The altar-screens, of great size, and known in Spain as retablos, which meet us in every church may be considered as the most entirely1 characteristic expression of the country’s art. Nowhere has the development of the altar-screen assumed such importance. The huge retablos of Spain stand alone both in their dimensions and in their magnificence. In these works were joined the common efforts of the architect, the sculptor2, and the painter. Of a size and with a wealth of decoration so great that often an examination of their detail is fatiguing3, they represent the most exhaustive examples of the creative thought and power of representation of the native artists.
Their evolution is interesting and curious. At first we find them as screens of pagan and Roman origin, and dating back to the middle of the twelfth century. But the pagan screens were adapted by{51} Christians5, who gave to them the name diptycha of the Apostles, of the Martyrs6, and of the Saints, and used them as portable altars, and also largely as votive gifts, their richness being in proportion to the wealth of the giver and the importance of the subject depicted7. We have several examples in the Camara Santa of Oviedo Cathedral and in the Camarin of Santa Teresa, Escorial (Plate 55). The Tablas Alfonsinas in the Sacristia Mayor of the Cathedral of Seville is another and more important example. This treasure is specially8 interesting, as it shows the actual use made of these folding tablets. It was the altar of Alfonso the Learned, and was presented by him to the cathedral in 1274 after he had used it in battle; for in Spain these altar-screens were carried by Christian4 generals travelling in the campaigns against the Moors9. As the Reconquest progressed their importance increased, and we have triptycha and pentaptycha as well as diptycha; their number multiplied as they became richer and grander in ornament10. They were connected with the deepest religious feelings of Christian Spain, being used by the Paladins to pray to before plunging11 into battle. Later, from portable altars they became fixed12 altars in churches. From this time their size and magnificence increased, the religious sentiment{52} associated with them explaining, as we believe, both their frequency and their importance in the art of the period.
A selection of the most admirable altar-screens alone would make a long list. Almost every church and all the great cathedrals furnish examples; they are especially numerous in the churches of Catalonia and Navarre.
The altar-screen in the Romanesque church of San Feliú, though less known than those of Zaragoza, Barcelona, Tarragona, Pampeluna, and Burgos, is important as a very beautiful and early example of these retablos. It is in two distinct sections, which stand upon a widely spreading base. The first or central part is in three storeys, which are supported by Gothic pillars, and in the nine niches13 stand statues of the saints. These, as well as the bas-reliefs and carvings15 on the pillars, are of great vigour16, and the effect is strengthened by the admirable painting and gilding17. The second part of the screen is composed of two wings, on which are carved the figures of the prophets, surrounded by rich foliage18. These too are painted and gilded19.
The creative power displayed in these retablos is often surprising. But it must be admitted that their general effect is less satisfactory than an{53} examination of the parts in detail would lead us to expect. The artists would often seem to have been hampered20 by the huge size they had to ornament. Continuing the accustomed forms, evolved for use in screens of more modest dimensions, they have gained the desired amplitude21 of ornament by a multiplication22 of the same forms that is often wearying. But granting this, it is among these works that many important and beautiful statues will be found. For this reason they cannot be overlooked by the student of Spanish polychromes.
No altar-screen in Spain is more beautiful or more worthy23 of study than the one in the Capilla Mayor of Tarragona Cathedral. It illustrates24 the life of St. Tecla, the disciple25 of St. Paul, and the tutelary26 saint of Tarragona, who was martyred, according to legend, on this spot. We read the story in the delightful27 Légende Dorée of Jaques de Voragine:—
“St. Paul was seized and conveyed to prison, whither his disciple Tecla followed him. The apostle and the maiden28 were judged together, and together condemned29: he to be beaten with rods and driven from the city, she to be burned alive. She threw herself joyously30 on to the pyre, but immediately a heavy shower of rain fell from the sky and extinguished the flames; also a great{54} earthquake occurred, in which perished a great number of pagans. By this means Tecla was enabled to escape. She took refuge in the house where St. Paul was living, and was overjoyed to meet the inspirer of her conversion31. She wished to cut her hair and travel with him, disguised as a man. But this the apostle would not permit, for she had great beauty.”
In the Tarragona screen charming pinnacles32 crown a bas-relief representing the Virgin33 and her Child, to the right and left of which stand St. Paul and St. Tecla, figures of heroic size, who regard the group with pious34 emotion. Beside them are bas-reliefs, most minutely executed, representing scenes in the saint’s life. In one we see her as described by Voragine, with serene35 face, her body nude36, and praying in the midst of the flames which envelop37 without burning her. Angels encourage and sustain her, while below are seen the grinning heads of the damned. In another scene the saint is surrounded by reptiles38 and wild beasts in the cave into which she was thrown; and in yet another she stands beside a bull, destined39 to drag and crush her body among the stones of the road. Between the bas-reliefs are statues of prophets, apostles, and saints; and on brackets, in the midst of foliage, repose40 female saints with{55} smiling faces. All the figures are carved with great skill, and besides there is a wealth of detail—flowers, foliage, animals, and insects—all of which are treated with surprising ability.
The colourisation of the screen, like most marble and alabaster41 monuments, has suffered from repeated and careless washings. But the carvings preserve everywhere vestiges42 of paint and gilt43, so that it is possible to reconstruct the scheme of colour. This is curious—generally blue and gold, with only a few touches of red and brown, which M. Marcel Dieulafoy suggests may be due to the artist’s desire to surround St. Tecla by the virginal and holy atmosphere which would be suggested by this manifold and unusual use of blue tones. This realisation of the spiritual expression of a legend is very characteristic of Spain, whose artists possessed44 as their greatest gift the power of rendering45 a story just as they felt it had happened.
We owe the Tarragona altar-screen to a native Catalan artist. It was begun in 1426 by Pedro Juan de Vallfongona, who executed the bas-reliefs and statues of the first two stages, while at the same time the artist Guillermo de la Monta worked on the architecture and ornaments46. But in 1436 Pedro Juan, gaining favour from the beauty of his{56} work, was called to execute an altar for Zaragoza Cathedral, after which he only retained a sort of inspectorship47 over the work at Tarragona, which was finished by Guillermo de la Monta.
Pedro Juan worked on the Zaragoza altar-screen until his death in 1447, aided by Pedro Garces, Guillermo Monta, and Pedro Navarro. For some reason the work was suspended for twenty-six years, when, on account of the great age of the original collaborators, it was entrusted48 to Gil Morlau, with Gabriel Gombao to aid him in the inferior parts. Finally the screen was completed and gilded and painted in 1480.
The altar-screen of Zaragoza has some fine bas-reliefs; the most important is that of the centre, which shows the Adoration49 of the Magi. The Virgin, seated, presents her Babe to the Kings, figures of vigorous life and great dignity, who bend in worship as they offer their gifts; behind, a group of figures represent a crowd of onlookers50. On either side of this central composition are bas-reliefs representing scenes in the Transfiguration, lives of the Virgin, and Ascension of Christ: these are the work of Pedro Juan.
Another important retablo, which follows in date the work of Pedro Juan, is that in the{57} Capilla de Santiago (Plate 56) in the Cathedral of Toledo. It is made of larch51 wood, and carved, gilded, and painted in the richest Gothic style. The bas-reliefs represent scenes in the New Testament52; all the figures are life size. We owe this work to the artists Sancho de Zamora, Juan de Segovia, and Pedro Gumiel, and it was begun at the end of the fifteenth century. In the same chapel53 at Toledo are the six magnificent Gothic tombs of Don álvaro de Luna, the work of Pablo Ortiz, one of the most famous carvers in the fifteenth century (Plate 58). Another interesting altar-screen is that in the Capilla de la Trinidad (Plate 59).
In the carvings of these later altar-screens and tombs a new influence will be traced; for, in the last third of the fifteenth century, what may truly be termed a revolution in style took place in Spanish sculpture. A stronger realistic tendency, with a more marked individuality in the portraits, will be seen. The characteristic features are more emphasised, the gestures more free and more individual. Waved lines give place to broken ones, rounded surfaces to sharp-edged ones. This heightened vitality54 was due not only to a greater mastery of the technical part of sculpture by the native artists, but to a newly imported art inspiration, which now began to mingle55 with,{58} and even to replace, the influences of France and Burgundy.
Up till about 1400 Spain was loyal to France, and kept her artists as her teachers and advisers56. Afterwards Burgundy displaced France, and we have the far-reaching influence of the great ecclesiastical orders. Now followed the rule of the Netherlands and of Germany. In the fifteenth century Spain was brought into close connection with the Low Countries. The intermarrying of the royal houses of Burgundy and Hapsburg united the Northern countries first with Portugal, and afterwards with Spain. The result of this union was a great advancement57 in Spain’s art. The first of the Northerners to come to Spain were painters, and we have the visit of Jan van Eyck, in 1428, with its far-reaching consequences to Spanish painting; then followed architects and sculptors58. A Flemish painter was adopted by the Count of Aragon about 1440; and the Cartuja of Miraflores has a small altar-screen of which the wings were painted by him. The archives of Toledo mention a great number of Flemish artists of renown59, who settled and worked in the city, among whom were Juan and Bernardino of Brussels, whose names are often mentioned by Cean Bermudez, and the four brothers Egas from Eycken, one of whom,{59} Anequin, was appointed architect of the cathedral by the chapter, and directed the work of the sculptures of the Gate of the Lions, being assisted by Fernandez de Liena and Juan Givas, also an architect of the cathedral. Then we know that at Burgos worked the Colonia family, Juan, Simeon, and Francisco, who carved the woodwork of the cathedral and that of the Cartuja of Miraflores. There were also Northern artists in Seville. Mateo and Nicolas were skilful60 goldsmiths, and Cristobal—all of whom probably came from Germany—was a painter on glass. Juan Aleman, in 1512, finished the choir-stalls of the cathedral, George Fernandez Aleman carved the retablo, while another artist of the same name, Rodrigo Aleman, sculptured the wainscoting of Palencia Cathedral, whose invention and humour, Professor Carl Justi says, recall the South German masters.
These Northern artists, widely distributed over Spain, brought about the transformation61 of art of which we have spoken. The native artists readily absorbed their influence. We now meet a marked change in the direction of realism. The Christs are long, lean, and emaciated62, the Virgins63 are older; we have sharply defined outlines, and the religious scenes and legends are depicted with a stronger and more passionate64 understanding.{60}
The altar-screens were still the most important works that were executed. An interesting example, which shows very clearly this new expression of realism, is an altar-screen in the Museum of Valladolid, which came from the Convent of San Francisco (Plates 60 and 61). It is carved in walnut65 wood, and there are traces of painting. The figure of Christ is strangely emaciated, the Virgin is older, while all the figures are strongly characterised; there is a very considerable amount of creative thought and power in the presentment of the scene. The author of the work is unknown.
Among many other important examples of this over-accentuated realistic type may be mentioned an anonymous66 Pietà from Salamanca, in which we see the new tendencies expressed at their strongest point of accentuation. An altar-screen in one of the chapels67 of Palencia Cathedral, the bas-reliefs which ornament the spandril of the Puerta de la Piedad, the south entrance of Barcelona Cathedral, and also the figures which crown the door of the Hospice of Huesca, are further, though less striking, examples. The altar of Santa Ana in Burgos Cathedral belongs to the same period; but in this very charming example we have a work of a different character. The figures, carved in wood and coloured, especially{61} the youthful and beautiful Virgin, have a grace and freedom of movement absent from the more realistic works which were the outcome of the Northern influences.
The greatest artist of this period was Gil de Siloe, whose works rank among the most important sculptures in Spain. He was a native of Burgos, and was born at the end of the fifteenth century. His masterpiece is the monument of Don Juan II. and Do?a Isabel, known as the Sepulcros de los Reyes, in the Cartuja of Miraflores, Burgos (Plate 64). It was erected68 by Isabella the Catholic, daughter of Juan II., and was begun in the year 1489, when Gil de Siloe received 1340 maravedis for the design. It was finished four years later, and a further sum of 442,667 maravedis for the sculpture and 158,252 for the alabaster were paid. It is perhaps the finest monument of its kind in Spain, perfect both in design and execution.
The monument, which stands in the centre of the church, is of a curious shape, being octagonal, or rather sixteen-sided, a form very uncommon69, and Oriental in its origin. The recumbent figures of the King and Queen lie side by side on a sumptuous70 bed, and between them is a low marble railing. The King has a ring on the right hand{62} and holds a sceptre, in the Queen’s hand is a prayer-book and rosary. The sides are ornamented71 with statues, placed under delicate canopies72, of which some represent the Cardinal73 Virtues74, and each is a masterpiece of carving14. There are besides sixteen lions bearing escutcheons, and bas-reliefs of scenes from the New Testament. Then around the top is a double cornice of foliage—branches of vines and laurels—with birds and animals splendidly carved (Plates 65 and 66).
Above the tomb, inlaid upon the wall, is the monument of their son, Alfonso (Plate 67), whose death in 1470, at the age of sixteen, brought Isabella the Catholic to the throne. This work is elaborately adorned75 with carvings. Placed in a small elliptic arch, the Prince kneels before a prie-dieu. He wears a mantle76 similar to the King. Above him are the Virgin and the Angel Gabriel, bearing a vase in which blooms a lily as the emblem77 of Purity, while St. Michael with the Dragon, the emblem of Victory, is placed on the spandril between the flying-arch and the accolade78. Below on the sub-basement a charming group of angels hold the battle-shield of the young Prince.
The tomb, now in the Museum of Burgos, of Juan de Padella (Plate 68) is so similar to the monument of Prince Alfonso, not only in the{63} general design and style, but in the actual carrying out of the details, that it seems right to attribute it to Gil de Siloe. Juan de Padella was a royal page, killed in the siege of Granada; he is known to have been a great favourite of Queen Isabella, who called him mi loco (my fool), and it is therefore quite probable that de Siloe, the royal artist, would be employed to design and execute his tomb.
The retablo of the high altar at Miraflores (Plates 69-71) is also by Gil de Siloe, but in this work he was aided by Diego de la Cruz. It was begun in the year 1490; the date at which it was completed is not known. It has numerous statues. In the centre is a Crucifixion, with a realistic Christ. The Virgin and St. John, figures of great merit, wait beside the Cross, and a band of angels press forward to receive the drops of the Divine Blood. Above flies the symbolical79 pelican80, feeding its young with its own blood; below are the kneeling figures of Juan II. and Isabella his wife, he being guarded by Santiago, Spain’s patron hero, while she is protected by a saint. At either side of this central composition are bas-reliefs representing scenes from the life of Christ, and figures of the Apostles and Evangelists. Perhaps the best of the carvings is the one of{64} a female saint with a figure asleep at her feet. The saint’s figure is exquisitely81 coloured—a perfect example of polychrome. There are also interesting carvings in the choir-stalls (Plate 72). With the Miraflores altar-screen we may compare the retablo of the Church of Santa Gadea del Cid, also at Burgos (Plate 73). The author of this important carving is unknown.
Among numerous works which deserve to take rank with the polychromes of Gil de Siloe a few must be mentioned. One of the best is the funeral monument of Do?a Beatrice de Pacheco, Comtesse of Medellin, in the monastery82 church of the Hyeronymites del Parral, near Segovia, which M. Marcel Dieulafoy suggests is the work of Juan Eqas or his brother. Unfortunately the barbarous treatment this monument has suffered prevents its enjoying the reputation it deserves. Then there are the bas-reliefs of Christ entering Jerusalem and Christ in Hades on the door which leads from the nave83 to the cloisters84 of Burgos Cathedral, fine specimens85 of Gothic carving; and other examples may be seen in the cathedrals of Vittoria, Pampeluna, Avila, Valencia, Leon, and Toledo.
We have now examined the most important polychromes that were executed up to the close of the fifteenth century. They present us with works{65} of great vigour, especially those later pieces, which show the influences from the North. They were wrought86 at a time when the vitality of Spain was at its highest and its growth in the art of carving was in full development.
It may be well at this point, and before turning to new influences which were again to alter the tendencies of the native work, to consider briefly87 the technique of polychrome statuary.
The altar-screens, as we have seen, were the special activity of the period. M. Marcel Dieulafoy gives an excellent and concise88 account of the manner in which these important works were carried out by different sets of workmen, for it was rarely that all the processes necessary to the completion of a polychrome were undertaken by one artist. First and most important there was the tracer, afterwards called the assembler, the chief artist, who furnished the design both for the whole work and its ornaments of statuary and bas-reliefs, and also superintended its execution. To him the sculptors, ornamenters, master-masons, and master-carpenters were subordinate, but the painters, damaskers, and gilders were free from his control. Thus writes M. Marcel Dieulafoy: “The intervention89 of four successive brotherhoods90 of artists was required—1. Tracers, who later became known as{66} Architectural Assemblers; 2. Imagers, who were the sculptors and carvers; 3. the Eucaruadores, the body-painters who coloured the flesh of the figures; 4. the Estofadores and Doradores, who were respectively the stuff-painters and the gilders.” Just as the tracer had ascendency over and directed the work of the imagers—the sculptors and carvers—so the Eucaruadore, or flesh-artist, was the head of the polychrome workers, and directed the colourers of the stuff-painters and the gilders. His position was one of supreme91 importance, which is proved by the fact that it was not unusual for him to receive for his work as much as half of the entire sum paid. This is an interesting proof of the high esteem92 in which the art of polychrome was held. The Estofadores had not the same importance; their work was to paint the stuffs of the garments, generally on a background of gold, and also foliage and arabesques93. The Doradores or gilders were their collaborators, and their special work, besides the gilding of the background, was to paint in “full-gilt” armour94, &c., and to enrich with jewels; to their share also fell the art of damasking.
Almost all the great painters of Spain were polychromists, and we find them collaborating95 with the sculptors. This custom continued far beyond{67} the period we have been considering. Zurbaran, Murillo, Valdés Leal, and Pacheco coloured the statues of Gaspar Delgado and Monta?és. Pacheco, the great historian, who was also a painter, especially extols96 the art of polychrome in several illuminating97 passages in his Arte de la Pintura. In one place he writes:—
“May it please God in His mercy to exile from the world the vulgar enamellers, and in the supreme cause of truth, harmony, and enlightenment to establish for flesh-painting the use of the ‘mat’ colouring” (this ‘mat’ or dull colouring superseded98 the burnished99 or polished colouring), “which approaches nearer to Nature, lends itself to numerous retouches, and so permits the production of that delicacy100 which to-day we so much admire. It is true that the moderns—by whom I mean those between the ancient painters and ourselves—began to employ this style, as we may gather from their treatises101 on sculpture and from what we see on the old altar-screens, but the merit of having revived the art in Spain, and of giving, thanks to it, a better light and more of life to good sculpture, I dare to say belongs in truth to me. At the least I am the only one in Seville who since the year 1600 preached and practised it. It is well to know that on the 17th of January in that year I painted in ‘mat’ the Christ, executed by the goldsmith Juan Bautista Franconio, after the model of the ‘four nails’ Crucifixion of Michael Angelo, which he brought from Rome. Since then all artists have imitated me. It would take too long to enumerate102 the{68} remarkable103 works of Gaspar Nu?ez Delgado and Martinez Monta?és which this city possesses, and in which I have collaborated104; but it would be unpardonable if I did not specify105 some of them, as they are among the best of the number which have proved the superiority of this invention.”
He then gives a list of polychromes which he has coloured, works which we shall notice in a later chapter. Afterwards he continues:—
“Whence have they acquired the audacity106, those who claim that painting on flat surfaces dominates the arts, and that if they had to paint the flesh of a statue they could do it better with their feet than the specialists with their hands? They are very much mistaken in that, for if they tried they would bring no grace, nor lightness, nor freshness to the work. In the same way that when one imitates Nature in a well-designed head, one renders the colour, the delicacy of the eyes, of the mouth, the brilliancy and effect of the hair, so even on good sculpture can admiration107 be exacted, as has been proved by the enthusiasm of those who have seen the works which I have painted in ‘mat.’ The fact is so public that I need not insist on it.”
Pacheco, in another passage of equal illumination, also speaks of the beauty of the art of damasking, giving a careful and full account of the process:—
“Marvellous was the invention made by the old painters for the ornamentation of figures in relief and{69} the architecture of altar-screens by gilding in burnished gold and damasking them. The colours must be the same, and chosen with the same care as those designed for illumination. They must be ground and prepared in water with the same limpidity108, but in lieu of gum paste one should use the yolks of fresh eggs diluted109 in equal volume of water, fresh and clear, beaten to a froth. This paste must be mixed with the colours for damasking the burnished gold, taking care to size with white lead all the parts to be painted, be it either of grotesque110 figures or of vestments, of which the gold should serve as a background for divers111 colours. It is always well to know that blue does not require so strong a paste as carmine112, vermilion, ochre, and other colours of little body, and that if the paste be more than a day old it is necessary to add with the egg a few drops of vinegar to prevent spoiling.”
These significant passages may well end this chapter. It must be accepted that polychrome was an art highly esteemed113, that colouring of statuary, and especially of the great altar-screens, was carried out with extreme care, and was regarded as work not beneath the dignity of the greatest artists. In Spain the sculptor and the painter were as one.
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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fatiguing
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| a.使人劳累的 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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Christians
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| n.基督教徒( Christian的名词复数 ) | |
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martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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specially
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| adv.特定地；特殊地；明确地 | |
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moors
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| v.停泊，系泊（船只）( moor的第三人称单数 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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plunging
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| adj.跳进的，突进的v.颠簸( plunge的现在分词 )；暴跌；骤降；突降 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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niches
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| 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） | |
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carving
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| n.雕刻品，雕花 | |
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carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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gilding
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| n.贴金箔，镀金 | |
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foliage
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| n.叶子，树叶，簇叶 | |
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gilded
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| a.镀金的，富有的 | |
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hampered
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| 妨碍，束缚，限制( hamper的过去式和过去分词 ) | |
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amplitude
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| n.广大；充足；振幅 | |
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multiplication
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| n.增加，增多，倍增；增殖，繁殖；乘法 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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disciple
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| n.信徒，门徒，追随者 | |
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tutelary
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| adj.保护的；守护的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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joyously
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| ad.快乐地, 高兴地 | |
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conversion
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| n.转化，转换，转变 | |
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pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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34
pious
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| adj.虔诚的；道貌岸然的 | |
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35
serene
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| adj. 安详的，宁静的，平静的 | |
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36
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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37
envelop
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| vt.包，封，遮盖；包围 | |
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38
reptiles
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| n.爬行动物，爬虫( reptile的名词复数 ) | |
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39
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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40
repose
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| v.(使)休息；n.安息 | |
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41
alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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42
vestiges
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| 残余部分( vestige的名词复数 )； 遗迹； 痕迹； 毫不 | |
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43
gilt
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| adj.镀金的；n.金边证券 | |
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44
possessed
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| adj.疯狂的；拥有的，占有的 | |
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45
rendering
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| n.表现，描写 | |
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46
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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47
inspectorship
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| n.检查员的地位 | |
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48
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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49
adoration
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| n.爱慕，崇拜 | |
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50
onlookers
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| n.旁观者，观看者( onlooker的名词复数 ) | |
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51
larch
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| n.落叶松 | |
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52
testament
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| n.遗嘱；证明 | |
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53
chapel
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| n.小教堂，殡仪馆 | |
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54
vitality
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| n.活力，生命力，效力 | |
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55
mingle
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| vt.使混合，使相混；vi.混合起来；相交往 | |
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56
advisers
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| 顾问，劝告者( adviser的名词复数 )； （指导大学新生学科问题等的）指导教授 | |
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57
advancement
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| n.前进，促进，提升 | |
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58
sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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59
renown
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| n.声誉，名望 | |
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60
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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61
transformation
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| n.变化；改造；转变 | |
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emaciated
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| adj.衰弱的，消瘦的 | |
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virgins
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| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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65
walnut
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| n.胡桃，胡桃木，胡桃色，茶色 | |
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anonymous
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| adj.无名的；匿名的；无特色的 | |
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67
chapels
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| 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 | |
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68
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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uncommon
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| adj.罕见的，非凡的，不平常的 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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72
canopies
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| （宝座或床等上面的）华盖( canopy的名词复数 )； （飞行器上的）座舱罩； 任何悬于上空的覆盖物； 森林中天棚似的树荫 | |
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73
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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74
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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adorned
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| [计]被修饰的 | |
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76
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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emblem
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| n.象征，标志；徽章 | |
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78
accolade
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| n.推崇备至，赞扬 | |
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79
symbolical
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| a.象征性的 | |
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80
pelican
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| n.鹈鹕，伽蓝鸟 | |
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81
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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82
monastery
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| n.修道院，僧院，寺院 | |
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83
nave
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| n.教堂的中部；本堂 | |
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84
cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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85
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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86
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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87
briefly
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| adv.简单地，简短地 | |
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88
concise
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| adj.简洁的，简明的 | |
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89
intervention
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| n.介入，干涉，干预 | |
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90
brotherhoods
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| 兄弟关系( brotherhood的名词复数 )； （总称）同行； （宗教性的）兄弟会； 同业公会 | |
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91
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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92
esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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93
arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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94
armour
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| （=armor）n.盔甲；装甲部队 | |
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95
collaborating
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| 合作( collaborate的现在分词 )； 勾结叛国 | |
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96
extols
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| v.赞颂，赞扬，赞美( extol的第三人称单数 ) | |
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97
illuminating
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| a.富于启发性的，有助阐明的 | |
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98
superseded
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| [医]被代替的，废弃的 | |
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99
burnished
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| 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 | |
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100
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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101
treatises
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| n.专题著作，专题论文，专著( treatise的名词复数 ) | |
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102
enumerate
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| v.列举，计算，枚举，数 | |
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103
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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104
collaborated
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| 合作( collaborate的过去式和过去分词 )； 勾结叛国 | |
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105
specify
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| vt.指定，详细说明 | |
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106
audacity
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| n.大胆，卤莽，无礼 | |
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107
admiration
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| n.钦佩，赞美，羡慕 | |
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108
limpidity
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| n.清澈，透明 | |
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109
diluted
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| 无力的，冲淡的 | |
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110
grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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111
divers
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| adj.不同的；种种的 | |
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112
carmine
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| n.深红色，洋红色 | |
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113
esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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