 disappearance   

n.消失，消散，失踪

参考例句：

• He was hard put to it to explain her disappearance.他难以说明她为什么不见了。
• Her disappearance gave rise to the wildest rumours.她失踪一事引起了各种流言蜚语。

325 foliage   

n.叶子，树叶，簇叶

参考例句：

• The path was completely covered by the dense foliage.小路被树叶厚厚地盖了一层。
• Dark foliage clothes the hills.浓密的树叶覆盖着群山。

326 verge   

n.边，边缘；v.接近，濒临

参考例句：

• The country's economy is on the verge of collapse.国家的经济已到了崩溃的边缘。
• She was on the verge of bursting into tears.她快要哭出来了。

327 illuminated   

adj.被照明的；受启迪的

参考例句：

• Floodlights illuminated the stadium. 泛光灯照亮了体育场。
• the illuminated city at night 夜幕中万家灯火的城市

328 illuminate   

vt.照亮，照明；用灯光装饰；说明，阐释

参考例句：

• Dreams kindle a flame to illuminate our dark roads.梦想点燃火炬照亮我们黑暗的道路。
• They use games and drawings to illuminate their subject.他们用游戏和图画来阐明他们的主题。

329 gilding   

n.贴金箔，镀金

参考例句：

• The dress is perfect. Don't add anything to it at all. It would just be gilding the lily. 这条裙子已经很完美了，别再作任何修饰了，那只会画蛇添足。
• The gilding is extremely lavish. 这层镀金极为奢华。

330 compartments   

n.间隔( compartment的名词复数 )；（列车车厢的）隔间；（家具或设备等的）分隔间；隔层

参考例句：

• Your pencil box has several compartments. 你的铅笔盒有好几个格。 来自《简明英汉词典》
• The first-class compartments are in front. 头等车室在前头。 来自《简明英汉词典》

331 gambolled   

v.蹦跳，跳跃，嬉戏( gambol的过去式和过去分词 )

参考例句：

332 glimmered   

v.发闪光，发微光( glimmer的过去式和过去分词 )

参考例句：

• "There glimmered the embroidered letter, with comfort in its unearthly ray." 她胸前绣着的字母闪着的非凡的光辉，将温暖舒适带给他人。 来自英汉 - 翻译样例 - 文学
• The moon glimmered faintly through the mists. 月亮透过薄雾洒下微光。 来自辞典例句

333 alabaster   

adj.雪白的；n.雪花石膏；条纹大理石

参考例句：

• The floor was marble tile,and the columns alabaster.地板是由大理石铺成的，柱子则是雪花石膏打造而成。
• Her skin was like alabaster.她的皮肤光洁雪白。

334 vein   

n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络

参考例句：

• The girl is not in the vein for singing today.那女孩今天没有心情唱歌。
• The doctor injects glucose into the patient's vein.医生把葡萄糖注射入病人的静脉。

335 scarlet   

n.深红色，绯红色，红衣；adj.绯红色的

参考例句：

• The scarlet leaves of the maples contrast well with the dark green of the pines.深红的枫叶和暗绿的松树形成了明显的对比。
• The glowing clouds are growing slowly pale,scarlet,bright red,and then light red.天空的霞光渐渐地淡下去了，深红的颜色变成了绯红，绯红又变为浅红。

336 prodigious   

adj.惊人的，奇妙的；异常的；巨大的；庞大的

参考例句：

• This business generates cash in prodigious amounts.这种业务收益丰厚。
• He impressed all who met him with his prodigious memory.他惊人的记忆力让所有见过他的人都印象深刻。

337 grumbled   

抱怨( grumble的过去式和过去分词 )； 发牢骚； 咕哝； 发哼声

参考例句：

• He grumbled at the low pay offered to him. 他抱怨给他的工资低。
• The heat was sweltering, and the men grumbled fiercely over their work. 天热得让人发昏，水手们边干活边发着牢骚。

338 lash   

v.系牢；鞭打；猛烈抨击；n.鞭打；眼睫毛

参考例句：

• He received a lash of her hand on his cheek.他突然被她打了一记耳光。
• With a lash of its tail the tiger leaped at her.老虎把尾巴一甩朝她扑过来。

339 impudent   

adj.鲁莽的，卑鄙的，厚颜无耻的

参考例句：

• She's tolerant toward those impudent colleagues.她对那些无礼的同事采取容忍的态度。
• The teacher threatened to kick the impudent pupil out of the room.老师威胁着要把这无礼的小学生撵出教室。

340 penitence   

n.忏悔，赎罪；悔过

参考例句：

• The thief expressed penitence for all his past actions. 那盗贼对他犯过的一切罪恶表示忏悔。 来自《现代汉英综合大词典》
• Of penitence, there has been none! 可是悔过呢，还一点没有！ 来自英汉文学 - 红字

341 eyelids   

n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色

参考例句：

• She was so tired, her eyelids were beginning to droop. 她太疲倦了，眼睑开始往下垂。
• Her eyelids drooped as if she were on the verge of sleep. 她眼睑低垂好像快要睡着的样子。 来自《简明英汉词典》

342 voluptuous   

adj.肉欲的，骄奢淫逸的

参考例句：

• The nobility led voluptuous lives.贵族阶层过着骄奢淫逸的生活。
• The dancer's movements were slow and voluptuous.舞女的动作缓慢而富挑逗性。

343 penitent   

adj.后悔的；n.后悔者；忏悔者

参考例句：

• They all appeared very penitent,and begged hard for their lives.他们一个个表示悔罪，苦苦地哀求饶命。
• She is deeply penitent.她深感愧疚。

344 irate   

adj.发怒的，生气

参考例句：

• The irate animal made for us,coming at a full jump.那头发怒的动物以最快的速度向我们冲过来。
• We have received some irate phone calls from customers.我们接到顾客打来的一些愤怒的电话

345 shears   

n.大剪刀

参考例句：

• These garden shears are lightweight and easy to use.这些园丁剪刀又轻又好用。
• With a few quick snips of the shears he pruned the bush.他用大剪刀几下子就把灌木给修剪好了。

346 interpretation   

n.解释，说明，描述；艺术处理

参考例句：

• His statement admits of one interpretation only.他的话只有一种解释。
• Analysis and interpretation is a very personal thing.分析与说明是个很主观的事情。

347 interpretations   

n.解释( interpretation的名词复数 )；表演；演绎；理解

参考例句：

• This passage is open to a variety of interpretations. 这篇文章可以有各种不同的解释。 来自《简明英汉词典》
• The involved and abstruse passage makes several interpretations possible. 这段艰涩的文字可以作出好几种解释。 来自《现代汉英综合大词典》

348 hieroglyphic   

n.象形文字

参考例句：

• For centuries hieroglyphic word pictures painted on Egyptian ruins were a mystery.几世纪以来，刻划在埃及废墟中的象形文字一直是个谜。
• Dongba is an ancient hieroglyphic language.东巴文是中国一种古老的象形文字。

349 riddle   

n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜

参考例句：

• The riddle couldn't be solved by the child.这个谜语孩子猜不出来。
• Her disappearance is a complete riddle.她的失踪完全是一个谜。

350 helping   

n.食物的一份&adj.帮助人的，辅助的

参考例句：

• The poor children regularly pony up for a second helping of my hamburger. 那些可怜的孩子们总是要求我把我的汉堡包再给他们一份。
• By doing this, they may at times be helping to restore competition. 这样一来, 他在某些时候,有助于竞争的加强。

351 proceeding   

n.行动，进行，(pl.)会议录，学报

参考例句：

• This train is now proceeding from Paris to London.这次列车从巴黎开往伦敦。
• The work is proceeding briskly.工作很有生气地进展着。

352 carnival   

n.嘉年华会，狂欢，狂欢节，巡回表演

参考例句：

• I got some good shots of the carnival.我有几个狂欢节的精彩镜头。
• Our street puts on a carnival every year.我们街的居民每年举行一次嘉年华会。

353 illustrates   

给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明

参考例句：

• This historical novel illustrates the breaking up of feudal society in microcosm. 这部历史小说是走向崩溃的封建社会的缩影。
• Alfred Adler, a famous doctor, had an experience which illustrates this. 阿尔弗莱德 - 阿德勒是一位著名的医生，他有过可以说明这点的经历。 来自中级百科部分

354 smitten   

猛打，重击，打击( smite的过去分词 )

参考例句：

• From the moment they met, he was completely smitten by her. 从一见面的那一刻起，他就完全被她迷住了。
• It was easy to see why she was smitten with him. 她很容易看出为何她为他倾倒。

355 illusive   

adj.迷惑人的，错觉的

参考例句：

• I don't wanna hear too much illusive words.我不想听太多虚假的承诺。
• We refuse to partake in the production of illusive advertisements.本公司拒绝承做虚假广告。

356 socket   

n.窝，穴，孔，插座，插口

参考例句：

• He put the electric plug into the socket.他把电插头插入插座。
• The battery charger plugs into any mains socket.这个电池充电器可以插入任何类型的电源插座。

357 legitimately   

ad.合法地；正当地，合理地

参考例句：

• The radio is legitimately owned by the company. 该电台为这家公司所合法拥有。
• She looked for nothing save what might come legitimately and without the appearance of special favour. 她要的并不是男人们的额外恩赐，而是合法正当地得到的工作。 来自英汉文学 - 嘉莉妹妹

358 chisel   

n.凿子；v.用凿子刻，雕，凿

参考例句：

• This chisel is useful for getting into awkward spaces.这凿子在要伸入到犄角儿里时十分有用。
• Camille used a hammer and chisel to carve out a figure from the marble.卡米尔用锤子和凿子将大理石雕刻出一个人像。

359 erred   

犯错误，做错事( err的过去式和过去分词 )

参考例句：

• He erred in his judgement. 他判断错了。
• We will work on those who have erred and help them do right. 我们将对犯了错误的人做工作，并帮助他们改正。

360 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

361 capability   

n.能力；才能；(pl)可发展的能力或特性等

参考例句：

• She has the capability to become a very fine actress.她有潜力成为杰出演员。
• Organizing a whole department is beyond his capability.组织整个部门是他能力以外的事。

362 anecdotes   

n.掌故，趣闻，轶事( anecdote的名词复数 )

参考例句：

• amusing anecdotes about his brief career as an actor 关于他短暂演员生涯的趣闻逸事
• He related several anecdotes about his first years as a congressman. 他讲述自己初任议员那几年的几则轶事。 来自《简明英汉词典》

363 anecdote   

n.轶事，趣闻，短故事

参考例句：

• He departed from the text to tell an anecdote.他偏离课文讲起了一则轶事。
• It had never been more than a family anecdote.那不过是个家庭趣谈罢了。

364 proprietor   

n.所有人；业主；经营者

参考例句：

• The proprietor was an old acquaintance of his.业主是他的一位旧相识。
• The proprietor of the corner grocery was a strange thing in my life.拐角杂货店店主是我生活中的一个怪物。

365 impelled   

v.推动、推进或敦促某人做某事( impel的过去式和过去分词 )

参考例句：

• He felt impelled to investigate further. 他觉得有必要作进一步调查。
• I feel impelled to express grave doubts about the project. 我觉得不得不对这项计划深表怀疑。 来自《简明英汉词典》

366 eyebrows   

眉毛( eyebrow的名词复数 )

参考例句：

• Eyebrows stop sweat from coming down into the eyes. 眉毛挡住汗水使其不能流进眼睛。
• His eyebrows project noticeably. 他的眉毛特别突出。

367 tangible   

adj.有形的，可触摸的，确凿的，实际的

参考例句：

• The policy has not yet brought any tangible benefits.这项政策还没有带来任何实质性的好处。
• There is no tangible proof.没有确凿的证据。

368 vigor   

n.活力，精力，元气

参考例句：

• The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
• She didn't want to be reminded of her beauty or her former vigor.现在，她不愿人们提起她昔日的美丽和以前的精力充沛。

369 injustice   

n.非正义，不公正，不公平，侵犯（别人的）权利

参考例句：

• They complained of injustice in the way they had been treated.他们抱怨受到不公平的对待。
• All his life he has been struggling against injustice.他一生都在与不公正现象作斗争。

370 dissertation   

n.（博士学位）论文，学术演讲，专题论文

参考例句：

• He is currently writing a dissertation on the Somali civil war.他目前正在写一篇关于索马里内战的论文。
• He was involved in writing his doctoral dissertation.他在聚精会神地写他的博士论文。

371 draughts   

n. <英>国际跳棋

参考例句：

• Seal (up) the window to prevent draughts. 把窗户封起来以防风。
• I will play at draughts with him. 我跟他下一盘棋吧！

372 transfusing   

v.输（血或别的液体）( transfuse的现在分词 )；渗透；使…被灌输或传达

参考例句：

373 veins   

n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理

参考例句：

• The blood flows from the capillaries back into the veins. 血从毛细血管流回静脉。 来自《简明英汉词典》
• I felt a pleasant glow in all my veins from the wine. 喝过酒后我浑身的血都热烘烘的，感到很舒服。 来自《简明英汉词典》

374 transfused   

v.输（血或别的液体）( transfuse的过去式和过去分词 )；渗透；使…被灌输或传达

参考例句：

• He transfused his own courage into his men. 他用自己的勇气鼓舞了士兵。 来自《现代英汉综合大词典》
• The professor transfused his enthusiasm for research into his students. 教授把自己的研究热忱移注给学生。 来自辞典例句

375 villa   

n.别墅，城郊小屋

参考例句：

• We rented a villa in France for the summer holidays.我们在法国租了一幢别墅消夏。
• We are quartered in a beautiful villa.我们住在一栋漂亮的别墅里。

376 aroma   

n.香气，芬芳，芳香

参考例句：

• The whole house was filled with the aroma of coffee.满屋子都是咖啡的香味。
• The air was heavy with the aroma of the paddy fields.稻花飘香。

377 imbued   

v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等）

参考例句：

• Her voice was imbued with an unusual seriousness. 她的声音里充满着一种不寻常的严肃语气。
• These cultivated individuals have been imbued with a sense of social purpose. 这些有教养的人满怀着社会责任感。 来自《简明英汉词典》

378 babble   

v.含糊不清地说，胡言乱语地说，儿语

参考例句：

• No one could understand the little baby's babble. 没人能听懂这个小婴孩的话。
• The babble of voices in the next compartment annoyed all of us.隔壁的车厢隔间里不间歇的嘈杂谈话声让我们都很气恼。

379 amiable   

adj.和蔼可亲的，友善的，亲切的

参考例句：

• She was a very kind and amiable old woman.她是个善良和气的老太太。
• We have a very amiable companionship.我们之间存在一种友好的关系。

380 conversed   

v.交谈，谈话( converse的过去式 )

参考例句：

• I conversed with her on a certain problem. 我与她讨论某一问题。 来自《现代英汉综合大词典》
• She was cheerful and polite, and conversed with me pleasantly. 她十分高兴，也很客气，而且愉快地同我交谈。 来自辞典例句

381 inclination   

n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好

参考例句：

• She greeted us with a slight inclination of the head.她微微点头向我们致意。
• I did not feel the slightest inclination to hurry.我没有丝毫着急的意思。

382 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。

383 intervals   

n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息

参考例句：

• The forecast said there would be sunny intervals and showers. 预报间晴，有阵雨。
• Meetings take place at fortnightly intervals. 每两周开一次会。

384 majestic   

adj.雄伟的，壮丽的，庄严的，威严的，崇高的

参考例句：

• In the distance rose the majestic Alps.远处耸立着雄伟的阿尔卑斯山。
• He looks majestic in uniform.他穿上军装显得很威风。

385 diversified   

adj.多样化的，多种经营的v.使多样化，多样化( diversify的过去式和过去分词 )；进入新的商业领域

参考例句：

• The college biology department has diversified by adding new courses in biotechnology. 该学院生物系通过增加生物技术方面的新课程而变得多样化。 来自《简明英汉词典》
• Take grain as the key link, develop a diversified economy and ensure an all-round development. 以粮为纲，多种经营，全面发展。 来自《现代汉英综合大词典》

386 gatherings   

聚集( gathering的名词复数 )； 收集； 采集； 搜集

参考例句：

• His conduct at social gatherings created a lot of comment. 他在社交聚会上的表现引起许多闲话。
• During one of these gatherings a pupil caught stealing. 有一次，其中一名弟子偷窃被抓住。

387 thronged   

v.成群，挤满( throng的过去式和过去分词 )

参考例句：

• Mourners thronged to the funeral. 吊唁者蜂拥着前来参加葬礼。 来自《简明英汉词典》
• The department store was thronged with people. 百货商店挤满了人。 来自《现代英汉综合大词典》

388 exclamation   

n.感叹号，惊呼，惊叹词

参考例句：

• He could not restrain an exclamation of approval.他禁不住喝一声采。
• The author used three exclamation marks at the end of the last sentence to wake up the readers.作者在文章的最后一句连用了三个惊叹号，以引起读者的注意。

389 hoofs   

n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 )

参考例句：

• The stamp of the horse's hoofs on the wooden floor was loud. 马蹄踏在木头地板上的声音很响。 来自辞典例句
• The noise of hoofs called him back to the other window. 马蹄声把他又唤回那扇窗子口。 来自辞典例句

390 trampled   

踩( trample的过去式和过去分词 )； 践踏； 无视； 侵犯

参考例句：

• He gripped his brother's arm lest he be trampled by the mob. 他紧抓着他兄弟的胳膊，怕他让暴民踩着。
• People were trampled underfoot in the rush for the exit. 有人在拼命涌向出口时被踩在脚下。

391 edifices   

n.大建筑物( edifice的名词复数 )

参考例句：

• They complain that the monstrous edifices interfere with television reception. 他们抱怨说，那些怪物般的庞大建筑，干扰了电视接收。 来自辞典例句
• Wealthy officials and landlords built these queer edifices a thousand years ago. 有钱的官吏和地主在一千年前就修建了这种奇怪的建筑物。 来自辞典例句

392 texture   

n.(织物)质地；(材料)构造；结构；肌理

参考例句：

• We could feel the smooth texture of silk.我们能感觉出丝绸的光滑质地。
• Her skin has a fine texture.她的皮肤细腻。

393 attire   

v.穿衣，装扮[同]array；n.衣着；盛装

参考例句：

• He had no intention of changing his mode of attire.他无意改变着装方式。
• Her attention was attracted by his peculiar attire.他那奇特的服装引起了她的注意。

394 exuberant   

adj.充满活力的；（植物）繁茂的

参考例句：

• Hothouse plants do not possess exuberant vitality.在温室里培养出来的东西，不会有强大的生命力。
• All those mother trees in the garden are exuberant.果园里的那些母树都长得十分茂盛。

395 worthies   

应得某事物( worthy的名词复数 )； 值得做某事； 可尊敬的； 有（某人或事物）的典型特征

参考例句：

• The world is peopled with worthies, and workers, useful and clever. 世界上住着高尚的人，劳动的人，有用又聪明。
• The former worthies have left us a rich cultural heritage. 前贤给我们留下了丰富的文化遗产。

396 antiquity   

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。

397 obliterated   

v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭

参考例句：

• The building was completely obliterated by the bomb. 炸弹把那座建筑物彻底摧毁了。
• He began to drink, drank himself to intoxication, till he slept obliterated. 他一直喝，喝到他快要迷糊地睡着了。 来自《简明英汉词典》

398 ERECTED   

adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立

参考例句：

• A monument to him was erected in St Paul's Cathedral. 在圣保罗大教堂为他修了一座纪念碑。
• A monument was erected to the memory of that great scientist. 树立了一块纪念碑纪念那位伟大的科学家。

399 pointed   

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。

400 effulgence   

n.光辉

参考例句：

• The effulgence of algorithm will shine the dark future brightly! 这句不知道翻译的好不好，我的原意是：算法之光辉将照亮黑暗前路！ 来自互联网

401 sepulchral   

adj.坟墓的，阴深的

参考例句：

• He made his way along the sepulchral corridors.他沿着阴森森的走廊走着。
• There was a rather sepulchral atmosphere in the room.房间里有一种颇为阴沉的气氛。

402 slabs   

n.厚板，平板，厚片( slab的名词复数 )；厚胶片

参考例句：

• The patio was made of stone slabs. 这天井是用石板铺砌而成的。 来自《简明英汉词典》
• The slabs of standing stone point roughly toward the invisible notch. 这些矗立的石块，大致指向那个看不见的缺口。 来自辞典例句

403 knightly   

adj. 骑士般的 adv. 骑士般地

参考例句：

• He composed heroic songs and began to write many a tale of enchantment and knightly adventure. 他谱写英雄短歌并着手编写不少记叙巫术和骑士历险的故事。
• If you wear knight costumes, you will certainly have a knightly manner. 身着骑士装，令您具有骑士风度。

404 sprawling   

adj.蔓生的，不规则地伸展的v.伸开四肢坐[躺]( sprawl的现在分词 )；蔓延；杂乱无序地拓展；四肢伸展坐着（或躺着）

参考例句：

• He was sprawling in an armchair in front of the TV. 他伸开手脚坐在电视机前的一张扶手椅上。
• a modern sprawling town 一座杂乱无序拓展的现代城镇

405 commemorate   

vt.纪念，庆祝

参考例句：

• This building was built to commemorate the Fire of London.这栋大楼是为纪念“伦敦大火”而兴建的。
• We commemorate the founding of our nation with a public holiday.我们放假一日以庆祝国庆。

406 imprisoned   

下狱，监禁( imprison的过去式和过去分词 )

参考例句：

• He was imprisoned for two concurrent terms of 30 months and 18 months. 他被判处30个月和18个月的监禁，合并执行。
• They were imprisoned for possession of drugs. 他们因拥有毒品而被监禁。

407 purgatory   

n.炼狱；苦难；adj.净化的，清洗的

参考例句：

• Every step of the last three miles was purgatory.最后3英里时每一步都像是受罪。
• Marriage,with peace,is this world's paradise;with strife,this world's purgatory.和谐的婚姻是尘世的乐园，不和谐的婚姻则是人生的炼狱。

408 contrive   

vt.谋划，策划；设法做到；设计，想出

参考例句：

• Can you contrive to be here a little earlier?你能不能早一点来？
• How could you contrive to make such a mess of things?你怎么把事情弄得一团糟呢？

409 distressing   

a.使人痛苦的

参考例句：

• All who saw the distressing scene revolted against it. 所有看到这种悲惨景象的人都对此感到难过。
• It is distressing to see food being wasted like this. 这样浪费粮食令人痛心。

410 relics   

[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。

411 misery   

n.痛苦，苦恼，苦难；悲惨的境遇，贫苦

参考例句：

• Business depression usually causes misery among the working class.商业不景气常使工薪阶层受苦。
• He has rescued me from the mire of misery.他把我从苦海里救了出来。

412 dreary   

adj.令人沮丧的，沉闷的，单调乏味的

参考例句：

• They live such dreary lives.他们的生活如此乏味。
• She was tired of hearing the same dreary tale of drunkenness and violence.她听够了那些关于酗酒和暴力的乏味故事。

413 funereal   

adj.悲哀的；送葬的

参考例句：

• He addressed the group in funereal tones.他语气沉痛地对大家讲话。
• The mood of the music was almost funereal.音乐的调子几乎像哀乐。

414 tapers   

（长形物体的）逐渐变窄( taper的名词复数 )； 微弱的光； 极细的蜡烛

参考例句：

• The pencil tapers to a sharp point. 铅笔的一段细成笔尖。
• She put five tapers on the cake. 她在蛋糕上放了五只小蜡烛。

415 constellations   

n.星座( constellation的名词复数 )；一群杰出人物；一系列（相关的想法、事物）；一群（相关的人）

参考例句：

• The map of the heavens showed all the northern constellations. 这份天体图标明了北半部所有的星座。 来自《简明英汉词典》
• His time was coming, he would move in the constellations of power. 他时来运转，要进入权力中心了。 来自教父部分

416 heed   

v.注意，留意；n.注意，留心

参考例句：

• You must take heed of what he has told.你要注意他所告诉的事。
• For the first time he had to pay heed to his appearance.这是他第一次非得注意自己的外表不可了。

417 disturbance   

n.动乱，骚动；打扰，干扰；(身心)失调

参考例句：

• He is suffering an emotional disturbance.他的情绪受到了困扰。
• You can work in here without any disturbance.在这儿你可不受任何干扰地工作。

418 formerly   

adv.从前，以前

参考例句：

• We now enjoy these comforts of which formerly we had only heard.我们现在享受到了过去只是听说过的那些舒适条件。
• This boat was formerly used on the rivers of China.这船从前航行在中国内河里。

419 lank   

adj.瘦削的；稀疏的

参考例句：

• He rose to lank height and grasped Billy McMahan's hand.他瘦削的身躯站了起来，紧紧地握住比利·麦默恩的手。
• The old man has lank hair.那位老人头发稀疏

420 rusty   

adj.生锈的；锈色的；荒废了的

参考例句：

• The lock on the door is rusty and won't open.门上的锁锈住了。
• I haven't practiced my French for months and it's getting rusty.几个月不用，我的法语又荒疏了。

421 transacted   

v.办理（业务等）( transact的过去式和过去分词 )；交易，谈判

参考例句：

• We transacted business with the firm. 我们和这家公司交易。 来自《简明英汉词典》
• Major Pendennis transacted his benevolence by deputy and by post. 潘登尼斯少校依靠代理人和邮局，实施着他的仁爱之心。 来自辞典例句

422 modernizing   

使现代化，使适应现代需要( modernize的现在分词 )； 现代化，使用现代方法

参考例句：

• Modernizing a business to increase its profitability and competitiveness is a complicated affair. 使企业现代化，从而达到增加利润，增强竞争力的目的，是一件复杂的事情。
• The young engineer had a large share in modernizing the factory. 这位年轻工程师在工厂现代化的过程中尽了很大的“力”。

423 ponderous   

adj.沉重的，笨重的，(文章)冗长的

参考例句：

• His steps were heavy and ponderous.他的步伐沉重缓慢。
• It was easy to underestimate him because of his occasionally ponderous manner.由于他偶尔现出的沉闷的姿态，很容易使人小看了他。

424 abbreviated   

adj. 简短的，省略的 动词abbreviate的过去式和过去分词

参考例句：

• He abbreviated so much that it was hard to understand his article. 他的文章缩写词使用太多，令人费解。
• The United States of America is commonly abbreviated to U.S.A.. 美利坚合众国常被缩略为U.S.A.。

425 warfare   

n.战争(状态)；斗争；冲突

参考例句：

• He addressed the audience on the subject of atomic warfare.他向听众演讲有关原子战争的问题。
• Their struggle consists mainly in peasant guerrilla warfare.他们的斗争主要是农民游击战。

426 consecration   

n.供献，奉献，献祭仪式

参考例句：

• "What we did had a consecration of its own. “我们的所作所为其本身是一种神圣的贡献。 来自英汉文学 - 红字
• If you do add Consecration or healing, your mana drop down lower. 如果你用了奉献或者治疗，你的蓝将会慢慢下降。 来自互联网

427 congealed   

v.使凝结，冻结( congeal的过去式和过去分词 )；（指血）凝结

参考例句：

• The cold remains of supper had congealed on the plate. 晚餐剩下的冷饭菜已经凝结在盘子上了。
• The oil at last is congealed into a white fat. 那油最终凝结成了一种白色的油脂。 来自《简明英汉词典》

428 ignoble   

adj.不光彩的，卑鄙的；可耻的

参考例句：

• There's something cowardly and ignoble about such an attitude.这种态度有点怯懦可鄙。
• Some very great men have come from ignoble families.有些伟人出身低微。

429 arcade   

n.拱廊；(一侧或两侧有商店的)通道

参考例句：

• At this time of the morning,the arcade was almost empty.在早晨的这个时候，拱廊街上几乎空无一人。
• In our shopping arcade,you can find different kinds of souvenir.在我们的拱廊市场，你可以发现许多的纪念品。

430 cloister   

n.修道院；v.隐退，使与世隔绝

参考例句：

• They went out into the stil,shadowy cloister garden.他们出了房间，走到那个寂静阴沉的修道院的园子里去。
• The ancient cloister was a structure of red brick picked out with white stone.古老的修道院是一座白石衬托着的红砖建筑物。

431 Christians   

n.基督教徒( Christian的名词复数 )

参考例句：

• Christians of all denominations attended the conference. 基督教所有教派的人都出席了这次会议。
• His novel about Jesus caused a furore among Christians. 他关于耶稣的小说激起了基督教徒的公愤。

432 coffins   

n.棺材( coffin的名词复数 )；使某人早亡[死，完蛋，垮台等]之物

参考例句：

• The shop was close and hot, and the atmosphere seemed tainted with the smell of coffins. 店堂里相当闷热，空气仿佛被棺木的味儿污染了。 来自辞典例句
• Donate some coffins to the temple, equal to the number of deaths. 到寺庙里，捐赠棺材盒给这些死者吧。 来自电影对白

433 inscription   

n.（尤指石块上的）刻印文字，铭文，碑文

参考例句：

• The inscription has worn away and can no longer be read.铭文已磨损，无法辨认了。
• He chiselled an inscription on the marble.他在大理石上刻碑文。

434 mansion   

n.大厦，大楼；宅第

参考例句：

• The old mansion was built in 1850.这座古宅建于1850年。
• The mansion has extensive grounds.这大厦四周的庭园广阔。

435 antiquities   

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

436 preservation   

n.保护，维护，保存，保留，保持

参考例句：

• The police are responsible for the preservation of law and order.警察负责维持法律与秩序。
• The picture is in an excellent state of preservation.这幅画保存得极为完好。

437 curiously   

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。

438 frescoed   

壁画( fresco的名词复数 )； 温壁画技法，湿壁画

参考例句：

• The Dunhuang frescoes are gems of ancient Chinese art. 敦煌壁画是我国古代艺术中的瑰宝。
• The frescoes in these churches are magnificent. 这些教堂里的壁画富丽堂皇。

439 ascending   

adj.上升的，向上的

参考例句：

• Now draw or trace ten dinosaurs in ascending order of size.现在按照体型由小到大的顺序画出或是临摹出10只恐龙。

440 villas   

别墅，公馆( villa的名词复数 )； （城郊）住宅

参考例句：

• Magnificent villas are found throughout Italy. 在意大利到处可看到豪华的别墅。
• Rich men came down from wealthy Rome to build sea-side villas. 有钱人从富有的罗马来到这儿建造海滨别墅。

441 politic   

adj.有智虑的；精明的；v.从政

参考例句：

• He was too politic to quarrel with so important a personage.他很聪明，不会与这么重要的人争吵。
• The politic man tried not to offend people.那个精明的人尽量不得罪人。

442 grandees   

n.贵族，大公，显贵者( grandee的名词复数 )

参考例句：

• The highest-ranking members of the Spanish aristocracy are the grandees. 西班牙贵族中爵位最高的成员乃是大公。 来自辞典例句
• Several grandees of the town are present at the party. 城里的几位要人出席了晚会。 来自互联网

443 vista   

n.远景，深景，展望，回想

参考例句：

• From my bedroom window I looked out on a crowded vista of hills and rooftops.我从卧室窗口望去，远处尽是连绵的山峦和屋顶。
• These uprisings come from desperation and a vista of a future without hope.发生这些暴动是因为人们被逼上了绝路，未来看不到一点儿希望。

444 tapestries   

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 )

参考例句：

• The wall of the banqueting hall were hung with tapestries. 宴会厅的墙上挂有壁毯。 来自《简明英汉词典》
• The rooms were hung with tapestries. 房间里都装饰着挂毯。 来自《简明英汉词典》

445 flaunted   

v.炫耀，夸耀( flaunt的过去式和过去分词 )；有什么能耐就施展出来

参考例句：

• She flaunted the school rules by not wearing the proper uniform. 她不穿规定的校服，以示对校规的藐视。 来自互联网
• Ember burning with reeds flaunted to the blue sky. 芦苇燃烧成灰烬，撒向蔚蓝的苍穹。 来自互联网

446 swarm   

n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入

参考例句：

• There is a swarm of bees in the tree.这树上有一窝蜜蜂。
• A swarm of ants are moving busily.一群蚂蚁正在忙碌地搬家。

447 swarmed   

密集( swarm的过去式和过去分词 )； 云集； 成群地移动； 蜜蜂或其他飞行昆虫成群地飞来飞去

参考例句：

• When the bell rang, the children swarmed out of the school. 铃声一响，孩子们蜂拥而出离开了学校。
• When the rain started the crowd swarmed back into the hotel. 雨一开始下，人群就蜂拥回了旅社。

448 trumpet   

n.喇叭，喇叭声；v.吹喇叭，吹嘘

参考例句：

• He plays the violin, but I play the trumpet.他拉提琴，我吹喇叭。
• The trumpet sounded for battle.战斗的号角吹响了。

449 embroidery   

n.绣花，刺绣；绣制品

参考例句：

• This exquisite embroidery won people's great admiration.这件精美的绣品，使人惊叹不已。
• This is Jane's first attempt at embroidery.这是简第一次试着绣花。

450 sweeping   

adj.范围广大的，一扫无遗的

参考例句：

• The citizens voted for sweeping reforms.公民投票支持全面的改革。
• Can you hear the wind sweeping through the branches?你能听到风掠过树枝的声音吗？

451 condemnation   

n.谴责; 定罪

参考例句：

• There was widespread condemnation of the invasion. 那次侵略遭到了人们普遍的谴责。
• The jury's condemnation was a shock to the suspect. 陪审团宣告有罪使嫌疑犯大为震惊。

452 caterpillar   

n.毛虫，蝴蝶的幼虫

参考例句：

• A butterfly is produced by metamorphosis from a caterpillar.蝴蝶是由毛虫脱胎变成的。
• A caterpillar must pass through the cocoon stage to become a butterfly.毛毛虫必须经过茧的阶段才能变成蝴蝶。

453 bamboozle   

v.欺骗，隐瞒

参考例句：

• He was bamboozled by con men.他被骗子骗了。
• He bamboozled Mercer into defeat.他骗得默瑟认了输。

454 transformation   

n.变化；改造；转变

参考例句：

• Going to college brought about a dramatic transformation in her outlook.上大学使她的观念发生了巨大的变化。
• He was struggling to make the transformation from single man to responsible husband.他正在努力使自己由单身汉变为可靠的丈夫。

455 pristine   

adj.原来的，古时的，原始的，纯净的，无垢的

参考例句：

• He wiped his fingers on his pristine handkerchief.他用他那块洁净的手帕擦手指。
• He wasn't about to blemish that pristine record.他本不想去玷污那清白的过去。

456 bustle   

v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹

参考例句：

• The bustle and din gradually faded to silence as night advanced.随着夜越来越深，喧闹声逐渐沉寂。
• There is a lot of hustle and bustle in the railway station.火车站里非常拥挤。

457 salvation   

n.（尤指基督）救世，超度，拯救，解困

参考例句：

• Salvation lay in political reform.解救办法在于政治改革。
• Christians hope and pray for salvation.基督教徒希望并祈祷灵魂得救。

458 consecrated   

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

参考例句：

• The church was consecrated in 1853. 这座教堂于1853年祝圣。
• They consecrated a temple to their god. 他们把庙奉献给神。 来自《简明英汉词典》

459 impeded   

阻碍，妨碍，阻止( impede的过去式和过去分词 )

参考例句：

• Work on the building was impeded by severe weather. 楼房的施工因天气恶劣而停了下来。
• He was impeded in his work. 他的工作受阻。

460 personalities   

n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 )

参考例句：

• There seemed to be a degree of personalities in her remarks.她话里有些人身攻击的成分。
• Personalities are not in good taste in general conversation.在一般的谈话中诽谤他人是不高尚的。

461 tarnished   

（通常指金属）（使）失去光泽，（使）变灰暗( tarnish的过去式和过去分词 )； 玷污，败坏

参考例句：

• The mirrors had tarnished with age. 这些镜子因年深日久而照影不清楚。
• His bad behaviour has tarnished the good name of the school. 他行为不轨，败坏了学校的声誉。

462 scanty   

adj.缺乏的，仅有的，节省的，狭小的，不够的

参考例句：

• There is scanty evidence to support their accusations.他们的指控证据不足。
• The rainfall was rather scanty this month.这个月的雨量不足。

463 carvings   

n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物

参考例句：

• The desk was ornamented with many carvings. 这桌子装饰有很多雕刻物。 来自《简明英汉词典》
• Shell carvings are a specialty of the town. 贝雕是该城的特产。 来自《简明英汉词典》

464 chalices   

n.高脚酒杯( chalice的名词复数 )；圣餐杯；金杯毒酒；看似诱人实则令人讨厌的事物

参考例句：

465 vessels   

n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人

参考例句：

• The river is navigable by vessels of up to 90 tons. 90 吨以下的船只可以从这条河通过。 来自《简明英汉词典》
• All modern vessels of any size are fitted with radar installations. 所有现代化船只都有雷达装置。 来自《现代汉英综合大词典》

466 exquisitely   

adv.精致地；强烈地；剧烈地；异常地

参考例句：

• He found her exquisitely beautiful. 他觉得她异常美丽。 来自《简明英汉词典》
• He wore an exquisitely tailored gray silk and accessories to match. 他穿的是做工非常考究的灰色绸缎衣服，还有各种配得很协调的装饰。 来自教父部分

467 encumbered   

v.妨碍，阻碍，拖累( encumber的过去式和过去分词 )

参考例句：

• The police operation was encumbered by crowds of reporters. 警方的行动被成群的记者所妨碍。
• The narrow quay was encumbered by hundreds of carts. 狭窄的码头被数百辆手推车堵得水泄不通。 来自辞典例句

468 colonnade   

n.柱廊

参考例句：

• This colonnade will take you out of the palace and the game.这条柱廊将带你离开宫殿和游戏。
• The terrace was embraced by the two arms of the colonnade.平台由两排柱廊环抱。

469 gateway   

n.大门口，出入口，途径，方法

参考例句：

• Hard work is the gateway to success.努力工作是通往成功之路。
• A man collected tolls at the gateway.一个人在大门口收通行费。

470 prevailing   

adj.盛行的；占优势的；主要的

参考例句：

• She wears a fashionable hair style prevailing in the city.她的发型是这个城市流行的款式。
• This reflects attitudes and values prevailing in society.这反映了社会上盛行的态度和价值观。

471 colonnades   

n.石柱廊( colonnade的名词复数 )

参考例句：

472 crumbling   

adj.摇摇欲坠的

参考例句：

• an old house with crumbling plaster and a leaking roof 一所灰泥剥落、屋顶漏水的老房子
• The boat was tied up alongside a crumbling limestone jetty. 这条船停泊在一个摇摇欲坠的石灰岩码头边。

473 seclusion   

n.隐遁，隔离

参考例句：

• She liked to sunbathe in the seclusion of her own garden.她喜欢在自己僻静的花园里晒日光浴。
• I live very much in seclusion these days.这些天我过着几乎与世隔绝的生活。

474 scripture   

n.经文，圣书，手稿；Scripture:(常用复数)《圣经》，《圣经》中的一段

参考例句：

• The scripture states that God did not want us to be alone.圣经指出上帝并不是想让我们独身一人生活。
• They invoked Hindu scripture to justify their position.他们援引印度教的经文为他们的立场辩护。

475 cloistered   

adj.隐居的，躲开尘世纷争的v.隐退，使与世隔绝( cloister的过去式和过去分词 )

参考例句：

• the cloistered world of the university 与世隔绝的大学
• She cloistered herself in the office. 她呆在办公室里好像与世隔绝一样。 来自《简明英汉词典》

476 inscriptions   

（作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记

参考例句：

• Centuries of wind and rain had worn away the inscriptions on the gravestones. 几个世纪的风雨已磨损了墓碑上的碑文。
• The inscriptions on the stone tablet have become blurred with the passage of time. 年代久了，石碑上的字迹已经模糊了。

477 underneath   

adj.在...下面，在...底下；adv.在下面

参考例句：

• Working underneath the car is always a messy job.在汽车底下工作是件脏活。
• She wore a coat with a dress underneath.她穿着一件大衣，里面套着一条连衣裙。

478 monks   

n.修道士，僧侣( monk的名词复数 )

参考例句：

• The monks lived a very ascetic life. 僧侣过着很清苦的生活。
• He had been trained rigorously by the monks. 他接受过修道士的严格训练。 来自《简明英汉词典》

479 dreariest   

使人闷闷不乐或沮丧的( dreary的最高级 )； 阴沉的； 令人厌烦的； 单调的

参考例句：

• It was the dreariest job I had ever done. 那是我所做过的最沉闷的工作。

480 refreshment   

n.恢复，精神爽快，提神之事物；（复数）refreshments:点心，茶点

参考例句：

• He needs to stop fairly often for refreshment.他须时不时地停下来喘口气。
• A hot bath is a great refreshment after a day's work.在一天工作之后洗个热水澡真是舒畅。

481 incense   

v.激怒；n.香，焚香时的烟，香气

参考例句：

• This proposal will incense conservation campaigners.这项提议会激怒环保人士。
• In summer,they usually burn some coil incense to keep away the mosquitoes.夏天他们通常点香驱蚊。

482 secluded   

adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词)

参考例句：

• Some people like to strip themselves naked while they have a swim in a secluded place. 一些人当他们在隐蔽的地方游泳时，喜欢把衣服脱光。 来自《简明英汉词典》
• This charming cottage dates back to the 15th century and is as pretty as a picture, with its thatched roof and secluded garden. 这所美丽的村舍是15世纪时的建筑，有茅草房顶和宁静的花园，漂亮极了，简直和画上一样。 来自《简明英汉词典》

483 neatly   

adv.整洁地，干净地，灵巧地，熟练地

参考例句：

• Sailors know how to wind up a long rope neatly.水手们知道怎样把一条大绳利落地缠好。
• The child's dress is neatly gathered at the neck.那孩子的衣服在领口处打着整齐的皱褶。

484 glorified   

美其名的，变荣耀的

参考例句：

• The restaurant was no more than a glorified fast-food cafe. 这地方美其名曰餐馆，其实只不过是个快餐店而已。
• The author glorified the life of the peasants. 那个作者赞美了农民的生活。

485 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

486 lustre   

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。

487 reverently   

adv.虔诚地

参考例句：

• He gazed reverently at the handiwork. 他满怀敬意地凝视着这件手工艺品。
• Pork gazed at it reverently and slowly delight spread over his face. 波克怀着愉快的心情看着这只表，脸上慢慢显出十分崇敬的神色。

488 desolate   

adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂

参考例句：

• The city was burned into a desolate waste.那座城市被烧成一片废墟。
• We all felt absolutely desolate when she left.她走后，我们都觉得万分孤寂。

489 outlast   

v.较…耐久

参考例句：

• The great use of life is to spend it doing something that will outlast it.人生的充分利用就是为争取比人生更长久的东西而度过一生。
• These naturally dried flowers will outlast a bouquet of fresh blooms.这些自然风干的花会比一束鲜花更加持久。

490 dames   

n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人

参考例句：

• Dames would not comment any further. Dames将不再更多的评论。 来自互联网
• Flowers, candy, jewelry, seemed the principal things in which the elegant dames were interested. 鲜花、糖果和珠宝看来是那些贵妇人的主要兴趣所在。 来自英汉文学 - 嘉莉妹妹

491 beads   

n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链

参考例句：

• a necklace of wooden beads 一条木珠项链
• Beads of perspiration stood out on his forehead. 他的前额上挂着汗珠。

492 poising   

使平衡( poise的现在分词 )； 保持（某种姿势）； 抓紧； 使稳定

参考例句：

• The dynamic poising of the watch-balance enhances the performance of each movement. 腕表平衡摆轮的动态性能决定了机芯的性能。
• Also has the poising action to the blood sugar. 对血糖还具有双向平衡作用。

493 chimera   

n.神话怪物；梦幻

参考例句：

• Religious unity remained as much a chimera as ever.宗教统一仍然和从前一样，不过是个妄想。
• I am fighting against my chimera.我在与狂想抗争。

494 substantive   

adj.表示实在的；本质的、实质性的；独立的；n.实词，实名词；独立存在的实体

参考例句：

• They plan to meet again in Rome very soon to begin substantive negotiations.他们计划不久在罗马再次会晤以开始实质性的谈判。
• A president needs substantive advice,but he also requires emotional succor. 一个总统需要实质性的建议，但也需要感情上的支持。

495 arcades   

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

参考例句：

• Clothes are on sale in several shopping arcades these days. 近日一些服装店的服装正在大减价。 来自轻松英语会话---联想4000词(下)
• The Plaza Mayor, with its galleries and arcades, is particularly impressive. 市长大厦以其别具风格的走廊和拱廊给人留下十分深刻的印象。 来自互联网

496 variegated   

adj.斑驳的，杂色的

参考例句：

• This plant has beautifully variegated leaves.这种植物的叶子色彩斑驳，非常美丽。
• We're going to grow a variegated ivy up the back of the house.我们打算在房子后面种一棵杂色常春藤。

497 inspection   

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。

498 extremity   

n.末端，尽头；尽力；终极；极度

参考例句：

• I hope you will help them in their extremity.我希望你能帮助在穷途末路的他们。
• What shall we do in this extremity?在这种极其困难的情况下我们该怎么办呢？

499 canopy   

n.天篷，遮篷

参考例句：

• The trees formed a leafy canopy above their heads.树木在他们头顶上空形成了一个枝叶茂盛的遮篷。
• They lay down under a canopy of stars.他们躺在繁星点点的天幕下。

500 copper   

n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的

参考例句：

• The students are asked to prove the purity of copper.要求学生们检验铜的纯度。
• Copper is a good medium for the conduction of heat and electricity.铜是热和电的良导体。

501 expended   

v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽

参考例句：

• She expended all her efforts on the care of home and children. 她把所有精力都花在料理家务和照顾孩子上。
• The enemy had expended all their ammunition. 敌人已耗尽所有的弹药。 来自《简明英汉词典》

502 abreast   

adv.并排地；跟上(时代)的步伐，与…并进地

参考例句：

• She kept abreast with the flood of communications that had poured in.她及时回复如雪片般飞来的大批信件。
• We can't keep abreast of the developing situation unless we study harder.我们如果不加强学习，就会跟不上形势。

503 founders   

n.创始人( founder的名词复数 )

参考例句：

• He was one of the founders of the university's medical faculty. 他是该大学医学院的创建人之一。 来自辞典例句
• The founders of our religion made this a cornerstone of morality. 我们宗教的创始人把这看作是道德的基石。 来自辞典例句

504 curb   

n.场外证券市场，场外交易；vt.制止，抑制

参考例句：

• I could not curb my anger.我按捺不住我的愤怒。
• You must curb your daughter when you are in church.你在教堂时必须管住你的女儿。

505 gilt   

adj.镀金的；n.金边证券

参考例句：

• The plates have a gilt edge.这些盘子的边是镀金的。
• The rest of the money is invested in gilt.其余的钱投资于金边证券。

506 locomotion   

n.运动，移动

参考例句：

• By land,air or sea,birds are masters of locomotion.无论是通过陆地，飞越空中还是穿过海洋，鸟应算是运动能手了。
• Food sources also elicit oriented locomotion and recognition behavior patterns in most insects.食物源也引诱大多数昆虫定向迁移和识别行为。

507 obviate   

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。

508 applied   

adj.应用的；v.应用，适用

参考例句：

• She plans to take a course in applied linguistics.她打算学习应用语言学课程。
• This cream is best applied to the face at night.这种乳霜最好晚上擦脸用。

509 apparatus   

n.装置，器械；器具，设备

参考例句：

• The school's audio apparatus includes films and records.学校的视听设备包括放映机和录音机。
• They had a very refined apparatus.他们有一套非常精良的设备。

510 exclusion   

n.拒绝，排除，排斥，远足，远途旅行

参考例句：

• Don't revise a few topics to the exclusion of all others.不要修改少数论题以致排除所有其他的。
• He plays golf to the exclusion of all other sports.他专打高尔夫球，其他运动一概不参加。

511 potency   

n. 效力，潜能

参考例句：

• Alcohol increases the drug's potency.酒精能增加这种毒品的效力。
• Sunscreen can lose its potency if left over winter in the bathroom cabinet.如果把防晒霜在盥洗室的壁橱里放一个冬天，就有可能失效。

512 faculty   

n.才能；学院，系；(学院或系的)全体教学人员

参考例句：

• He has a great faculty for learning foreign languages.他有学习外语的天赋。
• He has the faculty of saying the right thing at the right time.他有在恰当的时候说恰当的话的才智。

513 ballad   

n.歌谣，民谣，流行爱情歌曲

参考例句：

• This poem has the distinctive flavour of a ballad.这首诗有民歌风味。
• This is a romantic ballad that is pure corn.这是一首极为伤感的浪漫小曲。

514 illustrating   

给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明

参考例句：

• He upstaged the other speakers by illustrating his talk with slides. 他演讲中配上幻灯片，比其他演讲人更吸引听众。
• Material illustrating detailed structure of graptolites has been etched from limestone by means of hydrofluoric acid. 表明笔石详细构造的物质是利用氢氟酸从石灰岩中侵蚀出来。

515 astronomical   

adj.天文学的，（数字）极大的

参考例句：

• He was an expert on ancient Chinese astronomical literature.他是研究中国古代天文学文献的专家。
• Houses in the village are selling for astronomical prices.乡村的房价正在飙升。

516 succumb   

v.屈服，屈从；死

参考例句：

• They will never succumb to the enemies.他们决不向敌人屈服。
• Will business leaders succumb to these ideas?商业领袖们会被这些观点折服吗？

517 irresistible   

adj.非常诱人的，无法拒绝的，无法抗拒的

参考例句：

• The wheel of history rolls forward with an irresistible force.历史车轮滚滚向前，势不可挡。
• She saw an irresistible skirt in the store window.她看见商店的橱窗里有一条叫人着迷的裙子。

518 administrative   

adj.行政的，管理的

参考例句：

• The administrative burden must be lifted from local government.必须解除地方政府的行政负担。
• He regarded all these administrative details as beneath his notice.他认为行政管理上的这些琐事都不值一顾。

519 gratuitous   

adj.无偿的，免费的；无缘无故的，不必要的

参考例句：

• His criticism is quite gratuitous.他的批评完全没有根据。
• There's too much crime and gratuitous violence on TV.电视里充斥着犯罪和无端的暴力。

520 orators   

n.演说者，演讲家( orator的名词复数 )

参考例句：

• The hired orators continued to pour forth their streams of eloquence. 那些雇来的演说家继续滔滔不绝地施展辩才。 来自辞典例句
• Their ears are too full of bugles and drums and the fine words from stay-at-home orators. 人们的耳朵被军号声和战声以及呆在这的演说家们的漂亮言辞塞得太满了。 来自飘（部分）

521 obsolete   

adj.已废弃的，过时的

参考例句：

• These goods are obsolete and will not fetch much on the market.这些货品过时了，在市场上卖不了高价。
• They tried to hammer obsolete ideas into the young people's heads.他们竭力把陈旧思想灌输给青年。

522 oratory   

n.演讲术；词藻华丽的言辞

参考例句：

• I admire the oratory of some politicians.我佩服某些政治家的辩才。
• He dazzled the crowd with his oratory.他的雄辩口才使听众赞叹不已。

523 dedicated   

adj.一心一意的；献身的；热诚的

参考例句：

• He dedicated his life to the cause of education.他献身于教育事业。
• His whole energies are dedicated to improve the design.他的全部精力都放在改进这项设计上了。

524 commemorating   

v.纪念，庆祝( commemorate的现在分词 )

参考例句：

• He was presented with a scroll commemorating his achievements. 他被授予一幅卷轴，以表彰其所做出的成就。 来自《简明英汉词典》
• The post office issued a series commemorating famous American entertainers. 邮局发行了一个纪念美国著名演艺人员的系列邮票。 来自互联网

525 whitewash   

v.粉刷，掩饰；n.石灰水，粉刷，掩饰

参考例句：

• They tried hard to whitewash themselves.他们力图粉饰自己。
• What he said was a load of whitewash.他所说的是一大堆粉饰之词。

526 attenuated   

v.（使）变细( attenuate的过去式和过去分词 )；（使）变薄；（使）变小；减弱

参考例句：

• an attenuated form of the virus 毒性已衰减的病毒
• You're a seraphic suggestion of attenuated thought . 你的思想是轻灵得如同天使一般的。 来自辞典例句

527 incompetency   

n.无能力，不适当

参考例句：

• I have suffered a martyrdom from their incompetency and caprice. 他们的无能和任性折磨得我够受了。 来自辞典例句

528 pious   

adj.虔诚的；道貌岸然的

参考例句：

• Alexander is a pious follower of the faith.亚历山大是个虔诚的信徒。
• Her mother was a pious Christian.她母亲是一个虔诚的基督教徒。

529 heartily   

adv.衷心地，诚恳地，十分，很

参考例句：

• He ate heartily and went out to look for his horse.他痛快地吃了一顿，就出去找他的马。
• The host seized my hand and shook it heartily.主人抓住我的手，热情地和我握手。

530 trumpery   

n.无价值的杂物；adj.（物品）中看不中用的

参考例句：

• The thing he bought yesterday was trumpery.他昨天买的只是一件没有什么价值的东西。
• The trumpery in the house should be weeded out.应该清除房子里里无价值的东西。

531 glistened   

v.湿物闪耀，闪亮( glisten的过去式和过去分词 )

参考例句：

• Pearls of dew glistened on the grass. 草地上珠露晶莹。 来自《现代汉英综合大词典》
• Her eyes glistened with tears. 她的眼里闪着泪花。 来自《现代汉英综合大词典》

532 ornaments   

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 )

参考例句：

• The shelves were chock-a-block with ornaments. 架子上堆满了装饰品。
• Playing the piano sets up resonance in those glass ornaments. 一弹钢琴那些玻璃饰物就会产生共振。 来自《简明英汉词典》

533 detriment   

n.损害；损害物，造成损害的根源

参考例句：

• Smoking is a detriment to one's health.吸烟危害健康。
• His lack of education is a serious detriment to his career.他的未受教育对他的事业是一种严重的妨碍。

534 woe   

n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌

参考例句：

• Our two peoples are brothers sharing weal and woe.我们两国人民是患难与共的兄弟。
• A man is well or woe as he thinks himself so.自认祸是祸，自认福是福。

535 dexterity   

n.(手的)灵巧，灵活

参考例句：

• You need manual dexterity to be good at video games.玩好电子游戏手要灵巧。
• I'm your inferior in manual dexterity.论手巧，我不如你。

536 deity   

n.神，神性；被奉若神明的人(或物)

参考例句：

• Many animals were seen as the manifestation of a deity.许多动物被看作神的化身。
• The deity was hidden in the deepest recesses of the temple.神藏在庙宇壁龛的最深处。

537 beseeching   

adj.恳求似的v.恳求，乞求（某事物）( beseech的现在分词 )

参考例句：

• She clung to her father, beseeching him for consent. 她紧紧挨着父亲，恳求他答应。 来自辞典例句
• He casts a beseeching glance at his son. 他用恳求的眼光望着儿子。 来自辞典例句

538 reins   

感情，激情； 缰( rein的名词复数 )； 控制手段； 掌管； （成人带着幼儿走路以防其走失时用的）保护带

参考例句：

• She pulled gently on the reins. 她轻轻地拉着缰绳。
• The government has imposed strict reins on the import of luxury goods. 政府对奢侈品的进口有严格的控制手段。

539 omnipotence   

n.全能，万能，无限威力

参考例句：

• Central bankers have never had any illusions of their own omnipotence. 中行的银行家们已经不再对于他们自己的无所不能存有幻想了。 来自互联网
• Introduce an omnipotence press automatism dividing device, explained it operation principle. 介绍了冲压万能自动分度装置，说明了其工作原理。 来自互联网

540 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

541 satire   

n.讽刺，讽刺文学，讽刺作品

参考例句：

• The movie is a clever satire on the advertising industry.那部影片是关于广告业的一部巧妙的讽刺作品。
• Satire is often a form of protest against injustice.讽刺往往是一种对不公正的抗议形式。

542 almighty   

adj.全能的，万能的；很大的，很强的

参考例句：

• Those rebels did not really challenge Gods almighty power.这些叛徒没有对上帝的全能力量表示怀疑。
• It's almighty cold outside.外面冷得要命。

543 incompetent   

adj.无能力的，不能胜任的

参考例句：

• He is utterly incompetent at his job.他完全不能胜任他的工作。
• He is incompetent at working with his hands.他动手能力不行。

544 embodying   

v.表现( embody的现在分词 )；象征；包括；包含

参考例句：

• Every instrument constitutes an independent contract embodying a payment obligation. 每张票据都构成一份独立的体现支付义务的合同。 来自口语例句
• Fowth, The aesthetical transcendency and the beauty embodying the man's liberty. \" 第四部分：审美的超越和作为人类自由最终体现的“美”。 来自互联网

545 antediluvian   

adj.史前的，陈旧的

参考例句：

• His ideas are positively antediluvian!他的思想是纯粹的老古董。
• This antediluvian monetary system has now been replaced by the up-to-date monetary system of Japan.这种旧式的金融体系也已经被现代化的日本系统所取代。

546 mightier   

adj. 强有力的，强大的，巨大的 adv. 很，极其

参考例句：

• But it ever rises up again, stronger, firmer, mightier. 但是，这种组织总是重新产生，并且一次比一次更强大，更坚固，更有力。 来自英汉非文学 - 共产党宣言
• Do you believe that the pen is mightier than the sword? 你相信笔杆的威力大于武力吗？

547 magistrates   

地方法官，治安官( magistrate的名词复数 )

参考例句：

• to come up before the magistrates 在地方法院出庭
• He was summoned to appear before the magistrates. 他被传唤在地方法院出庭。

548 courteously   

adv.有礼貌地，亲切地

参考例句：

• He courteously opened the door for me.他谦恭有礼地为我开门。
• Presently he rose courteously and released her.过了一会，他就很客气地站起来，让她走开。

549 refreshing   

adj.使精神振作的，使人清爽的，使人喜欢的

参考例句：

• I find it'so refreshing to work with young people in this department.我发现和这一部门的青年一起工作令人精神振奋。
• The water was cold and wonderfully refreshing.水很涼，特别解乏提神。

550 turmoil   

n.骚乱，混乱，动乱

参考例句：

• His mind was in such a turmoil that he couldn't get to sleep.内心的纷扰使他无法入睡。
• The robbery put the village in a turmoil.抢劫使全村陷入混乱。

551 slumber   

n.睡眠，沉睡状态

参考例句：

• All the people in the hotels were wrapped in deep slumber.住在各旅馆里的人都已进入梦乡。
• Don't wake him from his slumber because he needs the rest.不要把他从睡眠中唤醒，因为他需要休息。

552 vividly   

adv.清楚地，鲜明地，生动地

参考例句：

• The speaker pictured the suffering of the poor vividly.演讲者很生动地描述了穷人的生活。
• The characters in the book are vividly presented.这本书里的人物写得栩栩如生。

553 swells   

增强( swell的第三人称单数 )； 肿胀； （使）凸出； 充满（激情）

参考例句：

• The waters were heaving up in great swells. 河水正在急剧上升。
• A barrel swells in the middle. 水桶中部隆起。

554 zephyr   

n.和风，微风

参考例句：

• I feel very comfortable in the zephyr from the sea.从海上吹来的和风令我非常惬意。
• Zephyr,the West Wind,blew away the clouds so that Apollo,the sun god,could shine and made this flower bloom.西风之神吹散了云朵，太阳神阿波罗得以照耀它并使它开花。

555 sketching   

n.草图

参考例句：

• They are sketching out proposals for a new road. 他们正在草拟修建新路的计划。 来自《简明英汉词典》
• "Imagination is busy sketching rose-tinted pictures of joy. “飞舞驰骋的想象描绘出一幅幅玫瑰色欢乐的场景。 来自英汉文学 - 汤姆历险

556 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

557 lighting   

n.照明，光线的明暗，舞台灯光

参考例句：

• The gas lamp gradually lost ground to electric lighting.煤气灯逐渐为电灯所代替。
• The lighting in that restaurant is soft and romantic.那个餐馆照明柔和而且浪漫。

558 crammed   

adj.塞满的，挤满的；大口地吃；快速贪婪地吃v.把…塞满；填入；临时抱佛脚( cram的过去式)

参考例句：

• He crammed eight people into his car. 他往他的车里硬塞进八个人。
• All the shelves were crammed with books. 所有的架子上都堆满了书。

559 splendors   

n.华丽( splendor的名词复数 )；壮丽；光辉；显赫

参考例句：

• The sun rose presently and sent its unobstructed splendors over the land. 没多大工夫，太阳就出来了，毫无阻碍，把它的光华异彩散布在大地之上。 来自辞典例句
• Her mortal frame could not endure the splendors of the immortal radiance. 她那世人的肉身禁不住炽热的神光。 来自辞典例句

560 primness   

n.循规蹈矩，整洁

参考例句：

561 sincerity   

n.真诚，诚意；真实

参考例句：

• His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
• He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。

562 prospect   

n.前景，前途；景色，视野

参考例句：

• This state of things holds out a cheerful prospect.事态呈现出可喜的前景。
• The prospect became more evident.前景变得更加明朗了。

563 stentorian   

adj.大声的，响亮的

参考例句：

• Now all joined in solemn stentorian accord.现在，在这庄严的响彻云霄的和声中大家都联合在一起了。
• The stentorian tones of auctioneer,calling out to clear,now announced that the sale to commence.拍卖人用洪亮的声音招呼大家闪开一点，然后宣布拍卖即将开始。

564 melodious   

adj.旋律美妙的，调子优美的，音乐性的

参考例句：

• She spoke in a quietly melodious voice.她说话轻声细语，嗓音甜美。
• Everybody was attracted by her melodious voice.大家都被她悦耳的声音吸引住了。

565 tighten   

v.(使)变紧；(使)绷紧

参考例句：

• Turn the screw to the right to tighten it.向右转动螺钉把它拧紧。
• Some countries tighten monetary policy to avoid inflation.一些国家实行紧缩银根的货币政策，以避免通货膨胀。

566 brute   

n.野兽，兽性

参考例句：

• The aggressor troops are not many degrees removed from the brute.侵略军简直象一群野兽。
• That dog is a dangerous brute.It bites people.那条狗是危险的畜牲，它咬人。

567 brutes   

兽( brute的名词复数 )； 畜生； 残酷无情的人； 兽性

参考例句：

• They're not like dogs; they're hideous brutes. 它们不像狗，是丑陋的畜牲。
• Suddenly the foul musty odour of the brutes struck his nostrils. 突然，他的鼻尖闻到了老鼠的霉臭味。 来自英汉文学

568 sentient   

adj.有知觉的，知悉的；adv.有感觉能力地

参考例句：

• The living knew themselves just sentient puppets on God's stage.生还者认识到，他们不过是上帝的舞台上有知觉的木偶而已。
• It teaches us to love all sentient beings equally.它教导我们应该平等爱护一切众生。

569 hospitable   

adj.好客的；宽容的；有利的，适宜的

参考例句：

• The man is very hospitable.He keeps open house for his friends and fellow-workers.那人十分好客，无论是他的朋友还是同事，他都盛情接待。
• The locals are hospitable and welcoming.当地人热情好客。

570 analogous   

adj.相似的；类似的

参考例句：

• The two situations are roughly analogous.两种情況大致相似。
• The company is in a position closely analogous to that of its main rival.该公司与主要竞争对手的处境极为相似。

571 modifications   

n.缓和( modification的名词复数 )；限制；更改；改变

参考例句：

• The engine was pulled apart for modifications and then reassembled. 发动机被拆开改型，然后再组装起来。 来自《简明英汉词典》
• The original plan had undergone fairly extensive modifications. 原计划已经作了相当大的修改。 来自《简明英汉词典》

572 Saturn   

n.农神，土星

参考例句：

• Astronomers used to ask why only Saturn has rings.天文学家们过去一直感到奇怪，为什么只有土星有光环。
• These comparisons suggested that Saturn is made of lighter materials.这些比较告诉我们，土星由较轻的物质构成。

573 speculations   

n.投机买卖( speculation的名词复数 )；思考；投机活动；推断

参考例句：

• Your speculations were all quite close to the truth. 你的揣测都很接近于事实。 来自《现代英汉综合大词典》
• This possibility gives rise to interesting speculations. 这种可能性引起了有趣的推测。 来自《用法词典》

574 pervaded   

v.遍及，弥漫( pervade的过去式和过去分词 )

参考例句：

• A retrospective influence pervaded the whole performance. 怀旧的影响弥漫了整个演出。 来自《简明英汉词典》
• The air is pervaded by a smell [smoking]. 空气中弥散着一种气味[烟味]。 来自《现代英汉综合大词典》