CHAPTER IV. THE LAMP OF BEAUTY.

 I. It was stated, in the outset of the preceding chapter, that the value of architecture depended on two distinct characters: the one, the impression it receives from human power; the other, the image it bears of the natural creation. I have endeavored to show in what manner its majesty¹ was attributable to a sympathy with the effort and trouble of human life (a sympathy as distinctly perceived in the gloom and mystery of form, as it is in the melancholy³ tones of sounds). I desire now to trace that happier element of its excellence⁴, consisting in a noble rendering⁵ of images of Beauty, derived⁶ chiefly from the external appearances of organic nature.

 

It is irrelevant⁷ to our present purpose to enter into any inquiry⁸ respecting the essential causes of impressions of beauty. I have partly expressed my thoughts on this matter in a previous work, and I hope to develope them hereafter. But since all such inquiries⁹ can only be founded on the ordinary understanding of what is meant by the term Beauty, and since they presume that the feeling of mankind on this subject is universal and instinctive¹⁰, I shall base my present investigation¹¹ on this assumption; and only asserting that to be beautiful which I believe will be granted me to be so without dispute, I would endeavor shortly to trace the manner in which this element of delight is to be best engrafted upon architectural design, what are the purest sources from which it is to be derived, and what the errors to be avoided in its pursuit.

 

II. It will be thought that I have somewhat rashly limited the elements of architectural beauty to imitative forms. I do not mean to assert that every arrangement of line is directly suggested by a natural object; but that all beautiful lines are adaptations of those which are commonest in the external creation; that in proportion to the richness of their association, the resemblance to natural work, as a type and help, must be more closely attempted, and more clearly seen; and that be[Pg 101]yond a certain point, and that a very low one, man cannot advance in the invention of beauty, without directly imitating natural form. Thus, in the Doric temple, the triglyph and cornice are unimitative; or imitative only of artificial cuttings of wood. No one would call these members beautiful. Their influence over us is in their severity and simplicity¹². The fluting¹³ of the column, which I doubt not was the Greek symbol of the bark of the tree, was imitative in its origin, and feebly resembled many caniculated organic structures. Beauty is instantly felt in it, but of a low order. The decoration proper was sought in the true forms of organic life, and those chiefly human. Again: the Doric capital was unimitative; but all the beauty it had was dependent on the precision of its ovolo, a natural curve of the most frequent occurrence. The Ionic capital (to my mind, as an architectural invention, exceedingly base) nevertheless depended for all the beauty that it had on its adoption¹⁴ of a spiral line, perhaps the commonest of all that characterise the inferior orders of animal organism and habitation. Farther progress could not be made without a direct imitation of the acanthus leaf.

 

Again: the Romanesque arch is beautiful as an abstract line. Its type is always before us in that of the apparent vault¹⁵ of heaven, and horizon of the earth. The cylindrical¹⁶ pillar is always beautiful, for God has so moulded the stem of every tree that it is pleasant to the eyes. The pointed¹⁷ arch is beautiful; it is the termination of every leaf that shakes in summer wind, and its most fortunate associations are directly borrowed from the trefoiled grass of the field, or from the stars of its flowers. Further than this, man's invention could not reach without frank imitation. His next step was to gather the flowers themselves, and wreathe them in his capitals.

 

III. Now, I would insist especially on the fact, of which I doubt not that further illustrations will occur to the mind of every reader, that all most lovely forms and thoughts are directly taken from natural objects; because I would fain be allowed to assume also the converse¹⁸ of this, namely, that forms which are not taken from natural objects must be ugly.[Pg 102] I know this is a bold assumption; but as I have not space to reason out the points wherein essential beauty of form consists, that being far too serious a work to be undertaken in a bye way, I have no other resource than to use this accidental mark or test of beauty, of whose truth the considerations which I hope hereafter to lay before the reader may assure him. I say an accidental mark, since forms are not beautiful because they are copied from nature; only it is out of the power of man to conceive beauty without her aid. I believe the reader will grant me this, even from the examples above advanced; the degree of confidence with which it is granted must attach also to his acceptance of the conclusions which will follow from it; but if it be granted frankly¹⁹, it will enable me to determine a matter of very essential importance, namely, what is or is not ornament²⁰. For there are many forms of so-called decoration in architecture, habitual²¹, and received, therefore, with approval, or at all events without any venture at expression or dislike, which I have no hesitation²² in asserting to be not ornament at all, but to be ugly things, the expense of which ought in truth to be set down in the architect's contract, as "For Monstrification." I believe that we regard these customary deformities with a savage²³ complacency, as an Indian does his flesh patterns and paint (all nations being in certain degrees and senses savage). I believe that I can prove them to be monstrous²⁴, and I hope hereafter to do so conclusively²⁵; but, meantime, I can allege²⁶ in defence of my persuasion²⁷ nothing but this fact of their being unnatural²⁸, to which the reader must attach such weight as he thinks it deserves. There is, however, a peculiar²⁹ difficulty in using this proof; it requires the writer to assume, very impertinently, that nothing is natural but what he has seen or supposes to exist. I would not do this; for I suppose there is no conceivable form or grouping of forms but in some part of the universe an example of it may be found. But I think I am justified³⁰ in considering those forms to be most natural which are most frequent; or, rather, that on the shapes which in the every-day world are familiar to the eyes of men, God has stamped those characters of beauty which He has made[Pg 103] it man's nature to love; while in certain exceptional forms He has shown that the adoption of the others was not a matter of necessity, but part of the adjusted harmony of creation. I believe that thus we may reason from Frequency to Beauty and vice³¹ versa; that knowing a thing to be frequent, we may assume it to be beautiful; and assume that which is most frequent to be most beautiful: I mean, of course, visibly frequent; for the forms of things which are hidden in caverns³² of the earth, or in the anatomy³³ of animal frames, are evidently not intended by their Maker³⁴ to bear the habitual gaze of man. And, again, by frequency I mean that limited and isolated³⁵ frequency which is characteristic of all perfection; not mere³⁶ multitude: as a rose is a common flower, but yet there are not so many roses on the tree as there are leaves. In this respect Nature is sparing of her highest, and lavish³⁷ of her less, beauty; but I call the flower as frequent as the leaf, because, each in its allotted³⁸ quantity, where the one is, there will ordinarily be the other.

 

IV. The first so-called ornament, then, which I would attack is that Greek fret³⁹, now, I believe, usually known by the Italian name Guilloche, which is exactly a case in point. It so happens that in crystals of bismuth formed by the unagitated cooling of the melted metal, there occurs a natural resemblance of it almost perfect. But crystals of bismuth not only are of unusual occurrence in every-day life, but their form is, as far as I know, unique among minerals; and not only unique, but only attainable⁴¹ by an artificial process, the metal itself never being found pure. I do not remember any other substance or arrangement which presents a resemblance to this Greek ornament; and I think that I may trust my remembrance as including most of the arrangements which occur in the outward forms of common and familiar things. On this ground, then, I allege that ornament to be ugly; or, in the literal sense of the word, monstrous; different from anything which it is the nature of man to admire: and I think an uncarved fillet or plinth infinitely⁴² preferable to one covered with this vile⁴³ concatenation of straight lines: unless indeed it be employed as a foil to a true ornament, which it[Pg 104] may, perhaps, sometimes with advantage; or excessively small, as it occurs on coins, the harshness of its arrangement being less perceived.

 

V. Often in association with this horrible design we find, in Greek works, one which is as beautiful as this is painful—that egg and dart⁴⁴ moulding, whose perfection in its place and way, has never been surpassed. And why is this? Simply because the form of which it is chiefly composed is one not only familiar to us in the soft housing of the bird's nest, but happens to be that of nearly every pebble⁴⁵ that rolls and murmurs⁴⁶ under the surf of the sea, on all its endless shore. And with that a peculiar accuracy; for the mass which bears the light in this moulding is not in good Greek work, as in the frieze⁴⁷ of the Erechtheum, merely of the shape of an egg. It is flattened⁴⁸ on the upper surface, with a delicacy⁴⁹ and keen sense of variety in the curve which it is impossible too highly to praise, attaining⁵⁰ exactly that flattened, imperfect oval, which, in nine cases out of ten, will be the form of the pebble lifted at random⁵¹ from the rolled beach. Leave out this flatness, and the moulding is vulgar instantly. It is singular also that the insertion of this rounded form in the hollow recess⁵² has a painted type in the plumage of the Argus pheasant, the eyes of whose feathers are so shaded as exactly to represent an oval form placed in a hollow.

 

VI. It will evidently follow, upon our application of this test of natural resemblance, that we shall at once conclude that all perfectly⁵³ beautiful forms must be composed of curves; since there is hardly any common natural form in which it is possible to discover a straight line. Nevertheless, Architecture, having necessarily to deal with straight lines essential to its purposes in many instances and to the expression of its power in others, must frequently be content with that measure of beauty which is consistent with such primal⁵⁴ forms; and we may presume that utmost measure of beauty to have been attained⁵⁵ when the arrangements of such lines are consistent with the most frequent natural groupings of them we can discover, although, to find right lines in nature at all, we may be compelled to do violence to her finished work, break[Pg 105] through the sculptured and colored surfaces of her crags, and examine the processes of their crystallisation.

 

VII. I have just convicted the Greek fret of ugliness, because it has no precedent⁵⁶ to allege for its arrangement except an artificial form of a rare metal. Let us bring into court an ornament of Lombard architects, Plate XII., fig⁵⁷. 7, as exclusively composed of right lines as the other, only, observe, with the noble element of shadow added. This ornament, taken from the front of the Cathedral of Pisa, is universal throughout the Lombard churches of Pisa, Lucca, Pistoja, and Florence; and it will be a grave stain upon them if it cannot be defended. Its first apology for itself, made in a hurry, sounds marvellously like the Greek one, and highly dubious⁵⁸. It says that its terminal contour is the very image of a carefully prepared artificial crystal of common salt. Salt being, however, a substance considerably⁶⁰ more familiar to us than bismuth, the chances are somewhat in favor of the accused Lombard ornament already. But it has more to say for itself, and more to the purpose; namely, that its main outline is one not only of natural crystallisation, but among the very first and commonest of crystalline forms, being the primal condition of the occurrence of the oxides of iron, copper⁶¹, and tin, of the sulphurets of iron and lead, of fluor spar, &c.; and that those projecting forms in its surface represent the conditions of structure which effect the change into another relative and equally common crystalline form, the cube. This is quite enough. We may rest assured it is as good a combination of such simple right lines as can be put together, and gracefully⁶² fitted for every place in which such lines are necessary.

 

VIII. The next ornament whose cause I would try is that of our Tudor work, the portcullis. Reticulation is common enough in natural form, and very beautiful; but it is either of the most delicate and gauzy texture⁶⁴, or of variously sized meshes⁶⁵ and undulating lines. There is no family relation between portcullis and cobwebs or beetles⁶⁷' wings; something like it, perhaps, may be found in some kinds of crocodile armor and on the backs of the Northern divers⁶⁸, but always beautifully varied⁶⁹ in size of mesh⁶⁶. There is a dignity in the[Pg 106] thing itself, if its size were exhibited, and the shade given through its bars; but even these merits are taken away in the Tudor diminution⁷⁰ of it, set on a solid surface. It has not a single syllable⁷¹, I believe, to say in its defence. It is another monster, absolutely and unmitigatedly frightful⁷². All that carving⁷³ on Henry the Seventh's Chapel⁷⁴ simply deforms⁷⁵ the stones of it.

 

In the same clause with the portcullis, we may condemn⁷⁶ all heraldic decoration, so far as beauty is its object. Its pride and significance have their proper place, fitly occurring in prominent parts of the building, as over its gates; and allowably in places where its legendary⁷⁷ may be plainly read, as in painted windows, bosses of ceilings, &c. And sometimes, of course, the forms which it presents may be beautiful, as of animals, or simple symbols like the fleur-de-lis; but, for the most part, heraldic similitudes and arrangements are so professedly and pointedly⁷⁸ unnatural, that it would be difficult to invent anything uglier; and the use of them as a repeated decoration will utterly⁷⁹ destroy both the power and beauty of any building. Common sense and courtesy also forbid their repetition. It is right to tell those who enter your doors that you are such a one, and of such a rank; but to tell it to them again and again, wherever they turn, becomes soon impertinence, and at last folly⁸⁰. Let, therefore, the entire bearings occur in few places, and these not considered as an ornament, but as an inscription⁸¹; and for frequent appliance, let any single and fair symbol be chosen out of them. Thus we may multiply as much as we choose the French fleur-de-lis, or the Florentine giglio bianco, or the English rose; but we must not multiply a King's arms.

 

IX. It will also follow, from these considerations, that if any one part of heraldic decoration be worse than another, it is the motto; since, of all things unlike nature, the forms of letters are, perhaps, the most so. Even graphic⁸² tellurium and felspar look, at their clearest, anything but legible. All letters are, therefore, to be considered as frightful things, and to be endured only upon occasion; that is to say, in places where the sense of the inscription is of more importance than[Pg 107] external ornament. Inscriptions⁸³ in churches, in rooms, and on pictures, are often desirable, but they are not to be considered as architectural or pictorial⁸⁴ ornaments⁸⁵: they are, on the contrary, obstinate⁸⁶ offences to the eye, not to be suffered except when their intellectual office introduces them. Place them, therefore, where they will be read, and there only; and let them be plainly written, and not turned upside down, nor wrong end first. It is an ill sacrifice to beauty to make that illegible⁸⁷ whose only merit is in its sense. Write it as you would speak it, simply; and do not draw the eye to it when it would fain rest elsewhere, nor recommend your sentence by anything but a little openness of place and architectural silence about it. Write the Commandments on the Church walls where they may be plainly seen, but do not put a dash and a tail to every letter; and remember that you are an architect, not a writing master.

 

X. Inscriptions appear sometimes to be introduced for the sake of the scroll⁸⁸ on which they are written; and in late and modern painted glass, as well as in architecture, these scrolls⁸⁹ are flourished and turned hither and thither⁹⁰ as if they were ornamental⁹¹. Ribands occur frequently in arabesques⁹²,—in some of a high order, too,—tying up flowers, or flitting in and out among the fixed⁹⁴ forms. Is there anything like ribands in nature? It might be thought that grass and sea-weed afforded apologetic types. They do not. There is a wide difference between their structure and that of a riband. They have a skeleton, an anatomy, a central rib², or fibre, or framework of some kind or another, which has a beginning and an end, a root and head, and whose make and strength effects every direction of their motion, and every line of their form. The loosest weed that drifts and waves under the heaving of the sea, or hangs heavily on the brown and slippery shore, has a marked strength, structure, elasticity⁹⁵, gradation of substance; its extremities⁹⁶ are more finely fibred than its centre, its centre than its root; every fork of its ramification⁹⁷ is measured and proportioned; every wave of its languid lines is love. It has its allotted size, and place, and function; it is a specific creature. What is there like this in a riband? It has[Pg 108] no structure: it is a succession of cut threads all alike; it has no skeleton, no make, no form, no size, no will of its own. You cut it and crush it into what you will. It has no strength, no languor⁹⁸. It cannot fall into a single graceful⁶³ form. It cannot wave, in the true sense, but only flutter: it cannot bend, in the true sense, but only turn and be wrinkled. It is a vile thing; it spoils all that is near its wretched film of an existence. Never use it. Let the flowers come loose if they cannot keep together without being tied; leave the sentence unwritten if you cannot write it on a tablet or book, or plain roll of paper. I know what authority there is against me. I remember the scrolls of Perugino's angels, and the ribands of Raphael's arabesques, and of Ghiberti's glorious bronze flowers: no matter; they are every one of them vices⁹⁹ and uglinesses. Raphael usually felt this, and used an honest and rational tablet, as in the Madonna di Fuligno. I do not say there is any type of such tablets in nature, but all the difference lies in the fact that the tablet is not considered as an ornament, and the riband, or flying scroll, is. The tablet, as in Albert Durer's Adam and Eve, is introduced for the sake of the writing, understood and allowed as an ugly but necessary interruption. The scroll is extended as an ornamental form, which it is not, nor ever can be.

 

XI. But it will be said that all this want of organisation¹⁰⁰ and form might be affirmed of drapery also, and that this latter is a noble subject of sculpture. By no means. When was drapery a subject of sculpture by itself, except in the form of a handkerchief on urns¹⁰¹ in the seventeenth century and in some of the baser scenic¹⁰² Italian decorations? Drapery, as such, is always ignoble¹⁰³; it becomes a subject of interest only by the colors it bears, and the impressions which it receives from some foreign form or force. All noble draperies, either in painting or sculpture (color and texture being at present out of our consideration), have, so far as they are anything more than necessities, one of two great functions; they are the exponents¹⁰⁴ of motion and of gravitation. They are the most valuable means of expressing past as well as present motion in the figure, and they are almost the only means of[Pg 109] indicating to the eye the force of gravity which resists such motion. The Greeks used drapery in sculpture for the most part as an ugly necessity, but availed themselves of it gladly in all representation of action, exaggerating the arrangements of it which express lightness in the material, and follow gesture in the person. The Christian¹⁰⁶ sculptors¹⁰⁷, caring little for the body, or disliking it, and depending exclusively on the countenance¹⁰⁸, received drapery at first contentedly¹⁰⁹ as a veil, but soon perceived a capacity of expression in it which the Greek had not seen or had despised. The principal element of this expression was the entire removal of agitation¹¹¹ from what was so pre-eminently capable of being agitated⁴⁰. It fell from their human forms plumb¹¹² down, sweeping¹¹³ the ground heavily, and concealing¹¹⁵ the feet; while the Greek drapery was often blown away from the thigh¹¹⁶. The thick and coarse stuffs of the monkish¹¹⁷ dresses, so absolutely opposed to the thin and gauzy web of antique material, suggested simplicity of division as well as weight of fall. There was no crushing nor subdividing¹¹⁸ them. And thus the drapery gradually came to represent the spirit of repose¹¹⁹ as it before had of motion, repose saintly and severe. The wind had no power upon the garment, as the passion none upon the soul; and the motion of the figure only bent¹²⁰ into a softer line the stillness of the falling veil, followed by it like a slow cloud by drooping¹²¹ rain: only in links of lighter¹²² undulation it followed the dances of the angels.

 

Thus treated, drapery is indeed noble; but it is as an exponent¹⁰⁵ of other and higher things. As that of gravitation, it has especial majesty, being literally¹²³ the only means we have of fully⁵⁹ representing this mysterious natural force of earth (for falling water is less passive and less defined in its lines). So, again, in sails it is beautiful because it receives the forms of solid curved surface, and expresses the force of another invisible element. But drapery trusted to its own merits, and given for its own sake,—drapery like that of Carlo Dolci and the Caraccis,—is always base.

 

XII. Closely connected with the abuse of scrolls and bands, is that of garlands and festoons of flowers as an architectural[Pg 110] decoration, for unnatural arrangements are just as ugly as unnatural forms; and architecture, in borrowing the objects of nature, is bound to place them, as far as may be in her power, in such associations as may befit and express their origin. She is not to imitate directly the natural arrangement; she is not to carve irregular stems of ivy¹²⁴ up her columns to account for the leaves at the top, but she is nevertheless to place her most exuberant¹²⁵ vegetable ornament just where Nature would have placed it, and to give some indication of that radical¹²⁶ and connected structure which Nature would have given it. Thus the Corinthian capital is beautiful, because it expands under the abacus¹²⁷ just as Nature would have expanded it; and because it looks as if the leaves had one root, though that root is unseen. And the flamboyant¹²⁸ leaf mouldings are beautiful, because they nestle and run up the hollows, and fill the angles, and clasp the shafts¹³⁰ which natural leaves would have delighted to fill and to clasp. They are no mere cast of natural leaves; they are counted, orderly, and architectural: but they are naturally, and therefore beautifully, placed.

 

XIII. Now I do not mean to say that Nature never uses festoons: she loves them, and uses them lavishly¹³¹; and though she does so only in those places of excessive luxuriance wherein it seems to me that architectural types should seldom be sought, yet a falling tendril or pendent bough¹³² might, if managed with freedom and grace, be well introduced into luxuriant decoration (or if not, it is not their want of beauty, but of architectural fitness, which incapacitates them for such uses). But what resemblance to such example can we trace in a mass of all manner of fruit and flowers, tied heavily into a long bunch, thickest in the middle, and pinned up by both ends against a dead wall? For it is strange that the wildest and most fanciful of the builders of truly luxuriant architecture never ventured, so far as I know, even a pendent tendril; while the severest masters of the revived Greek permitted this extraordinary piece of luscious¹³³ ugliness to be fastened in the middle of their blank surfaces. So surely as this arrangement is adopted, the whole value of the flower work is lost. Who among the crowds that gaze upon the building ever pause to[Pg 111] admire the flower work of St. Paul's? It is as careful and as rich as it can be, yet it adds no delightfulness¹³⁴ to the edifice¹³⁶. It is no part of it. It is an ugly excrescence. We always conceive the building without it, and should be happier if our conception were not disturbed by its presence. It makes the rest of the architecture look poverty-stricken, instead of sublime¹³⁷; and yet it is never enjoyed itself. Had it been put, where it ought, into the capitals, it would have been beheld¹³⁸ with never-ceasing delight. I do not mean that it could have been so in the present building, for such kind of architecture has no business with rich ornament in any place; but that if those groups of flowers had been put into natural places in an edifice of another style, their value would have been felt as vividly¹³⁹ as now their uselessness. What applies to festoons is still more sternly true of garlands. A garland is meant to be seen upon a head. There it is beautiful, because we suppose it newly gathered and joyfully¹⁴⁰ worn. But it is not meant to be hung upon a wall. If you want a circular ornament, put a flat circle of colored marble, as in the Casa Doria and other such palaces at Venice; or put a star, or a medallion, or if you want a ring, put a solid one, but do not carve the images of garlands, looking as if they had been used in the last procession, and been hung up to dry, and serve next time withered¹⁴¹. Why not also carve pegs¹⁴², and hats upon them?

 

XIV. One of the worst enemies of modern Gothic architecture, though seemingly an unimportant feature, is an excrescence, as offensive by its poverty as the garland by its profusion¹⁴³, the dripstone in the shape of the handle of a chest of drawers, which is used over the square-headed windows of what we call Elizabethan buildings. In the last Chapter, it will be remembered that the square form was shown to be that of pre-eminent Power, and to be properly adapted and limited to the exhibition of space or surface. Hence, when the window is to be an exponent of power, as for instance in those by M. Angelo in the lower story of the Palazzo Ricardi at Florence, the square head is the most noble form they can assume; but then either their space must be unbroken, and their associated mouldings the most severe, or else the square[Pg 112] must be used as a finial outline, and is chiefly to be associated with forms of tracery, in which the relative form of power, the circle, is predominant, as in Venetian, and Florentine, and Pisan Gothic. But if you break upon your terminal square, or if you cut its lines off at the top and turn them outwards¹⁴⁵, you have lost its unity¹⁴⁶ and space. It is an including form no longer, but an added, isolated line, and the ugliest possible. Look abroad into the landscape and see if you can discover any one so bent and fragmentary as that of this strange windlass-looking dripstone. You cannot. It is a monster. It unites every element of ugliness, its line is harshly broken in itself, and unconnected with every other; it has no harmony either with structure or decoration, it has no architectural support, it looks glued to the wall, and the only pleasant property it has, is the appearance of some likelihood of its dropping off.

 

I might proceed, but the task is a weary one, and I think I have named those false forms of decoration which are most dangerous in our modern architecture as being legal and accepted. The barbarisms of individual fancy are as countless¹⁴⁷ as they are contemptible¹⁴⁸; they neither admit attack nor are worth it; but these above named are countenanced¹⁴⁹, some by the practice of antiquity¹⁵⁰, all by high authority: they have depressed¹⁵¹ the proudest, and contaminated the purest schools, and are so established in recent practice that I write rather for the barren satisfaction of bearing witness against them, than with hope of inducing any serious convictions to their prejudice.

 

XV. Thus far of what is not ornament. What ornament is, will without difficulty be determined¹⁵² by the application of the same test. It must consist of such studious arrangements of form as are imitative or suggestive of those which are commonest among natural existences, that being of course the noblest ornament which represents the highest orders of existence. Imitated flowers are nobler than imitated stones, imitated animals, than flowers; imitated human form of all animal forms the noblest. But all are combined in the richest ornamental work; and the rock, the fountain, the flowing river with its pebbled¹⁵³ bed, the sea, the clouds of[Pg 113] Heaven, the herb of the field, the fruit-tree bearing fruit, the creeping thing, the bird, the beast, the man, and the angel, mingle¹⁵⁴ their fair forms on the bronze of Ghiberti.

 

Every thing being then ornamental that is imitative, I would ask the reader's attention to a few general considerations, all that can here be offered relating to so vast a subject; which, for convenience sake, may be classed under the three heads of inquiry:—What is the right place for architectural ornament? What is the peculiar treatment of ornament which renders it architectural? and what is the right use of color as associated with architectural imitative form?

 

XVI. What is the place of ornament? Consider first that the characters of natural objects which the architect can represent are few and abstract. The greater part of those delights by which Nature recommends herself to man at all times, cannot be conveyed by him into his imitative work. He cannot make his grass green and cool and good to rest upon, which in nature is its chief use to man; nor can he make his flowers tender and full of color and of scent¹⁵⁵, which in nature are their chief powers of giving joy. Those qualities which alone he can secure are certain severe characters of form, such as men only see in nature on deliberate examination, and by the full and set appliance of sight and thought: a man must lie down on the bank of grass on his breast and set himself to watch and penetrate¹⁵⁶ the intertwining of it, before he finds that which is good to be gathered by the architect. So then while Nature is at all times pleasant to us, and while the sight and sense of her work may mingle happily with all our thoughts, and labors¹⁵⁸, and times of existence, that image of her which the architect carries away represents what we can only perceive in her by direct intellectual exertion¹⁵⁹, and demands from us, wherever it appears, an intellectual exertion of a similar kind in order to understand it and feel it. It is the written or sealed impression of a thing sought out, it is the shaped result of inquiry and bodily expression of thought.

 

XVII. Now let us consider for an instant what would be the effect of continually repeating an expression of a beautiful[Pg 114] thought to any other of the senses at times when the mind could not address that sense to the understanding of it. Suppose that in time of serious occupation, of stern business, a companion should repeat in our ears continually some favorite passage of poetry, over and over again all day long. We should not only soon be utterly sick and weary of the sound of it, but that sound would at the end of the day have so sunk into the habit of the ear that the entire meaning of the passage would be dead to us, and it would ever thenceforward require some effort to fix and recover it. The music of it would not meanwhile have aided the business in hand, while its own delightfulness would thenceforward be in a measure destroyed. It is the same with every other form of definite thought. If you violently present its expression to the senses, at times when the mind is otherwise engaged, that expression will be ineffective at the time, and will have its sharpness and clearness destroyed forever. Much more if you present it to the mind at times when it is painfully affected¹⁶⁰ or disturbed, or if you associate the expression of pleasant thought with incongruous circumstances, you will affect that expression thenceforward with a painful color for ever.

 

XVIII. Apply this to expressions of thought received by the eye. Remember that the eye is at your mercy more than the ear. "The eye it cannot choose but see." Its nerve is not so easily numbed¹⁶¹ as that of the ear, and it is often busied in tracing and watching forms when the ear is at rest. Now if you present lovely forms to it when it cannot call the mind to help it in its work, and among objects of vulgar use and unhappy position, you will neither please the eye nor elevate the vulgar object. But you will fill and weary the eye with the beautiful form, and you will infect that form itself with the vulgarity of the thing to which you have violently attached it. It will never be of much use to you any more; you have killed or defiled¹⁶² it; its freshness and purity are gone. You will have to pass it through the fire of much thought before you will cleanse¹⁶³ it, and warm it with much love before it will revive.[Pg 115]

 

XIX. Hence then a general law, of singular importance in the present day, a law of simple common sense,—not to decorate things belonging to purposes of active and occupied life. Wherever you can rest, there decorate; where rest is forbidden, so is beauty. You must not mix ornament with business, any more than you may mix play. Work first, and then rest. Work first and then gaze, but do not use golden ploughshares, nor bind¹⁶⁴ ledgers¹⁶⁶ in enamel¹⁶⁷. Do not thrash with sculptured flails¹⁶⁸: nor put bas-reliefs on millstones. What! it will be asked, are we in the habit of doing so? Even so; always and everywhere. The most familiar position of Greek mouldings is in these days on shop fronts. There is not a tradesman's sign nor shelf nor counter in all the streets of all our cities, which has not upon it ornaments which were invented to adorn¹⁶⁹ temples and beautify kings' palaces. There is not the smallest advantage in them where they are. Absolutely valueless—utterly without the power of giving pleasure, they only satiate the eye, and vulgarise their own forms. Many of these are in themselves thoroughly¹⁷⁰ good copies of fine things, which things themselves we shall never, in consequence, enjoy any more. Many a pretty beading and graceful bracket there is in wood or stucco above our grocers' and cheese-mongers' and hosiers' shops: how it is that the tradesmen cannot understand that custom is to be had only by selling good tea and cheese and cloth, and that people come to them for their honesty, and their readiness, and their right wares¹⁷¹, and not because they have Greek cornices over their windows, or their names in large gilt¹⁷² letters on their house fronts? how pleasurable it would be to have the power of going through the streets of London, pulling down those brackets and friezes¹⁷³ and large names, restoring to the tradesmen the capital they had spent in architecture, and putting them on honest and equal terms, each with his name in black letters over his door, not shouted down the street from the upper stories, and each with a plain wooden shop casement¹⁷⁴, with small panes¹⁷⁵ in it that people would not think of breaking in order to be sent to prison! How much better for them would it be—how much[Pg 116] happier, how much wiser, to put their trust upon their own truth and industry, and not on the idiocy¹⁷⁶ of their customers. It is curious, and it says little for our national probity¹⁷⁷ on the one hand, or prudence¹⁷⁸ on the other, to see the whole system of our street decoration based on the idea that people must be baited to a shop as moths¹⁸⁰ are to a candle.

 

XX. But it will be said that much of the best wooden decoration of the middle ages was in shop fronts. No; it was in house fronts, of which the shop was a part, and received its natural and consistent portion of the ornament. In those days men lived, and intended to live by their shops, and over them, all their days. They were contented¹¹⁰ with them and happy in them: they were their palaces and castles. They gave them therefore such decoration as made themselves happy in their own habitation, and they gave it for their own sake. The upper stories were always the richest, and the shop was decorated chiefly about the door, which belonged to the house more than to it. And when our tradesmen settle to their shops in the same way, and form no plans respecting future villa¹⁸¹ architecture, let their whole houses be decorated, and their shops too, but with a national and domestic decoration (I shall speak more of this point in the sixth chapter). However, our cities are for the most part too large to admit of contented dwelling¹⁸² in them throughout life; and I do not say there is harm in our present system of separating the shop from the dwelling-house; only where they are so separated, let us remember that the only reason for shop decoration is removed, and see that the decoration be removed also.

 

XXI. Another of the strange and evil tendencies of the present day is to the decoration of the railroad station. Now, if there be any place in the world in which people are deprived of that portion of temper and discretion¹⁸³ which are necessary to the contemplation of beauty, it is there. It is the very temple of discomfort¹⁸⁴, and the only charity that the builder can extend to us is to show us, plainly as may be, how soonest to escape from it. The whole system of railroad travelling is addressed to people who, being in a hurry, are there[Pg 117]fore, for the time being, miserable¹⁸⁵. No one would travel in that manner who could help it—who had time to go leisurely¹⁸⁶ over hills and between hedges, instead of through tunnels and between banks: at least those who would, have no sense of beauty so acute as that we need consult it at the station. The railroad is in all its relations a matter of earnest business, to be got through as soon as possible. It transmutes¹⁸⁷ a man from a traveller into a living parcel. For the time he has parted with the nobler characteristics of his humanity for the sake of a planetary power of locomotion¹⁸⁸. Do not ask him to admire anything. You might as well ask the wind. Carry him safely, dismiss him soon: he will thank you for nothing else. All attempts to please him in any other way are mere mockery, and insults to the things by which you endeavor to do so. There never was more flagrant nor impertinent folly than the smallest portion of ornament in anything concerned with railroads or near them. Keep them out of the way, take them through the ugliest country you can find, confess them the miserable things they are, and spend nothing upon them but for safety and speed. Give large salaries to efficient servants, large prices to good manufacturers, large wages to able workmen; let the iron be tough, and the brickwork solid, and the carriages strong. The time is perhaps not distant when these first necessities may not be easily met: and to increase expense in any other direction is madness. Better bury gold in the embankments, than put it in ornaments on the stations. Will a single traveller be willing to pay an increased fare on the South Western, because the columns of the terminus are covered with patterns from Nineveh? He will only care less for the Ninevite ivories in the British Museum: or on the North Western, because there are old English-looking spandrils to the roof of the station at Crewe? He will only have less pleasure in their prototypes at Crewe House. Railroad architecture has or would have a dignity of its own if it were only left to its work. You would not put rings on the fingers of a smith at his anvil¹⁸⁹.

 

XXII. It is not however only in these marked situations that the abuse of which I speak takes place. There is hardly,[Pg 118] at present, an application of ornamental work, which is not in some sort liable to blame of the same kind. We have a bad habit of trying to disguise disagreeable necessities by some form of sudden decoration, which is, in all other places, associated with such necessities. I will name only one instance, that to which I have alluded¹⁹⁰ before—the roses which conceal¹¹⁴ the ventilators in the flat roofs of our chapels¹⁹¹. Many of those roses are of very beautiful design, borrowed from fine works: all their grace and finish are invisible when they are so placed, but their general form is afterwards associated with the ugly buildings in which they constantly occur; and all the beautiful roses of the early French and English Gothic, especially such elaborate ones as those of the triforium of Coutances, are in consequence deprived of their pleasurable influence: and this without our having accomplished¹⁹² the smallest good by the use we have made of the dishonored form. Not a single person in the congregation ever receives one ray of pleasure from those roof roses; they are regarded with mere indifference¹⁹³, or lost in the general impression of harsh emptiness.

 

XXIII. Must not beauty, then, it will be asked, be sought for in the forms which we associate with our every-day life? Yes, if you do it consistently, and in places where it can be calmly seen; but not if you use the beautiful form only as a mask and covering of the proper conditions and uses of things, nor if you thrust it into the places set apart for toil¹⁹⁴. Put it in the drawing-room, not into the workshop; put it upon domestic furniture, not upon tools of handicraft. All men have sense of what is right in this manner, if they would only use and apply that sense; every man knows where and how beauty gives him pleasure, if he would only ask for it when it does so, and not allow it to be forced upon him when he does not want it. Ask any one of the passengers over London Bridge at this instant whether he cares about the forms of the bronze leaves on its lamps, and he will tell you, No. Modify these forms of leaves to a less scale, and put them on his milk-jug at breakfast, and ask him whether he likes them, and he will tell you, Yes. People have no need of teaching if they[Pg 119] could only think and speak truth, and ask for what they like and want, and for nothing else: nor can a right disposition¹⁹⁵ of beauty be ever arrived at except by this common sense, and allowance for the circumstances of the time and place. It does not follow, because bronze leafage is in bad taste on the lamps of London Bridge, that it would be so on those of the Ponte della Trinita; nor, because it would be a folly to decorate the house fronts of Gracechurch Street, that it would be equally so to adorn those of some quiet provincial¹⁹⁶ town. The question of greatest external or internal decoration depends entirely¹⁹⁷ on the conditions of probable repose. It was a wise feeling which made the streets of Venice so rich in external ornament, for there is no couch of rest like the gondola¹⁹⁸. So, again, there is no subject of street ornament so wisely chosen as the fountain, where it is a fountain of use; for it is just there that perhaps the happiest pause takes place in the labor¹⁵⁷ of the day, when the pitcher¹⁹⁹ is rested on the edge of it, and the breath of the bearer is drawn²⁰⁰ deeply, and the hair swept from the forehead, and the uprightness of the form declined against the marble ledge¹⁶⁵, and the sound of the kind word or light laugh mixes with the trickle²⁰¹ of the falling water, heard shriller and shriller as the pitcher fills. What pause is so sweet as that—so full of the depth of ancient days, so softened²⁰² with the calm of pastoral solitude²⁰³?

 

XXIV. II. Thus far, then, of the place for beauty. We were next to inquire into the characters which fitted it peculiarly for architectural appliance, and into the principles of choice and of arrangement which best regulate the imitation of natural forms in which it consists. The full answering of these questions would be a treatise²⁰⁴ on the art of design: I intend only to say a few words respecting the two conditions of that art which are essentially²⁰⁵ architectural,—Proportion and Abstraction. Neither of these qualities is necessary, to the same extent, in other fields of design. The sense of proportion is, by the landscape painter, frequently sacrificed to character and accident; the power of abstraction to that of complete realisation. The flowers of his foreground must often be unmeasured in their quantity, loose in their arrangement: what[Pg 120] is calculated, either in quantity or disposition, must be artfully concealed²⁰⁶. That calculation is by the architect to be prominently exhibited. So the abstraction of few characteristics out of many is shown only in the painter's sketch²⁰⁷; in his finished work it is concealed or lost in completion. Architecture, on the contrary, delights in Abstraction and fears to complete her forms. Proportion and Abstraction, then, are the two especial marks of architectural design as distinguished²⁰⁸ from all other. Sculpture must have them in inferior degrees; leaning, on the one hand, to an architectural manner, when it is usually greatest (becoming, indeed, a part of Architecture), and, on the other, to a pictorial manner, when it is apt to lose its dignity, and sink into mere ingenious carving.

 

XXV. Now, of Proportion so much has been written, that I believe the only facts which are of practical use have been overwhelmed and kept out of sight by vain accumulations of particular instances and estimates. Proportions are as infinite (and that in all kinds of things, as severally in colors, lines, shades, lights, and forms) as possible airs in music: and it is just as rational an attempt to teach a young architect how to proportion truly and well by calculating for him the proportions of fine works, as it would be to teach him to compose melodies by calculating the mathematical relations of the notes in Beethoven's Adela?de or Mozart's Requiem²⁰⁹. The man who has eye and intellect will invent beautiful proportions, and cannot help it; but he can no more tell us how to do it than Wordsworth could tell us how to write a sonnet²¹⁰, or than Scott could have told us how to plan a romance. But there are one or two general laws which can be told: they are of no use, indeed, except as preventives of gross mistake, but they are so far worth telling and remembering; and the more so because, in the discussion of the subtle laws of proportion (which will never be either numbered or known), architects are perpetually forgetting and transgressing²¹¹ the very simplest of its necessities.

 

XXVI. Of which the first is, that wherever Proportion exists at all, one member of the composition must be either larger than, or in some way supreme²¹² over, the rest. There is no[Pg 121] proportion between equal things. They can have symmetry only, and symmetry without proportion is not composition. It is necessary to perfect beauty, but it is the least necessary of its elements, nor of course is there any difficulty in obtaining it. Any succession of equal things is agreeable; but to compose is to arrange unequal things, and the first thing to be done in beginning a composition is to determine which is to be the principal thing. I believe that all that has been written and taught about proportion, put together, is not to the architect worth the single rule, well enforced, "Have one large thing and several smaller things, or one principal thing and several inferior things, and bind them well together." Sometimes there may be a regular gradation, as between the heights of stories in good designs for houses; sometimes a monarch²¹³ with a lowly train, as in the spire²¹⁴ with its pinnacles²¹⁵: the varieties of arrangement are infinite, but the law is universal—have one thing above the rest, either by size, or office, or interest. Don't put the pinnacles without the spire. What a host of ugly church towers have we in England, with pinnacles at the corners, and none in the middle! How many buildings like King's College Chapel at Cambridge, looking like tables upside down, with their four legs in the air! What! it will be said, have not beasts four legs? Yes, but legs of different shapes, and with a head between them. So they have a pair of ears: and perhaps a pair of horns: but not at both ends. Knock down a couple of pinnacles at either end in King's College Chapel, and you will have a kind of proportion instantly. So in a cathedral you may have one tower in the centre, and two at the west end; or two at the west end only, though a worse arrangement: but you must not have two at the west and two at the east end, unless you have some central member to connect them; and even then, buildings are generally bad which have large balancing features at the extremities, and small connecting ones in the centre, because it is not easy then to make the centre dominant¹⁴⁴. The bird or moth¹⁷⁹ may indeed have wide wings, because the size of the wing does not give supremacy²¹⁶ to the wing. The head and life are the mighty²¹⁷ things, and the plumes²¹⁹, however wide, are sub[Pg 122]ordinate. In fine west fronts with a pediment and two towers, the centre is always the principal mass, both in bulk and interest (as having the main gateway), and the towers are subordinated to it, as an animal's horns are to its head. The moment the towers rise so high as to overpower the body and centre, and become themselves the principal masses, they will destroy the proportion, unless they are made unequal, and one of them the leading feature of the cathedral, as at Antwerp and Strasburg. But the purer method is to keep them down in due relation to the centre, and to throw up the pediment into a steep connecting mass, drawing the eye to it by rich tracery. This is nobly done in St. Wulfran of Abbeville, and attempted partly at Rouen, though that west front is made up of so many unfinished and supervening designs that it is impossible to guess the real intention of any one of its builders.

 

PLATE X. PLATE X.—(Page 122—Vol. V.)

Traceries and Mouldings from Rouen and Salisbury.

XXVII. This rule of supremacy applies to the smallest as well as to the leading features: it is interestingly seen in the arrangement of all good mouldings. I have given one, on the opposite page, from Rouen cathedral; that of the tracery before distinguished as a type of the noblest manner of Northern Gothic (Chap. II. § XXII.). It is a tracery of three orders, of which the first is divided into a leaf moulding, fig. 4, and b in the section, and a plain roll, also seen in fig. 4, c in the section; these two divisions surround the entire window or panelling, and are carried by two-face shafts of corresponding sections. The second and third orders are plain rolls following the line of the tracery; four divisions of moulding in all: of these four, the leaf moulding is, as seen in the sections, much the largest; next to it the outer roll; then, by an exquisite²²⁰ alternation, the innermost roll (e), in order that it may not be lost in the recess and the intermediate (d), the smallest. Each roll has its own shaft¹²⁹ and capital; and the two smaller, which in effect upon the eye, owing to the retirement²²¹ of the innermost, are nearly equal, have smaller capitals than the two larger, lifted a little to bring them to the same level. The wall in the trefoiled lights is curved, as from e to f in the section; but in the quatrefoil it is flat, only thrown back to the full depth of the recess below so as to get a sharp shadow [Pg 123] instead of a soft one, the mouldings falling back to it in nearly a vertical²²² curve behind the roll e. This could not, however, be managed with the simpler mouldings of the smaller quatrefoil above, whose half section is given from g to g2; but the architect was evidently fretted²²³ by the heavy look of its circular foils as opposed to the light spring of the arches below: so he threw its cusps obliquely²²⁵ clear from the wall, as seen in fig. 2, attached to it where they meet the circle, but with their finials pushed out from the natural level (h, in the section) to that of the first order (g2) and supported by stone props²²⁶ behind, as seen in the profile fig. 2, which I got from the correspondent panel on the buttress²²⁷ face (fig. 1 being on its side), and of which the lower cusps, being broken away, show the remnant of one of their props projecting from the wall. The oblique²²⁴ curve thus obtained in the profile is of singular grace. Take it all in all, I have never met with a more exquisite piece of varied, yet severe, proportioned and general arrangement (though all the windows of the period are fine, and especially delightful¹³⁵ in the subordinate proportioning of the smaller capitals to the smaller shafts). The only fault it has is the inevitable²²⁸ misarrangement of the central shafts; for the enlargement of the inner roll, though beautiful in the group of four divisions at the side, causes, in the triple central shaft, the very awkwardness of heavy lateral²²⁹ members which has just been in most instances condemned²³⁰. In the windows of the choir²³¹, and in most of the period, this difficulty is avoided by making the fourth order a fillet which only follows the foliation, while the three outermost²³² are nearly in arithmetical progression of size, and the central triple shaft has of course the largest roll in front. The moulding of the Palazzo Foscari (Plate VIII., and Plate IV. fig. 8) is, for so simple a group, the grandest in effect I have even seen: it is composed of a large roll with two subordinates.

 

XXVIII. It is of course impossible to enter into details of instances belonging to so intricate division of our subject, in the compass of a general essay. I can but rapidly name the chief conditions of right. Another of these is the connection[Pg 124] of Symmetry with horizontal, and of Proportion with vertical, division. Evidently there is in symmetry a sense not merely of equality, but of balance: now a thing cannot be balanced by another on the top of it, though it may by one at the side of it. Hence, while it is not only allowable, but often necessary, to divide buildings, or parts of them, horizontally into halves, thirds, or other equal parts, all vertical divisions of this kind are utterly wrong; worst into half, next worst in the regular numbers which more betray the equality. I should have thought this almost the first principle of proportion which a young architect was taught: and yet I remember an important building, recently erected²³³ in England, in which the columns are cut in half by the projecting architraves of the central windows; and it is quite usual to see the spires²³⁴ of modern Gothic churches divided by a band of ornament half way up. In all fine spires there are two bands and three parts, as at Salisbury. The ornamented²³⁵ portion of the tower is there cut in half, and allowably, because the spire forms the third mass to which the other two are subordinate: two stories are also equal in Giotto's campanile, but dominant over smaller divisions below, and subordinated to the noble third above. Even this arrangement is difficult to treat; and it is usually safer to increase or diminish the height of the divisions regularly as they rise, as in the Doge's Palace, whose three divisions are in a bold geometrical progression: or, in towers, to get an alternate proportion between the body, the belfry, and the crown, as in the campanile of St. Mark's. But, at all events, get rid of equality; leave that to children and their card houses: the laws of nature and the reason of man are alike against it, in arts, as in politics. There is but one thoroughly ugly tower in Italy that I know of, and that is so because it is divided into vertical equal parts: the tower of Pisa.12

 

XXIX. One more principle of Proportion I have to name, equally simple, equally neglected. Proportion is between three terms at least. Hence, as the pinnacles are not enough without the spire, so neither the spire without the pinnacles. All men feel this and usually express their feeling by saying that[Pg 125] the pinnacles conceal the junction²³⁶ of the spire and tower. This is one reason; but a more influential²³⁷ one is, that the pinnacles furnish the third term to the spire and tower. So that it is not enough, in order to secure proportion, to divide a building unequally; it must be divided into at least three parts; it may be into more (and in details with advantage), but on a large scale I find three is about the best number of parts in elevation²³⁸, and five in horizontal extent, with freedom of increase to five in the one case and seven in the other; but not to more without confusion (in architecture, that is to say; for in organic structure the numbers cannot be limited). I purpose, in the course of works which are in preparation, to give copious²³⁹ illustrations of this subject, but I will take at present only one instance of vertical proportion, from the flower stem of the common water plantain, Alisma Plantago. Fig. 5, Plate XII. is a reduced profile of one side of a plant gathered at random; it is seen to have five masts, of which, however, the uppermost is a mere shoot, and we can consider only their relations up to the fourth. Their lengths are measured on the line A B, which is the actual length of the lowest mass a b, A C=b c, A D=c d, and A E=d e. If the reader will take the trouble to measure these lengths and compare them, he will find that, within half a line, the uppermost A E=5/7 of A D, A D=6/8 of A C, and A C=7/9 of A B; a most subtle diminishing proportion. From each of the joints²⁴¹ spring three major and three minor²⁴² branches, each between each; but the major branches, at any joint²⁴⁰, are placed over the minor branches at the joint below, by the curious arrangement of the joint itself—the stem is bluntly triangular²⁴³; fig. 6 shows the section of any joint. The outer darkened triangle is the section of the lower stem; the inner, left light, of the upper stem; and the three main branches spring from the ledges²⁴⁴ left by the recession. Thus the stems diminish in diameter just as they diminish in height. The main branches (falsely placed in the profile over each other to show their relations) have respectively seven, six, five, four, and three arm-bones, like the masts of the stem; these divisions being proportioned in the same subtle manner. From the joints of[Pg 126] these, it seems to be the plan of the plant that three major and three minor branches should again spring, bearing the flowers: but, in these infinitely complicated members, vegetative nature admits much variety; in the plant from which these measures were taken the full complement²⁴⁵ appeared only at one of the secondary joints.

 

The leaf of this plant has five ribs²⁴⁶ on each side, as its flower generally five masts, arranged with the most exquisite grace of curve; but of lateral proportion I shall rather take illustrations from architecture: the reader will find several in the accounts of the Duomo at Pisa and St. Mark's at Venice, in Chap. V. §§ XIV.-XVI. I give these arrangements merely as illustrations, not as precedents²⁴⁷: all beautiful proportions are unique, they are not general formul?.

 

XXX. The other condition of architectural treatment which we proposed to notice was the abstraction of imitated form. But there is a peculiar difficulty in touching²⁴⁸ within these narrow limits on such a subject as this, because the abstraction of which we find examples in existing art, is partly involuntary; and it is a matter of much nicety to determine where it begins to be purposed. In the progress of national as well as of individual mind, the first attempts at imitation are always abstract and incomplete. Greater completion marks the progress of art, absolute completion usually its decline; whence absolute completion of imitative form is often supposed to be in itself wrong. But it is not wrong always, only dangerous. Let us endeavor briefly²⁴⁹ to ascertain²⁵⁰ wherein its danger consists, and wherein its dignity.

 

XXXI. I have said that all art is abstract in its beginnings; that is to say, it expresses only a small number of the qualities of the thing represented. Curved and complex lines are represented by straight and simple ones; interior markings of forms are few, and much is symbolical²⁵¹ and conventional. There is a resemblance between the work of a great nation, in this phase, and the work of childhood and ignorance, which, in the mind of a careless observer, might attach something like ridicule²⁵² to it. The form of a tree on the Ninevite sculptures is much like that which, come twenty years ago, was familiar upon samplers; and[Pg 127] the types of the face and figure in early Italian art are susceptible²⁵³ of easy caricature. On the signs which separate the infancy²⁵⁴ of magnificent manhood from every other, I do not pause to insist (they consist entirely in the choice of the symbol and of the features abstracted); but I pass to the next stage of art, a condition of strength in which the abstraction which was begun in incapability²⁵⁵ is continued in free will. This is the case, however, in pure sculpture and painting, as well as in architecture; and we have nothing to do but with that greater severity of manner which fits either to be associated with the more realist art. I believe it properly consists only in a due expression of their subordination, an expression varying according to their place and office. The question is first to be clearly determined whether the architecture is a frame for the sculpture, or the sculpture an ornament of the architecture. If the latter, then the first office of that sculpture is not to represent the things it imitates, but to gather out of them those arrangements of form which shall be pleasing to the eye in their intended places. So soon as agreeable lines and points of shade have been added to the mouldings which were meagre, or to the lights which were unrelieved, the architectural work of the imitation is accomplished; and how far it shall be wrought²⁵⁶ towards completeness or not, will depend upon its place, and upon other various circumstances. If, in its particular use or position, it is symmetrically arranged, there is, of course, an instant indication of architectural subjection. But symmetry is not abstraction. Leaves may be carved in the most regular order, and yet be meanly imitative; or, on the other hand, they may be thrown wild and loose, and yet be highly architectural in their separate treatment. Nothing can be less symmetrical than the group of leaves which join the two columns in Plate XIII.; yet, since nothing of the leaf character is given but what is necessary for the bare suggestion of its image and the attainment²⁵⁷ of the lines desired, their treatment is highly abstract. It shows that the workman only wanted so much of the leaf as he supposed good for his architecture, and would allow no more; and how much is to be supposed good, depends, as I have said, much more on place and circumstance than on general laws. I know[Pg 128] that this is not usually thought, and that many good architects would insist on abstraction in all cases: the question is so wide and so difficult that I express my opinion upon it most diffidently; but my own feeling is, that a purely²⁵⁸ abstract manner, like that of our earliest English work, does not afford room for the perfection of beautiful form, and that its severity is wearisome after the eye has been long accustomed to it. I have not done justice to the Salisbury dog-tooth moulding, of which the effect is sketched²⁵⁹ in fig. 5, Plate X., but I have done more justice to it nevertheless than to the beautiful French one above it; and I do not think that any candid²⁶⁰ reader would deny that, piquant²⁶¹ and spirited as is that from Salisbury, the Rouen moulding is, in every respect, nobler. It will be observed that its symmetry is more complicated, the leafage being divided into double groups of two lobes²⁶³ each, each lobe²⁶² of different structure. With exquisite feeling, one of these double groups is alternately omitted on the other side of the moulding (not seen in the Plate, but occupying the cavetto of the section), thus giving a playful lightness to the whole; and if the reader will allow for a beauty in the flow of the curved outlines (especially on the angle), of which he cannot in the least judge from my rude drawing, he will not, I think, expect easily to find a nobler instance of decoration adapted to the severest mouldings.

 

Now it will be observed, that there is in its treatment a high degree of abstraction, though not so conventional as that of Salisbury: that is to say, the leaves have little more than their flow and outline represented; they are hardly undercut, but their edges are connected by a gentle and most studied curve with the stone behind; they have no serrations, no veinings, no rib or stalk on the angle, only an incision²⁶⁴ gracefully made towards their extremities, indicative of the central rib and depression. The whole style of the abstraction shows that the architect could, if he had chosen, have carried the imitation much farther, but stayed at this point of his own free will; and what he has done is also so perfect in its kind, that I feel disposed to accept his authority without question, so far as I can gather it from his works, on the whole subject of abstraction.[Pg 129]

 

XXXII. Happily his opinion is frankly expressed. This moulding is on the lateral buttress, and on a level with the top of the north gate; it cannot therefore be closely seen except from the wooden stairs of the belfry; it is not intended to be so seen, but calculated for a distance of, at least, forty to fifty feet from the eye. In the vault of the gate itself, half as near again, there are three rows of mouldings, as I think, by the same designer, at all events part of the same plan. One of them is given in Plate I. fig. 2 a. It will be seen that the abstraction is here infinitely less; the ivy leaves have stalks and associated fruit, and a rib for each lobe, and are so far undercut as to detach their forms from the stone; while in the vine-leaf moulding above, of the same period, from the south gate, serration appears added to other purely imitative characters. Finally, in the animals which form the ornaments of the portion of the gate which is close to the eye, abstraction nearly vanishes into perfect sculpture.

 

XXXIII. Nearness to the eye, however, is not the only circumstance which influences architectural abstraction. These very animals are not merely better cut because close to the eye; they are put close to the eye that they may, without indiscretion, be better cut, on the noble principle, first I think, clearly enunciated²⁶⁵ by Mr. Eastlake, that the closest imitation shall be of the noblest object. Farther, since the wildness and manner of growth of vegetation render a bona fide imitation of it impossible in sculpture—since its members must be reduced in number, ordered in direction, and cut away from their roots, even under the most earnestly imitative treatment,—it becomes a point, as I think, of good judgment²⁶⁶, to proportion the completeness of execution of parts to the formality of the whole; and since five or six leaves must stand for a tree, to let also five or six touches stand for a leaf. But since the animal generally admits of perfect outline—since its form is detached, and may be fully represented, its sculpture may be more complete and faithful in all its parts. And this principle will be actually found. I believe, to guide the old workmen. If the animal form be in a gargoyle²⁶⁷, incomplete, and coining out of a block of stone, or if a head only, as for a boss[Pg 130] or other such partial use, its sculpture will be highly abstract. But if it be an entire animal, as a lizard²⁶⁸, or a bird, or a squirrel, peeping among leafage, its sculpture will be much farther carried, and I think, if small, near the eye, and worked in a fine material, may rightly be carried to the utmost possible completion. Surely we cannot wish a less finish bestowed²⁶⁹ on those which animate²⁷⁰ the mouldings of the south door of the cathedral of Florence; nor desire that the birds in the capitals of the Doge's palace should be stripped of a single plume²¹⁸.

 

XXXIV. Under these limitations, then, I think that perfect sculpture may be made a part of the severest architecture; but this perfection was said in the outset to be dangerous. It is so in the highest degree; for the moment the architect allows himself to dwell on the imitated portions, there is a chance of his losing sight of the duty of his ornament, of its business as a part of the composition, and sacrificing its points of shade and effect to the delight of delicate carving. And then he is lost. His architecture has become a mere framework for the setting of delicate sculpture, which had better be all taken down and put into cabinets. It is well, therefore, that the young architect should be taught to think of imitative ornament as of the extreme of grace in language; not to be regarded at first, not to be obtained at the cost of purpose, meaning, force, or conciseness²⁷¹, yet, indeed, a perfection—the least of all perfections, and yet the crowning one of all—one which by itself, and regarded in itself, is an architectural coxcombry²⁷², but is yet the sign of the most highly-trained mind and power when it is associated with others. It is a safe manner, as I think, to design all things at first in severe abstraction, and to be prepared, if need were, to carry them out in that form; then to mark the parts where high finish would be admissible, to complete these always with stern reference to their general effect, and then connect them by a graduated scale of abstraction with the rest. And there is one safeguard against danger in this process on which I would finally insist. Never imitate anything but natural forms, and those the noblest, in the completed parts. The [Pg 131] degradation²⁷³ of the cinque cento manner of decoration was not owing to its naturalism, to its faithfulness of imitation, but to its imitation of ugly, i.e. unnatural things. So long as it restrained itself to sculpture of animals and flowers, it remained noble. The balcony, on the opposite page, from a house in the Campo St. Benedetto at Venice, shows one of the earliest occurrences of the cinque cento arabesque⁹³, and a fragment of the pattern is given in Plate XII. fig. 8. It is but the arresting upon the stone work of a stem or two of the living flowers, which are rarely wanting in the window above (and which, by the by, the French and Italian peasantry often trellis with exquisite taste about their casements). This arabesque, relieved as it is in darkness from the white stone by the stain of time, is surely both beautiful and pure; and as long as the renaissance²⁷⁴ ornament remained in such forms it may be beheld with undeserved admiration²⁷⁵. But the moment that unnatural objects were associated with these, and armor, and musical instruments, and wild meaningless scrolls and curled shields, and other such fancies, became principal in its subjects, its doom²⁷⁶ was sealed, and with it that of the architecture of the world.

 

PLATE XI. PLATE XI.—(Page 131—Vol. V.)

Balcony in the Campo, St. Benedetto, Venice.

XXXV. III. Our final inquiry was to be into the use of color as associated with architectural ornament.

 

I do not feel able to speak with any confidence respecting the touching of sculpture with color. I would only note one point, that sculpture is the representation of an idea, while architecture is itself a real thing. The idea may, as I think, be left colorless, and colored by the beholder's mind: but a reality ought to have reality in all its attributes: its color should be as fixed as its form. I cannot, therefore, consider architecture as in any wise perfect without color. Farther, as I have above noticed, I think the colors of architecture should be those of natural stones; partly because more durable²⁷⁷, but also because more perfect and graceful. For to conquer the harshness and deadness of tones laid upon stone or on gesso, needs the management and discretion of a true painter; and on this co-operation we must not calculate in laying down rules for general practice. If Tintoret or Giorgione are at hand, and ask us for a wall to paint, we will alter our whole design[Pg 132] for their sake, and become their servants; but we must, as architects, expect the aid of the common workman only; and the laying of color by a mechanical hand, and its toning under a vulgar eye, are far more offensive than rudeness in cutting the stone. The latter is imperfection only; the former deadness or discordance²⁷⁸. At the best, such color is so inferior to the lovely and mellow²⁷⁹ hues²⁸⁰ of the natural stone, that it is wise to sacrifice some of the intricacy of design, if by so doing we may employ the nobler material. And if, as we looked to Nature for instruction respecting form, we look to her also to learn the management of color, we shall, perhaps, find that this sacrifice of intricacy is for other causes expedient²⁸².

 

XXXVI. First, then, I think that in making this reference we are to consider our building as a kind of organized creature; in coloring which we must look to the single and separately organized creatures of Nature, not to her landscape combinations. Our building, if it is well composed, is one thing, and is to be colored as Nature would color one thing—a shell, a flower, or an animal; not as she colors groups of things.

 

And the first broad conclusion we shall deduce from observance of natural color in such cases will be, that it never follows form, but is arranged on an entirely separate system. What mysterious connection there may be between the shape of the spots on an animal's skin and its anatomical system, I do not know, nor even if such a connection has in any wise been traced: but to the eye the systems are entirely separate, and in many cases that of color is accidentally variable. The stripes of a zebra do not follow the lines of its body or limbs, still less the spots of a leopard²⁸³. In the plumage of birds, each feather bears a part of the pattern which is arbitrarily carried over the body, having indeed certain graceful harmonies with the form, diminishing or enlarging in directions which sometimes follow, but also not unfrequently oppose, the directions of its muscular lines. Whatever harmonies there may be, are distinctly like those of two separate musical parts, coinciding here and there only—never discordant²⁸⁴, but essentially different I hold this, then, for the first great principle[Pg 133] of architectural color. Let it be visibly independent of form. Never paint a column with vertical lines, but always cross it.13 Never give separate mouldings separate colors (I know this is heresy²⁸⁵, but I never shrink from any conclusions, however contrary to human authority, to which I am led by observance of natural principles); and in sculptured ornaments I do not paint the leaves or figures (I cannot help the Elgin frieze) of one color and their ground of another, but vary both the ground and the figures with the same harmony. Notice how Nature does it in a variegated²⁸⁶ flower; not one leaf red and another white, but a point of red and a zone of white, or whatever it may be, to each. In certain places you may run your two systems closer, and here and there let them be parallel for a note or two, but see that the colors and the forms coincide only as two orders of mouldings do; the same for an instant, but each holding its own course. So single members may sometimes have single colors: as a bird's head is sometimes of one color and its shoulders another, you may make your capital of one color and your shaft another; but in general the best place for color is on broad surfaces, not on the points of interest in form. An animal is mottled on its breast and back, rarely on its paws or about its eyes; so put your variegation²⁸⁷ boldly on the flat wall and broad shaft, but be shy of it in the capital and moulding; in all cases it is a safe rule to simplify color when form is rich, and vice versa; and I think it would be well in general to carve all capitals and graceful ornaments in white marble, and so leave them.

 

XXXVII. Independence then being first secured, what kind of limiting outlines shall we adopt for the system of color itself?

 

I am quite sure that any person familiar with natural objects will never be surprised at any appearance of care or finish in them. That is the condition of the universe. But there is cause both for surprise and inquiry whenever we see anything like carelessness or incompletion: that is not a common condition; it must be one appointed for some singular purpose. I believe that such surprise will be forcibly felt by any one who, after studying carefully the lines of some variegated organic[Pg 134] form, will set himself to copy with similar diligence those of its colors. The boundaries of the forms he will assuredly, whatever the object, have found drawn with a delicacy and precision which no human hand can follow. Those of its colors he will find in many cases, though governed always by a certain rude symmetry, yet irregular, blotched, imperfect, liable to all kinds of accidents and awkwardnesses. Look at the tracery of the lines on a camp shell, and see how oddly and awkwardly its tents are pitched. It is not indeed always so: there is occasionally, as in the eye of the peacock's plume, an apparent precision, but still a precision far inferior to that of the drawing of the filaments²⁸⁸ which bear that lovely stain; and in the plurality of cases a degree of looseness and variation, and, still more singularly, of harshness and violence in arrangement, is admitted in color which would be monstrous in form. Observe the difference in the precision of a fish's scales and of the spots on them.

 

XXXVIII. Now, why it should be that color is best seen under these circumstances I will not here endeavor to determine; nor whether the lesson we are to learn from it be that it is God's will that all manner of delights should never be combined in one thing. But the fact is certain, that color is always by Him arranged in these simple or rude forms, and as certain that, therefore, it must be best seen in them, and that we shall never mend by refining its arrangements. Experience teaches us the same thing. Infinite nonsense has been written about the union of perfect color with perfect form. They never will, never can be united. Color, to be perfect, must have a soft outline or a simple one: it cannot have a refined one; and you will never produce a good painted window with good figure-drawing in it. You will lose perfection of color as you give perfection of line. Try to put in order and form the colors of a piece of opal.

 

XXXIX. I conclude, then, that all arrangements of color, for its own sake, in graceful forms, are barbarous; and that, to paint a color pattern with the lovely lines of a Greek leaf moulding, is an utterly savage procedure. I cannot find anything in natural color like this: it is not in the bond. I find[Pg 135] it in all natural form—never in natural color. If, then, our architectural color is to be beautiful as its form was, by being imitative, we are limited to these conditions—to simple masses of it, to zones, as in the rainbow and the zebra; cloudings and flamings, as in marble shells and plumage, or spots of various shapes and dimensions. All these conditions are susceptible of various degrees of sharpness and delicacy, and of complication in arrangement. The zone may become a delicate line, and arrange itself in chequers and zig-zags. The flaming may be more or less defined, as on a tulip leaf, and may at last be represented by a triangle of color, and arrange itself in stars or other shapes; the spot may be also graduated into a stain, or defined into a square or circle. The most exquisite harmonies may be composed of these simple elements: some soft and full of flushed and melting spaces of color; others piquant and sparkling, or deep and rich, formed of close groups of the fiery²⁸⁹ fragments: perfect and lovely proportion may be exhibited in the relation of their quantities, infinite invention in their disposition: but, in all cases, their shape will be effective only as it determines their quantity, and regulates their operation on each other; points or edges of one being introduced between breadths of others, and so on. Triangular and barred forms are therefore convenient, or others the simplest possible; leaving the pleasure of the spectator to be taken in the color, and in that only. Curved outlines, especially if refined, deaden the color, and confuse the mind. Even in figure painting the greatest colorists have either melted their outline away, as often Correggio and Rubens; or purposely made their masses of ungainly shape, as Titian; or placed their brightest hues in costume, where they could get quaint²⁹⁰ patterns, as Veronese, and especially Angelico, with whom, however, the absolute virtue²⁹¹ of color is secondary to grace of line. Hence, he never uses the blended hues of Correggio, like those on the wing of the little Cupid, in the "Venus and Mercury," but always the severest type—the peacock plume. Any of these men would have looked with infinite disgust upon the leafage and scrollwork which form the ground of color in our modern painted[Pg 136] windows, and yet all whom I have named were much infected with the love of renaissance designs. We must also allow for the freedom of the painter's subject, and looseness of his associated lines; a pattern being severe in a picture, which is over luxurious²⁹² upon a building. I believe, therefore, that it is impossible to be over quaint or angular in architectural coloring; and thus many dispositions²⁹³ which I have had occasion to reprobate²⁹⁴ in form, are, in color, the best that can be invented. I have always, for instance, spoken with contempt of the Tudor style, for this reason, that, having surrendered all pretence²⁹⁵ to spaciousness²⁹⁶ and breadth,—having divided its surfaces by an infinite number of lines, it yet sacrifices the only characters which can make lines beautiful; sacrifices all the variety and grace which long atoned²⁹⁷ for the caprice of the Flamboyant, and adopts, for its leading feature, an entanglement²⁹⁸ of cross bars and verticals²⁹⁹, showing about as much invention or skill of design as the reticulation of the bricklayer's sieve³⁰⁰. Yet this very reticulation would in color be highly beautiful; and all the heraldry, and other features which, in form, are monstrous, may be delightful as themes of color (so long as there are no fluttering or over-twisted lines in them); and this observe, because, when colored, they take the place of a mere pattern, and the resemblance to nature, which could not be found in their sculptured forms, is found in their piquant variegation of other surfaces. There is a beautiful and bright bit of wall painting behind the Duomo of Verona, composed of coats of arms, whose bearings are balls of gold set in bars of green (altered blue?) and white, with cardinal's hats in alternate squares. This is of course, however, fit only for domestic work. The front of the Doge's palace at Venice is the purest and most chaste³⁰¹ model that I can name (but one) of the fit application of color to public buildings. The sculpture and mouldings are all white; but the wall surface is chequered with marble blocks of pale rose, the chequers being in no wise harmonized, or fitted to the forms of the windows; but looking as if the surface had been completed first, and the windows cut out of it. In Plate XII. fig. 2 the reader will see two of the patterns[Pg 137] used in green and white, on the columns of San Michele of Lucca, every column having a different design. Both are beautiful, but the upper one certainly the best. Yet in sculpture its lines would have been perfectly barbarous, and those even of the lower not enough refined.

 

XL. Restraining ourselves, therefore, to the use of such simple patterns, so far forth³⁰² as our color is subordinate either to architectural structure, or sculptural form, we have yet one more manner of ornamentation to add to our general means of effect, monochrome design, the intermediate condition between coloring and carving. The relations of the entire system of architectural decoration may then be thus expressed.

 

1. Organic form dominant. True, independent sculpture, and alto-relievo; rich capitals, and mouldings; to be elaborate in completion of form, not abstract, and either to be left in pure white marble, or most cautiously touched with color in points and borders only, in a system not concurrent³⁰³ with their forms.

 

2. Organic form sub-dominant. Basso-relievo or intaglio³⁰⁴. To be more abstract in proportion to the reduction of depth; to be also more rigid³⁰⁵ and simple in contour; to be touched with color more boldly and in an increased degree, exactly in proportion to the reduced depth and fulness of form, but still in a system non-concurrent with their forms.

 

3. Organic form abstracted to outline. Monochrome design, still farther reduced to simplicity of contour, and therefore admitting for the first time the color to be concurrent with its outlines; that is to say, as its name imports, the entire figure to be detached in one color from a ground of another.

 

4. Organic forms entirely lost. Geometrical patterns or variable cloudings in the most vivid color.

 

On the opposite side of this scale, ascending³⁰⁶ from the color pattern, I would place the various forms of painting which may be associated with architecture: primarily, and as most[Pg 138] fit for such purpose, the mosaic³⁰⁷, highly abstract in treatment, and introducing brilliant color in masses; the Madonna of Torcello being, as I think, the noblest type of the manner, and the Baptistery of Parma the richest: next, the purely decorative³⁰⁸ fresco³⁰⁹, like that of the Arena³¹⁰ Chapel; finally, the fresco becoming principal, as in the Vatican and Sistine. But I cannot, with any safety, follow the principles of abstraction in this pictorial ornament; since the noblest examples of it appear to me to owe their architectural applicability to their archaic³¹¹ manner; and I think that the abstraction and admirable simplicity which render them fit media of the most splendid coloring, cannot be recovered by a voluntary condescension³¹². The Byzantines themselves would not, I think, if they could have drawn the figure better, have used it for a color decoration; and that use, as peculiar to a condition of childhood, however noble and full of promise, cannot be included among those modes of adornment³¹³ which are now legitimate³¹⁴ or even possible. There is a difficulty in the management of the painted window for the same reason, which has not yet been met, and we must conquer that first, before we can venture to consider the wall as a painted window on a large scale. Pictorial subject, without such abstraction, becomes necessarily principal, or, at all events, ceases to be the architect's concern; its plan must be left to the painter after the completion of the building, as in the works of Veronese and Giorgione on the palaces of Venice.

 

XLI. Pure architectural decoration, then, may be considered as limited to the four kinds above specified³¹⁵; of which each glides³¹⁶ almost imperceptibly into the other. Thus, the Elgin frieze is a monochrome in a state of transition to sculpture, retaining, as I think, the half-cast skin too long. Of pure monochrome, I have given an example in Plate VI., from the noble front of St. Michele of Lucca. It contains forty such arches, all covered with equally elaborate ornaments, entirely drawn by cutting out their ground to about the depth of an inch in the flat white marble, and filling the spaces with pieces of green serpentine³¹⁷; a most elaborate mode of sculpture, requiring excessive care and precision in the fitting of[Pg 139] the edges, and of course double work, the same line needing to be cut both in the marble and serpentine. The excessive simplicity of the forms will be at once perceived; the eyes of the figures of animals, for instance, being indicated only by a round dot, formed by a little inlet circle of serpentine, about half an inch over: but, though simple, they admit often much grace of curvature, as in the neck of the bird seen above the right hand pillar.14 The pieces of serpentine have fallen out in many places, giving the black shadows, as seen under the horseman's arm and bird's neck, and in the semi-circular line round the arch, once filled with some pattern. It would have illustrated³¹⁸ my point better to have restored the lost portions, but I always draw a thing exactly as it is, hating restoration of any kind; and I would especially direct the reader's attention to the completion of the forms in the sculptured ornament of the marble cornices, as opposed to the abstraction of the monochrome figures, of the ball and cross patterns between the arches, and of the triangular ornament round the arch on the left.

 

XLII. I have an intense love for these monochrome figures, owing to their wonderful life and spirit in all the works on which I found them; nevertheless, I believe that the excessive degree of abstraction which they imply necessitates³¹⁹ our placing them in the rank of a progressive or imperfect art, and that a perfect building should rather be composed of the highest sculpture (organic form dominant and sub-dominant), associated with pattern colors on the flat or broad surfaces. And we find, in fact, that the cathedral of Pisa, which is a higher type than that of Lucca, exactly follows this condition, the color being put in geometrical patterns on its surfaces, and animal-forms and lovely leafage used in the sculptured cornices and pillars. And I think that the grace of the carved forms is best seen when it is thus boldly opposed to severe traceries of color, while the color itself is, as we have seen, always most piquant when it is put into sharp angular arrangements. Thus the sculpture is approved and set off by the color, and the color seen to the best advantage in its opposition³²⁰ both to the whiteness and the grace of the carved marble.[Pg 140]

 

XLIII. In the course of this and the preceding chapters, I have now separately enumerated³²¹ most of the conditions of Power and Beauty, which in the outset I stated to be the grounds of the deepest impressions with which architecture could affect the human mind; but I would ask permission to recapitulate³²² them in order to see if there be any building which I may offer as an example of the unison³²³, in such manner as is possible, of them all. Glancing back, then, to the beginning of the third chapter, and introducing in their place the conditions incidentally determined in the two previous sections, we shall have the following list of noble characters:

 

Considerable size, exhibited by simple terminal lines (Chap. III. § 6). Projection³²⁴ towards the top (§ 7). Breadth of flat surface (§ 8). Square compartments³²⁵ of that surface (§ 9). Varied and visible masonry³²⁶ (§ 11). Vigorous depth of shadow (§ 13), exhibited especially by pierced traceries (§ 18). Varied proportion in ascent³²⁷ (Chap. IV. § 28). Lateral symmetry (§ 28). Sculpture most delicate at the base (Chap. I. § 12). Enriched quantity of ornament at the top (§ 13). Sculpture abstract in inferior ornaments and mouldings (Chap. IV. § 31), complete in animal forms (§ 33). Both to be executed in white marble (§ 40). Vivid color introduced in flat geometrical patterns (§ 39), and obtained by the use of naturally colored stone (§ 35).

 

These characteristics occur more or less in different buildings, some in one and some in another. But all together, and all in their highest possible relative degrees, they exist, as far as I know, only in one building in the world, the Campanile of Giotto at Florence. The drawing of the tracery of its upper story, which heads this chapter, rude as it is, will nevertheless give the reader some better conception of that tower's magnificence than the thin outlines in which it is usually portrayed³²⁸. In its first appeal to the stranger's eye there is something unpleasing; a mingling³²⁹, as it seems to him, of over severity with over minuteness. But let him give it time, as he should to all other consummate³³⁰ art. I remember well how, when a boy, I used to despise that Campanile, and think it meanly smooth and finished. But I have since lived beside it many a day, and looked out upon it from my windows by sunlight and[Pg 141] moonlight, and I shall not soon forget how profound and gloomy appeared to me the savageness³³¹ of the Northern Gothic, when I afterwards stood, for the first time, beneath the front of Salisbury. The contrast is indeed strange, if it could be quickly felt, between the rising of those grey walls out of their quiet swarded space, like dark and barren rocks out of a green lake, with their rude, mouldering³³², rough-grained shafts, and triple lights, without tracery or other ornament than the martins' nests in the height of them, and that bright, smooth, sunny surface of glowing jasper, those spiral shafts and fairy traceries, so white, so faint, so crystalline, that their slight shapes are hardly traced in darkness on the pallor of the Eastern sky, that serene³³³ height of mountain alabaster³³⁴, colored like a morning cloud, and chased like a sea shell. And if this be, as I believe it, the model and mirror of perfect architecture, is there not something to be learned by looking back to the early life of him who raised it? I said that the Power of human mind had its growth in the Wilderness³³⁵; much more must the love and the conception of that beauty, whose every line and hue²⁸¹ we have seen to be, at the best, a faded image of God's daily work, and an arrested ray of some star of creation, be given chiefly in the places which He has gladdened by planting there the fir tree and the pine. Not within the walls of Florence, but among the far away fields of her lilies, was the child trained who was to raise that headstone of Beauty above the towers of watch and war. Remember all that he became; count the sacred thoughts with which he filled the heart of Italy; ask those who followed him what they learned at his feet; and when you have numbered his labors, and received their testimony³³⁶, if it seem to you that God had verily poured out upon this His servant no common nor restrained portion of His Spirit, and that he was indeed a king among the children of men, remember also that the legend upon his crown was that of David's:—"I took thee from the sheepcote, and from following the sheep."

1 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！

2 rib   

n.肋骨，肋状物

参考例句：

• He broke a rib when he fell off his horse.他从马上摔下来折断了一根肋骨。
• He has broken a rib and the doctor has strapped it up.他断了一根肋骨，医生已包扎好了。

3 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。

4 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。

5 rendering   

n.表现，描写

参考例句：

• She gave a splendid rendering of Beethoven's piano sonata.她精彩地演奏了贝多芬的钢琴奏鸣曲。
• His narrative is a super rendering of dialect speech and idiom.他的叙述是方言和土语最成功的运用。

6 derived   

vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取

参考例句：

• Many English words are derived from Latin and Greek. 英语很多词源出于拉丁文和希腊文。 来自《简明英汉词典》
• He derived his enthusiasm for literature from his father. 他对文学的爱好是受他父亲的影响。 来自《简明英汉词典》

7 irrelevant   

adj.不恰当的，无关系的，不相干的

参考例句：

• That is completely irrelevant to the subject under discussion.这跟讨论的主题完全不相关。
• A question about arithmetic is irrelevant in a music lesson.在音乐课上，一个数学的问题是风马牛不相及的。

8 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。

9 inquiries   

n.调查( inquiry的名词复数 )；疑问；探究；打听

参考例句：

• He was released on bail pending further inquiries. 他获得保释，等候进一步调查。
• I have failed to reach them by postal inquiries. 我未能通过邮政查询与他们取得联系。 来自《现代汉英综合大词典》

10 instinctive   

adj.(出于)本能的；直觉的；(出于)天性的

参考例句：

• He tried to conceal his instinctive revulsion at the idea.他试图饰盖自己对这一想法本能的厌恶。
• Animals have an instinctive fear of fire.动物本能地怕火。

11 investigation   

n.调查，调查研究

参考例句：

• In an investigation,a new fact became known, which told against him.在调查中新发现了一件对他不利的事实。
• He drew the conclusion by building on his own investigation.他根据自己的调查研究作出结论。

12 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。

13 fluting   

有沟槽的衣料； 吹笛子； 笛声； 刻凹槽

参考例句：

• Fluting andsing ing are heard all night. 笙歌不夜。
• The slaves were fluting the pillars of the temples. 奴隶们正在庙宇的柱子上刻凹槽。

14 adoption   

n.采用，采纳，通过；收养

参考例句：

• An adoption agency had sent the boys to two different families.一个收养机构把他们送给两个不同的家庭。
• The adoption of this policy would relieve them of a tremendous burden.采取这一政策会给他们解除一个巨大的负担。

15 vault   

n.拱形圆顶，地窖，地下室

参考例句：

• The vault of this cathedral is very high.这座天主教堂的拱顶非常高。
• The old patrician was buried in the family vault.这位老贵族埋在家族的墓地里。

16 cylindrical   

adj.圆筒形的

参考例句：

• huge cylindrical gas tanks 巨大的圆柱形贮气罐
• Beer cans are cylindrical. 啤酒罐子是圆筒形的。

17 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。

18 converse   

vi.谈话，谈天，闲聊；adv.相反的，相反

参考例句：

• He can converse in three languages.他可以用3种语言谈话。
• I wanted to appear friendly and approachable but I think I gave the converse impression.我想显得友好、平易近人些,却发觉给人的印象恰恰相反。

19 frankly   

adv.坦白地，直率地；坦率地说

参考例句：

• To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。
• Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

20 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。

21 habitual   

adj.习惯性的；通常的，惯常的

参考例句：

• He is a habitual criminal.他是一个惯犯。
• They are habitual visitors to our house.他们是我家的常客。

22 hesitation   

n.犹豫，踌躇

参考例句：

• After a long hesitation, he told the truth at last.踌躇了半天，他终于直说了。
• There was a certain hesitation in her manner.她的态度有些犹豫不决。

23 savage   

adj.野蛮的；凶恶的，残暴的；n.未开化的人

参考例句：

• The poor man received a savage beating from the thugs.那可怜的人遭到暴徒的痛打。
• He has a savage temper.他脾气粗暴。

24 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！

25 conclusively   

adv.令人信服地，确凿地

参考例句：

• All this proves conclusively that she couldn't have known the truth. 这一切无可置疑地证明她不可能知道真相。 来自《简明英汉词典》
• From the facts,he was able to determine conclusively that the death was not a suicide. 根据这些事实他断定这起死亡事件并非自杀。 来自《简明英汉词典》

26 allege   

vt.宣称，申述，主张，断言

参考例句：

• The newspaper reporters allege that the man was murdered but they have given no proof.新闻记者们宣称这个男人是被谋杀的，但他们没提出证据。
• Students occasionally allege illness as the reason for absence.学生时不时会称病缺课。

27 persuasion   

n.劝说；说服；持有某种信仰的宗派

参考例句：

• He decided to leave only after much persuasion.经过多方劝说，他才决定离开。
• After a lot of persuasion,she agreed to go.经过多次劝说后，她同意去了。

28 unnatural   

adj.不自然的；反常的

参考例句：

• Did her behaviour seem unnatural in any way?她有任何反常表现吗？
• She has an unnatural smile on her face.她脸上挂着做作的微笑。

29 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。

30 justified   

a.正当的，有理的

参考例句：

• She felt fully justified in asking for her money back. 她认为有充分的理由要求退款。
• The prisoner has certainly justified his claims by his actions. 那个囚犯确实已用自己的行动表明他的要求是正当的。

31 vice   

n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的

参考例句：

• He guarded himself against vice.他避免染上坏习惯。
• They are sunk in the depth of vice.他们堕入了罪恶的深渊。

32 caverns   

大山洞，大洞穴( cavern的名词复数 )

参考例句：

• Within were dark caverns; what was inside them, no one could see. 里面是一个黑洞，这里面有什么东西，谁也望不见。 来自汉英文学 - 家（1-26） - 家（1-26）
• UNDERGROUND Under water grottos, caverns Filled with apes That eat figs. 在水帘洞里，挤满了猿争吃无花果。

33 anatomy   

n.解剖学，解剖；功能，结构，组织

参考例句：

• He found out a great deal about the anatomy of animals.在动物解剖学方面，他有过许多发现。
• The hurricane's anatomy was powerful and complex.对飓风的剖析是一项庞大而复杂的工作。

34 maker   

n.制造者，制造商

参考例句：

• He is a trouble maker，You must be distant with him.他是个捣蛋鬼，你不要跟他在一起。
• A cabinet maker must be a master craftsman.家具木工必须是技艺高超的手艺人。

35 isolated   

adj.与世隔绝的

参考例句：

• His bad behaviour was just an isolated incident. 他的不良行为只是个别事件。
• Patients with the disease should be isolated. 这种病的患者应予以隔离。

36 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。

37 lavish   

adj.无节制的；浪费的；vt.慷慨地给予，挥霍

参考例句：

• He despised people who were lavish with their praises.他看不起那些阿谀奉承的人。
• The sets and costumes are lavish.布景和服装极尽奢华。

38 allotted   

分配，拨给，摊派( allot的过去式和过去分词 )

参考例句：

• I completed the test within the time allotted . 我在限定的时间内完成了试验。
• Each passenger slept on the berth allotted to him. 每个旅客都睡在分配给他的铺位上。

39 fret   

v.(使)烦恼；(使)焦急；(使)腐蚀，(使)磨损

参考例句：

• Don't fret.We'll get there on time.别着急，我们能准时到那里。
• She'll fret herself to death one of these days.她总有一天会愁死的.

40 agitated   

adj.被鼓动的，不安的

参考例句：

• His answers were all mixed up,so agitated was he.他是那样心神不定，回答全乱了。
• She was agitated because her train was an hour late.她乘坐的火车晚点一个小时，她十分焦虑。

41 attainable   

a.可达到的，可获得的

参考例句：

• They set the limits of performance attainable. 它们确定着可达到的运行限度。
• If objectives are to be meaningful to people, they must be clear, attainable, actionable, and verifiable. 如果目标对人们是具有意义的，则目标必须是清晰的，能达到的，可以行动的，以及可供检验的。

42 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。

43 vile   

adj.卑鄙的，可耻的，邪恶的；坏透的

参考例句：

• Who could have carried out such a vile attack?会是谁发起这么卑鄙的攻击呢？
• Her talk was full of vile curses.她的话里充满着恶毒的咒骂。

44 dart   

v.猛冲，投掷；n.飞镖，猛冲

参考例句：

• The child made a sudden dart across the road.那小孩突然冲过马路。
• Markov died after being struck by a poison dart.马尔科夫身中毒镖而亡。

45 pebble   

n.卵石，小圆石

参考例句：

• The bird mistook the pebble for egg and tried to hatch it.这只鸟错把卵石当蛋，想去孵它。
• The pebble made a ripple on the surface of the lake.石子在湖面上激起一个涟漪。

46 murmurs   

n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕

参考例句：

• They spoke in low murmurs. 他们低声说着话。 来自辞典例句
• They are more superficial, more distinctly heard than murmurs. 它们听起来比心脏杂音更为浅表而清楚。 来自辞典例句

47 frieze   

n.(墙上的)横饰带，雕带

参考例句：

• The Corinthian painter's primary ornamental device was the animal frieze.科林斯画家最初的装饰图案是动物形象的装饰带。
• A careful reconstruction of the frieze is a persuasive reason for visiting Liverpool. 这次能让游客走访利物浦展览会，其中一个具有说服力的原因则是壁画得到了精心的重建。

48 flattened   

[医]（水）平扁的，弄平的

参考例句：

• She flattened her nose and lips against the window. 她把鼻子和嘴唇紧贴着窗户。
• I flattened myself against the wall to let them pass. 我身体紧靠着墙让他们通过。

49 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。

50 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。

51 random   

adj.随机的；任意的；n.偶然的(或随便的)行动

参考例句：

• The list is arranged in a random order.名单排列不分先后。
• On random inspection the meat was found to be bad.经抽查，发现肉变质了。

52 recess   

n.短期休息，壁凹（墙上装架子，柜子等凹处）

参考例句：

• The chairman of the meeting announced a ten-minute recess.会议主席宣布休会10分钟。
• Parliament was hastily recalled from recess.休会的议员被匆匆召回开会。

53 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。

54 primal   

adj.原始的；最重要的

参考例句：

• Jealousy is a primal emotion.嫉妒是最原始的情感。
• Money was a primal necessity to them.对于他们，钱是主要的需要。

55 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。

56 precedent   

n.先例，前例；惯例；adj.在前的，在先的

参考例句：

• Is there a precedent for what you want me to do?你要我做的事有前例可援吗？
• This is a wonderful achievement without precedent in Chinese history.这是中国历史上亘古未有的奇绩。

57 fig   

n.无花果(树)

参考例句：

• The doctor finished the fig he had been eating and selected another.这位医生吃完了嘴里的无花果，又挑了一个。
• You can't find a person who doesn't know fig in the United States.你找不到任何一个在美国的人不知道无花果的。

58 dubious   

adj.怀疑的，无把握的；有问题的，靠不住的

参考例句：

• What he said yesterday was dubious.他昨天说的话很含糊。
• He uses some dubious shifts to get money.他用一些可疑的手段去赚钱。

59 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。

60 considerably   

adv.极大地；相当大地；在很大程度上

参考例句：

• The economic situation has changed considerably.经济形势已发生了相当大的变化。
• The gap has narrowed considerably.分歧大大缩小了。

61 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。

62 gracefully   

ad.大大方方地；优美地

参考例句：

• She sank gracefully down onto a cushion at his feet. 她优雅地坐到他脚旁的垫子上。
• The new coats blouse gracefully above the hip line. 新外套在臀围线上优美地打着褶皱。

63 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。

64 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。

65 meshes   

网孔( mesh的名词复数 )； 网状物； 陷阱； 困境

参考例句：

• The net of Heaven has large meshes, but it lets nothing through. 天网恢恢，疏而不漏。
• This net has half-inch meshes. 这个网有半英寸见方的网孔。

66 mesh   

n.网孔，网丝，陷阱；vt.以网捕捉，啮合，匹配；vi.适合； [计算机]网络

参考例句：

• Their characters just don't mesh.他们的性格就是合不来。
• This is the net having half inch mesh.这是有半英寸网眼的网。

67 beetles   

n.甲虫( beetle的名词复数 )

参考例句：

• Beetles bury pellets of dung and lay their eggs within them. 甲壳虫把粪粒埋起来，然后在里面产卵。 来自《简明英汉词典》
• This kind of beetles have hard shell. 这类甲虫有坚硬的外壳。 来自《现代汉英综合大词典》

68 divers   

adj.不同的；种种的

参考例句：

• He chose divers of them,who were asked to accompany him.他选择他们当中的几个人，要他们和他作伴。
• Two divers work together while a standby diver remains on the surface.两名潜水员协同工作，同时有一名候补潜水员留在水面上。

69 varied   

adj.多样的，多变化的

参考例句：

• The forms of art are many and varied.艺术的形式是多种多样的。
• The hotel has a varied programme of nightly entertainment.宾馆有各种晚间娱乐活动。

70 diminution   

n.减少；变小

参考例句：

• They hope for a small diminution in taxes.他们希望捐税能稍有减少。
• He experienced no diminution of his physical strength.他并未感觉体力衰落。

71 syllable   

n.音节；vt.分音节

参考例句：

• You put too much emphasis on the last syllable.你把最后一个音节读得太重。
• The stress on the last syllable is light.最后一个音节是轻音节。

72 frightful   

adj.可怕的；讨厌的

参考例句：

• How frightful to have a husband who snores!有一个发鼾声的丈夫多讨厌啊！
• We're having frightful weather these days.这几天天气坏极了。

73 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。

74 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。

75 deforms   

使变形，使残废，丑化( deform的第三人称单数 )

参考例句：

• Bad rheumatoid arthritis deforms limbs. 严重的类风湿性关节炎会造成四肢变形。
• The specimen deforms under a tensile stress applied parallel to the fibres. 试样在平行于纤维的张应力作用下发生变形。

76 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。

77 legendary   

adj.传奇（中）的，闻名遐迩的；n.传奇（文学）

参考例句：

• Legendary stories are passed down from parents to children.传奇故事是由父母传给孩子们的。
• Odysseus was a legendary Greek hero.奥狄修斯是传说中的希腊英雄。

78 pointedly   

adv.尖地，明显地

参考例句：

• She yawned and looked pointedly at her watch. 她打了个哈欠，又刻意地看了看手表。
• The demand for an apology was pointedly refused. 让对方道歉的要求遭到了断然拒绝。 来自《简明英汉词典》

79 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。

80 folly   

n.愚笨，愚蠢，蠢事，蠢行，傻话

参考例句：

• Learn wisdom by the folly of others.从别人的愚蠢行动中学到智慧。
• Events proved the folly of such calculations.事情的进展证明了这种估计是愚蠢的。

81 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。

82 graphic   

adj.生动的，形象的，绘画的，文字的，图表的

参考例句：

• The book gave a graphic description of the war.这本书生动地描述了战争的情况。
• Distinguish important text items in lists with graphic icons.用图标来区分重要的文本项。

83 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。

84 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。

85 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》

86 obstinate   

adj.顽固的，倔强的，不易屈服的，较难治愈的

参考例句：

• She's too obstinate to let anyone help her.她太倔强了，不会让任何人帮她的。
• The trader was obstinate in the negotiation.这个商人在谈判中拗强固执。

87 illegible   

adj.难以辨认的，字迹模糊的

参考例句：

• It is impossible to deliver this letter because the address is illegible.由于地址字迹不清，致使信件无法投递。
• Can you see what this note says—his writing is almost illegible!你能看出这个便条上写些什么吗？他的笔迹几乎无法辨认。

88 scroll   

n.卷轴，纸卷；(石刻上的)漩涡

参考例句：

• As I opened the scroll,a panorama of the Yellow River unfolded.我打开卷轴时，黄河的景象展现在眼前。
• 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。

89 scrolls   

n.（常用于录写正式文件的）纸卷( scroll的名词复数 )；卷轴；涡卷形（装饰）；卷形花纹v.（电脑屏幕上）从上到下移动（资料等），卷页( scroll的第三人称单数 )；（似卷轴般）卷起；（像展开卷轴般地）将文字显示于屏幕

参考例句：

• Either turn it off or only pick up selected stuff like wands, rings and scrolls. 把他关掉然后只捡你需要的物品，像是魔杖(wand)，戒指(rings)和滚动条(scrolls)。 来自互联网
• Ancient scrolls were found in caves by the Dead Sea. 死海旁边的山洞里发现了古代的卷轴。 来自辞典例句

90 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。

91 ornamental   

adj.装饰的；作装饰用的；n.装饰品；观赏植物

参考例句：

• The stream was dammed up to form ornamental lakes.溪流用水坝拦挡起来,形成了装饰性的湖泊。
• The ornamental ironwork lends a touch of elegance to the house.铁艺饰件为房子略添雅致。

92 arabesques   

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）

参考例句：

93 arabesque   

n.阿拉伯式花饰；adj.阿拉伯式图案的

参考例句：

• I like carpets with arabesque patterns.我喜欢带有阿拉伯式花饰的地毯。
• The Arabesque solution is the answer to a designer's desire for uniqueness.阿拉伯风为设计师渴望独一无二给出了答案。

94 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

95 elasticity   

n.弹性，伸缩力

参考例句：

• The skin eventually loses its elasticity.皮肤最终会失去弹性。
• Every sort of spring has a definite elasticity.每一种弹簧都有一定的弹性。

96 extremities   

n.端点( extremity的名词复数 )；尽头；手和足；极窘迫的境地

参考例句：

• She was most noticeable, I thought, in respect of her extremities. 我觉得她那副穷极可怜的样子实在太惹人注目。 来自辞典例句
• Winters may be quite cool at the northwestern extremities. 西北边区的冬天也可能会相当凉。 来自辞典例句

97 ramification   

n.分枝，分派，衍生物

参考例句：

• Public relation of police is a ramification of modern public relations.警察公共关系是现代公共关系的衍生物。
• An apple tree,after going through a long time ramification and sprouting,finally fruited.一棵苹果树经过漫长的分枝抽叶终于结果了。

98 languor   

n.无精力，倦怠

参考例句：

• It was hot,yet with a sweet languor about it.天气是炎热的，然而却有一种惬意的懒洋洋的感觉。
• She,in her languor,had not troubled to eat much.她懒懒的，没吃多少东西。

99 vices   

缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳

参考例句：

• In spite of his vices, he was loved by all. 尽管他有缺点，还是受到大家的爱戴。
• He vituperated from the pulpit the vices of the court. 他在教堂的讲坛上责骂宫廷的罪恶。

100 organisation   

n.组织，安排，团体，有机休

参考例句：

• The method of his organisation work is worth commending.他的组织工作的方法值得称道。
• His application for membership of the organisation was rejected.他想要加入该组织的申请遭到了拒绝。

101 urns   

n.壶( urn的名词复数 )；瓮；缸；骨灰瓮

参考例句：

• Wine utensils unearthed include jars, urns, pots, bowls and cups. 发掘出的酒器皿有瓶、瓮、罐、壶、碗和杯子。 来自互联网
• Ernie yearned to learn to turn urns. 呕尼渴望学会转咖啡壶。 来自互联网

102 scenic   

adj.自然景色的，景色优美的

参考例句：

• The scenic beauty of the place entranced the visitors.这里的美丽风光把游客们迷住了。
• The scenic spot is on northwestern outskirts of Beijing.这个风景区位于北京的西北远郊。

103 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。

104 exponents   

n.倡导者( exponent的名词复数 )；说明者；指数；能手

参考例句：

• Its tendency to archaic language was tempered by the indolence of its exponents. 它的应用古语的趋势却被用语者的懒散所冲淡。 来自辞典例句
• The exponents of this trend are trying to lead us towards capitalism. 这股思潮的代表人物是要把我们引导到资本主义方向上去。 来自互联网

105 exponent   

n.倡导者，拥护者；代表人物；指数，幂

参考例句：

• She is an exponent of vegetarianism.她是一个素食主义的倡导者。
• He had been the principal exponent of the Gallipoli campaign.他曾为加里波利战役的主要代表人物。

106 Christian   

adj.基督教徒的；n.基督教徒

参考例句：

• They always addressed each other by their Christian name.他们总是以教名互相称呼。
• His mother is a sincere Christian.他母亲是个虔诚的基督教徒。

107 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。

108 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。

109 contentedly   

adv.心满意足地

参考例句：

• My father sat puffing contentedly on his pipe.父亲坐着心满意足地抽着烟斗。
• "This is brother John's writing,"said Sally,contentedly,as she opened the letter.

110 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。

111 agitation   

n.搅动；搅拌；鼓动，煽动

参考例句：

• Small shopkeepers carried on a long agitation against the big department stores.小店主们长期以来一直在煽动人们反对大型百货商店。
• These materials require constant agitation to keep them in suspension.这些药剂要经常搅动以保持悬浮状态。

112 plumb   

adv.精确地，完全地；v.了解意义，测水深

参考例句：

• No one could plumb the mystery.没人能看破这秘密。
• It was unprofitable to plumb that sort of thing.这种事弄个水落石出没有什么好处。

113 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？

114 conceal   

v.隐藏，隐瞒，隐蔽

参考例句：

• He had to conceal his identity to escape the police.为了躲避警方，他只好隐瞒身份。
• He could hardly conceal his joy at his departure.他几乎掩饰不住临行时的喜悦。

115 concealing   

v.隐藏，隐瞒，遮住( conceal的现在分词 )

参考例句：

• Despite his outward display of friendliness, I sensed he was concealing something. 尽管他表现得友善，我还是感觉到他有所隐瞒。 来自《简明英汉词典》
• SHE WAS BREAKING THE COMPACT, AND CONCEALING IT FROM HIM. 她违反了他们之间的约定，还把他蒙在鼓里。 来自英汉文学 - 三万元遗产

116 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。

117 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

118 subdividing   

再分，细分( subdivide的现在分词 )

参考例句：

• The system is designed to realize the subdividing drive, adjusting and position. 实现细分驱动器、调速控制、定位控制和软硬接口的设计。
• A joint-tracing counting and subdividing method for moiré fringes is presented. 提出一种对非正交莫尔条纹信号进行计数细分的方法。

119 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。

120 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。

121 drooping   

adj. 下垂的，无力的 动词droop的现在分词

参考例句：

• The drooping willows are waving gently in the morning breeze. 晨风中垂柳袅袅。
• The branches of the drooping willows were swaying lightly. 垂柳轻飘飘地摆动。

122 lighter   

n.打火机，点火器；驳船；v.用驳船运送；light的比较级

参考例句：

• The portrait was touched up so as to make it lighter.这张画经过润色，色调明朗了一些。
• The lighter works off the car battery.引燃器利用汽车蓄电池打火。

123 literally   

adv.照字面意义，逐字地；确实

参考例句：

• He translated the passage literally.他逐字逐句地翻译这段文字。
• Sometimes she would not sit down till she was literally faint.有时候，她不走到真正要昏厥了，决不肯坐下来。

124 ivy   

n.常青藤，常春藤

参考例句：

• Her wedding bouquet consisted of roses and ivy.她的婚礼花篮包括玫瑰和长春藤。
• The wall is covered all over with ivy.墙上爬满了常春藤。

125 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。

126 radical   

n.激进份子，原子团，根号；adj.根本的，激进的，彻底的

参考例句：

• The patient got a radical cure in the hospital.病人在医院得到了根治。
• She is radical in her demands.她的要求十分偏激。

127 abacus   

n.算盘

参考例句：

• They also learned to use the abacus.他们还学习珠算。
• The abacus is the ancestor of the modern computer.算盘是现代电脑的原型。

128 flamboyant   

adj.火焰般的，华丽的，炫耀的

参考例句：

• His clothes were rather flamboyant for such a serious occasion.他的衣着在这种严肃场合太浮夸了。
• The King's flamboyant lifestyle is well known.国王的奢华生活方式是人尽皆知的。

129 shaft   

n.(工具的)柄，杆状物

参考例句：

• He was wounded by a shaft.他被箭击中受伤。
• This is the shaft of a steam engine.这是一个蒸汽机主轴。

130 shafts   

n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等）

参考例句：

• He deliberately jerked the shafts to rock him a bit. 他故意的上下颠动车把，摇这个老猴子几下。 来自汉英文学 - 骆驼祥子
• Shafts were sunk, with tunnels dug laterally. 竖井已经打下，并且挖有横向矿道。 来自辞典例句

131 lavishly   

adv.慷慨地，大方地

参考例句：

• His house was lavishly adorned.他的屋子装饰得很华丽。
• The book is lavishly illustrated in full colour.这本书里有大量全彩插图。

132 bough   

n.大树枝，主枝

参考例句：

• I rested my fishing rod against a pine bough.我把钓鱼竿靠在一棵松树的大树枝上。
• Every bough was swinging in the wind.每条树枝都在风里摇摆。

133 luscious   

adj.美味的；芬芳的；肉感的，引与性欲的

参考例句：

• The watermelon was very luscious.Everyone wanted another slice.西瓜很可口，每个人都想再来一片。
• What I like most about Gabby is her luscious lips!我最喜欢的是盖比那性感饱满的双唇！

134 delightfulness   

n.delightful（令人高兴的，使人愉快的，给人快乐的，讨人喜欢的）的变形

参考例句：

135 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。

136 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。

137 sublime   

adj.崇高的，伟大的；极度的，不顾后果的

参考例句：

• We should take some time to enjoy the sublime beauty of nature.我们应该花些时间去欣赏大自然的壮丽景象。
• Olympic games play as an important arena to exhibit the sublime idea.奥运会，就是展示此崇高理念的重要舞台。

138 beheld   

v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟

参考例句：

• His eyes had never beheld such opulence. 他从未见过这样的财富。 来自《简明英汉词典》
• The soul beheld its features in the mirror of the passing moment. 灵魂在逝去的瞬间的镜子中看到了自己的模样。 来自英汉文学 - 红字

139 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。

140 joyfully   

adv. 喜悦地, 高兴地

参考例句：

• She tripped along joyfully as if treading on air. 她高兴地走着，脚底下轻飘飘的。
• During these first weeks she slaved joyfully. 在最初的几周里，她干得很高兴。

141 withered   

adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式

参考例句：

• The grass had withered in the warm sun. 这些草在温暖的阳光下枯死了。
• The leaves of this tree have become dry and withered. 这棵树下的叶子干枯了。

142 pegs   

n.衣夹( peg的名词复数 )；挂钉；系帐篷的桩；弦钮v.用夹子或钉子固定( peg的第三人称单数 )；使固定在某水平

参考例句：

• She hung up the shirt with two (clothes) pegs. 她用两只衣夹挂上衬衫。 来自辞典例句
• The vice-presidents were all square pegs in round holes. 各位副总裁也都安排得不得其所。 来自辞典例句

143 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。

144 dominant   

adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因

参考例句：

• The British were formerly dominant in India.英国人从前统治印度。
• She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

145 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。

146 unity   

n.团结，联合，统一；和睦，协调

参考例句：

• When we speak of unity,we do not mean unprincipled peace.所谓团结，并非一团和气。
• We must strengthen our unity in the face of powerful enemies.大敌当前，我们必须加强团结。

147 countless   

adj.无数的，多得不计其数的

参考例句：

• In the war countless innocent people lost their lives.在这场战争中无数无辜的人丧失了性命。
• I've told you countless times.我已经告诉你无数遍了。

148 contemptible   

adj.可鄙的，可轻视的，卑劣的

参考例句：

• His personal presence is unimpressive and his speech contemptible.他气貌不扬，言语粗俗。
• That was a contemptible trick to play on a friend.那是对朋友玩弄的一出可鄙的把戏。

149 countenanced   

v.支持，赞同，批准( countenance的过去式 )

参考例句：

150 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。

151 depressed   

adj.沮丧的，抑郁的，不景气的，萧条的

参考例句：

• When he was depressed,he felt utterly divorced from reality.他心情沮丧时就感到完全脱离了现实。
• His mother was depressed by the sad news.这个坏消息使他的母亲意志消沉。

152 determined   

adj.坚定的；有决心的

参考例句：

• I have determined on going to Tibet after graduation.我已决定毕业后去西藏。
• He determined to view the rooms behind the office.他决定查看一下办公室后面的房间。

153 pebbled   

用卵石铺（pebble的过去式与过去分词形式）

参考例句：

• And quick to the white-pebbled bottom it fell! 接着它飞快地回落到白色卵石的井底潺潺！
• Outside, the rain had stopped but the glass was still pebbled with bright drops. 窗外的雨已经停了，但玻璃上还是布满明亮的水珠。

154 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。

155 scent   

n.气味，香味，香水，线索，嗅觉；v.嗅，发觉

参考例句：

• The air was filled with the scent of lilac.空气中弥漫着丁香花的芬芳。
• The flowers give off a heady scent at night.这些花晚上散发出醉人的芳香。

156 penetrate   

v.透(渗)入；刺入，刺穿；洞察，了解

参考例句：

• Western ideas penetrate slowly through the East.西方观念逐渐传入东方。
• The sunshine could not penetrate where the trees were thickest.阳光不能透入树木最浓密的地方。

157 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。

158 labors   

v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转

参考例句：

• He was tiresome in contending for the value of his own labors. 他老为他自己劳动的价值而争强斗胜，令人生厌。 来自辞典例句
• Farm labors used to hire themselves out for the summer. 农业劳动者夏季常去当雇工。 来自辞典例句

159 exertion   

n.尽力，努力

参考例句：

• We were sweating profusely from the exertion of moving the furniture.我们搬动家具大费气力，累得大汗淋漓。
• She was hot and breathless from the exertion of cycling uphill.由于用力骑车爬坡，她浑身发热。

160 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。

161 numbed   

v.使麻木，使麻痹( numb的过去式和过去分词 )

参考例句：

• His mind has been numbed. 他已麻木不仁。 来自《简明英汉词典》
• He was numbed with grief. 他因悲伤而昏迷了。 来自《现代英汉综合大词典》

162 defiled   

v.玷污( defile的过去式和过去分词 )；污染；弄脏；纵列行进

参考例句：

• Many victims of burglary feel their homes have been defiled. 许多家门被撬的人都感到自己的家被玷污了。
• I felt defiled by the filth. 我觉得这些脏话玷污了我。 来自《简明英汉词典》

163 cleanse   

vt.使清洁，使纯洁，清洗

参考例句：

• Health experts are trying to cleanse the air in cities. 卫生专家们正设法净化城市里的空气。
• Fresh fruit juices can also cleanse your body and reduce dark circles.新鲜果汁同样可以清洁你的身体,并对黑眼圈同样有抑制作用。

164 bind   

vt.捆，包扎；装订；约束；使凝固；vi.变硬

参考例句：

• I will let the waiter bind up the parcel for you.我让服务生帮你把包裹包起来。
• He wants a shirt that does not bind him.他要一件不使他觉得过紧的衬衫。

165 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。

166 ledgers   

n.分类账( ledger的名词复数 )

参考例句：

• The ledgers and account books had all been destroyed. 分类账本和账簿都被销毁了。 来自《简明英汉词典》
• The ledgers had all been destroyed. 账簿都被销毁了。 来自辞典例句

167 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。

168 flails   

v.鞭打( flail的第三人称单数 )；用连枷脱粒；（臂或腿）无法控制地乱动；扫雷坦克

参考例句：

• The son silently took a flail and they began threshing with four flails. 儿子也开始悄悄乘枷脱粒四枷。 来自互联网

169 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。

170 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。

171 wares   

n. 货物, 商品

参考例句：

• They sold their wares at half-price. 他们的货品是半价出售的。
• The peddler was crying up his wares. 小贩极力夸耀自己的货物。

172 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。

173 friezes   

n.（柱顶过梁和挑檐间的）雕带，（墙顶的）饰带( frieze的名词复数 )

参考例句：

• The friezes round the top of the wall are delicate. 墙顶的横条很精致。 来自互联网

174 casement   

n.竖铰链窗；窗扉

参考例句：

• A casement is a window that opens by means of hinges at the side.竖铰链窗是一种用边上的铰链开启的窗户。
• With the casement half open,a cold breeze rushed inside.窗扉半开，凉风袭来。

175 panes   

窗玻璃( pane的名词复数 )

参考例句：

• The sun caught the panes and flashed back at him. 阳光照到窗玻璃上，又反射到他身上。
• The window-panes are dim with steam. 玻璃窗上蒙上了一层蒸汽。

176 idiocy   

n.愚蠢

参考例句：

• Stealing a car and then driving it drunk was the ultimate idiocy.偷了车然后醉酒开车真是愚蠢到极点。
• In this war there is an idiocy without bounds.这次战争疯癫得没底。

177 probity   

n.刚直；廉洁，正直

参考例句：

• Probity and purity will command respect everywhere.为人正派到处受人尊敬。
• Her probity and integrity are beyond question.她的诚实和正直是无可争辩的。

178 prudence   

n.谨慎，精明，节俭

参考例句：

• A lack of prudence may lead to financial problems.不够谨慎可能会导致财政上出现问题。
• The happy impute all their success to prudence or merit.幸运者都把他们的成功归因于谨慎或功德。

179 moth   

n.蛾，蛀虫

参考例句：

• A moth was fluttering round the lamp.有一只蛾子扑打着翅膀绕着灯飞。
• The sweater is moth-eaten.毛衣让蛀虫咬坏了。

180 moths   

n.蛾( moth的名词复数 )

参考例句：

• The moths have eaten holes in my wool coat. 蛀虫将我的羊毛衫蛀蚀了几个小洞。 来自《简明英汉词典》
• The moths tapped and blurred at the window screen. 飞蛾在窗帘上跳来跳去，弄上了许多污点。 来自《现代英汉综合大词典》

181 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。

182 dwelling   

n.住宅，住所，寓所

参考例句：

• Those two men are dwelling with us.那两个人跟我们住在一起。
• He occupies a three-story dwelling place on the Park Street.他在派克街上有一幢3层楼的寓所。

183 discretion   

n.谨慎；随意处理

参考例句：

• You must show discretion in choosing your friend.你择友时必须慎重。
• Please use your best discretion to handle the matter.请慎重处理此事。

184 discomfort   

n.不舒服，不安，难过，困难，不方便

参考例句：

• One has to bear a little discomfort while travelling.旅行中总要忍受一点不便。
• She turned red with discomfort when the teacher spoke.老师讲话时她不好意思地红着脸。

185 miserable   

adj.悲惨的，痛苦的；可怜的，糟糕的

参考例句：

• It was miserable of you to make fun of him.你取笑他，这是可耻的。
• Her past life was miserable.她过去的生活很苦。

186 leisurely   

adj.悠闲的；从容的，慢慢的

参考例句：

• We walked in a leisurely manner,looking in all the windows.我们慢悠悠地走着，看遍所有的橱窗。
• He had a leisurely breakfast and drove cheerfully to work.他从容的吃了早餐，高兴的开车去工作。

187 transmutes   

v.使变形，使变质，把…变成…( transmute的第三人称单数 )

参考例句：

• Energy transmutes into matter. 能量变成物质。 来自《现代英汉综合大词典》
• Your Light will be so powerful that it repels or transmutes the lower energies. 你们的光将会如此强大，以致于它驱逐或者转变较低的能量。 来自互联网

188 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。

189 anvil   

n.铁钻

参考例句：

• The blacksmith shaped a horseshoe on his anvil.铁匠在他的铁砧上打出一个马蹄形。
• The anvil onto which the staples are pressed was not assemble correctly.订书机上的铁砧安装错位。

190 alluded   

提及，暗指( allude的过去式和过去分词 )

参考例句：

• In your remarks you alluded to a certain sinister design. 在你的谈话中，你提到了某个阴谋。
• She also alluded to her rival's past marital troubles. 她还影射了对手过去的婚姻问题。

191 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

192 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

193 indifference   

n.不感兴趣，不关心，冷淡，不在乎

参考例句：

• I was disappointed by his indifference more than somewhat.他的漠不关心使我很失望。
• He feigned indifference to criticism of his work.他假装毫不在意别人批评他的作品。

194 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。

195 disposition   

n.性情，性格；意向，倾向；排列，部署

参考例句：

• He has made a good disposition of his property.他已对财产作了妥善处理。
• He has a cheerful disposition.他性情开朗。

196 provincial   

adj.省的，地方的；n．外省人，乡下人

参考例句：

• City dwellers think country folk have provincial attitudes.城里人以为乡下人思想迂腐。
• Two leading cadres came down from the provincial capital yesterday.昨天从省里下来了两位领导干部。

197 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。

198 gondola   

n.威尼斯的平底轻舟；飞船的吊船

参考例句：

• The road is too narrow to allow the passage of gondola.这条街太窄大型货车不能通过。
• I have a gondola here.我开来了一条平底船。

199 pitcher   

n.(有嘴和柄的)大水罐；(棒球)投手

参考例句：

• He poured the milk out of the pitcher.他从大罐中倒出牛奶。
• Any pitcher is liable to crack during a tight game.任何投手在紧张的比赛中都可能会失常。

200 drawn   

v.拖，拉，拔出；adj.憔悴的，紧张的

参考例句：

• All the characters in the story are drawn from life.故事中的所有人物都取材于生活。
• Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

201 trickle   

vi.淌，滴，流出，慢慢移动，逐渐消散

参考例句：

• The stream has thinned down to a mere trickle.这条小河变成细流了。
• The flood of cars has now slowed to a trickle.汹涌的车流现在已经变得稀稀拉拉。

202 softened   

（使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰

参考例句：

• His smile softened slightly. 他的微笑稍柔和了些。
• The ice cream softened and began to melt. 冰淇淋开始变软并开始融化。

203 solitude   

n. 孤独; 独居,荒僻之地,幽静的地方

参考例句：

• People need a chance to reflect on spiritual matters in solitude. 人们需要独处的机会来反思精神上的事情。
• They searched for a place where they could live in solitude. 他们寻找一个可以过隐居生活的地方。

204 treatise   

n.专著；(专题)论文

参考例句：

• The doctor wrote a treatise on alcoholism.那位医生写了一篇关于酗酒问题的论文。
• This is not a treatise on statistical theory.这不是一篇有关统计理论的论文。

205 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

206 concealed   

a.隐藏的，隐蔽的

参考例句：

• The paintings were concealed beneath a thick layer of plaster. 那些画被隐藏在厚厚的灰泥层下面。
• I think he had a gun concealed about his person. 我认为他当时身上藏有一支枪。

207 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。

208 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。

209 requiem   

n.安魂曲，安灵曲

参考例句：

• I will sing a requiem for the land walkers.我会给陆地上走的人唱首安魂曲。
• The Requiem is on the list for today's concert.《安魂曲》是这次音乐会的演出曲目之一。

210 sonnet   

n.十四行诗

参考例句：

• The composer set a sonnet to music.作曲家为一首十四行诗谱了曲。
• He wrote a sonnet to his beloved.他写了一首十四行诗，献给他心爱的人。

211 transgressing   

v.超越( transgress的现在分词 )；越过；违反；违背

参考例句：

• Pay more transgressing the right or left of another car bombing, it will gain more marks. 多把别的车逼到右边或者左边爆炸，可以得到更多的分数。 来自互联网
• Where on earth can I find an animate soul transgressing; without inhaling gallons of fresh air. 我在地球上哪里可以找到一个朝气勃勃的灵魂；没有呼吸进成吨的新鲜空气。 来自互联网

212 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。

213 monarch   

n.帝王，君主，最高统治者

参考例句：

• The monarch's role is purely ceremonial.君主纯粹是个礼仪职位。
• I think myself happier now than the greatest monarch upon earth.我觉得这个时候比世界上什么帝王都快乐。

214 spire   

n.(教堂)尖顶，尖塔，高点

参考例句：

• The church spire was struck by lightning.教堂的尖顶遭到了雷击。
• They could just make out the spire of the church in the distance.他们只能辨认出远处教堂的尖塔。

215 pinnacles   

顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔

参考例句：

• What would be the pinnacles of your acting and music? 对你而言什麽代表你的演技和音乐的巅峰？
• On Skye's Trotternish Peninsula, basalt pinnacles loom over the Sound of Raasay. 在斯开岛的特洛登尼许半岛，玄武岩尖塔俯瞰着拉塞海峡。

216 supremacy   

n.至上；至高权力

参考例句：

• No one could challenge her supremacy in gymnastics.她是最优秀的体操运动员，无人能胜过她。
• Theoretically,she holds supremacy as the head of the state.从理论上说，她作为国家的最高元首拥有至高无上的权力。

217 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。

218 plume   

n.羽毛；v.整理羽毛，骚首弄姿，用羽毛装饰

参考例句：

• Her hat was adorned with a plume.她帽子上饰着羽毛。
• He does not plume himself on these achievements.他并不因这些成就而自夸。

219 plumes   

羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物

参考例句：

• The dancer wore a headdress of pink ostrich plumes. 那位舞蹈演员戴着粉色鸵鸟毛制作的头饰。
• The plumes on her bonnet barely moved as she nodded. 她点点头，那帽子的羽毛在一个劲儿颤动。

220 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。

221 retirement   

n.退休，退职

参考例句：

• She wanted to enjoy her retirement without being beset by financial worries.她想享受退休生活而不必为金钱担忧。
• I have to put everything away for my retirement.我必须把一切都积蓄起来以便退休后用。

222 vertical   

adj.垂直的，顶点的，纵向的；n.垂直物，垂直的位置

参考例句：

• The northern side of the mountain is almost vertical.这座山的北坡几乎是垂直的。
• Vertical air motions are not measured by this system.垂直气流的运动不用这种系统来测量。

223 fretted   

焦躁的，附有弦马的，腐蚀的

参考例句：

• The wind whistled through the twigs and fretted the occasional, dirty-looking crocuses. 寒风穿过枯枝，有时把发脏的藏红花吹刮跑了。 来自英汉文学
• The lady's fame for hitting the mark fretted him. 这位太太看问题深刻的名声在折磨着他。

224 oblique   

adj.斜的，倾斜的，无诚意的，不坦率的

参考例句：

• He made oblique references to her lack of experience.他拐弯抹角地说她缺乏经验。
• She gave an oblique look to one side.她向旁边斜看了一眼。

225 obliquely   

adv.斜； 倾斜； 间接； 不光明正大

参考例句：

• From the gateway two paths led obliquely across the court. 从门口那儿，有两条小路斜越过院子。 来自辞典例句
• He was receding obliquely with a curious hurrying gait. 他歪着身子，古怪而急促地迈着步子，往后退去。 来自辞典例句

226 props   

小道具； 支柱( prop的名词复数 )； 支持者； 道具； （橄榄球中的）支柱前锋

参考例句：

• Rescuers used props to stop the roof of the tunnel collapsing. 救援人员用支柱防止隧道顶塌陷。
• The government props up the prices of farm products to support farmers' incomes. 政府保持农产品价格不变以保障农民们的收入。

227 buttress   

n.支撑物；v.支持

参考例句：

• I don't think they have any buttress behind them.我认为他们背后没有什么支持力量。
• It was decided to buttress the crumbling walls.人们决定建造扶壁以支撑崩塌中的墙。

228 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。

229 lateral   

adj.侧面的，旁边的

参考例句：

• An airfoil that controls lateral motion.能够控制横向飞行的机翼。
• Mr.Dawson walked into the court from a lateral door.道森先生从一个侧面的门走进法庭。

230 condemned   

adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词

参考例句：

• He condemned the hypocrisy of those politicians who do one thing and say another. 他谴责了那些说一套做一套的政客的虚伪。
• The policy has been condemned as a regressive step. 这项政策被认为是一种倒退而受到谴责。

231 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。

232 outermost   

adj.最外面的，远离中心的

参考例句：

• He fired and hit the outermost ring of the target.他开枪射中了靶子的最外一环。
• The outermost electron is shielded from the nucleus.原子核对最外层电子的作用受到屏蔽。

233 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。

234 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》

235 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》

236 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。

237 influential   

adj.有影响的，有权势的

参考例句：

• He always tries to get in with the most influential people.他总是试图巴结最有影响的人物。
• He is a very influential man in the government.他在政府中是个很有影响的人物。

238 elevation   

n.高度；海拔；高地；上升；提高

参考例句：

• The house is at an elevation of 2,000 metres.那幢房子位于海拔两千米的高处。
• His elevation to the position of General Manager was announced yesterday.昨天宣布他晋升总经理职位。

239 copious   

adj.丰富的，大量的

参考例句：

• She supports her theory with copious evidences.她以大量的例证来充实自己的理论。
• Every star is a copious source of neutrinos.每颗恒星都是丰富的中微子源。

240 joint   

adj.联合的，共同的；n.关节，接合处；v.连接，贴合

参考例句：

• I had a bad fall,which put my shoulder out of joint.我重重地摔了一跤，肩膀脫臼了。
• We wrote a letter in joint names.我们联名写了封信。

241 joints   

接头( joint的名词复数 )； 关节； 公共场所（尤指价格低廉的饮食和娱乐场所） （非正式）； 一块烤肉 （英式英语）

参考例句：

• Expansion joints of various kinds are fitted on gas mains. 各种各样的伸缩接头被安装在煤气的总管道上了。
• Expansion joints of various kinds are fitted on steam pipes. 各种各样的伸缩接头被安装在蒸气管道上了。

242 minor   

adj.较小(少)的，较次要的；n.辅修学科；vi.辅修

参考例句：

• The young actor was given a minor part in the new play.年轻的男演员在这出新戏里被分派担任一个小角色。
• I gave him a minor share of my wealth.我把小部分财产给了他。

243 triangular   

adj.三角（形）的，三者间的

参考例句：

• It's more or less triangular plot of land.这块地略成三角形。
• One particular triangular relationship became the model of Simone's first novel.一段特殊的三角关系成了西蒙娜第一本小说的原型。

244 ledges   

n.（墙壁，悬崖等）突出的狭长部分( ledge的名词复数 )；（平窄的）壁架；横档；（尤指）窗台

参考例句：

• seabirds nesting on rocky ledges 海鸟在岩架上筑巢
• A rusty ironrod projected mournfully from one of the window ledges. 一个窗架上突出一根生锈的铁棒，真是满目凄凉。 来自辞典例句

245 complement   

n.补足物，船上的定员；补语；vt.补充，补足

参考例句：

• The two suggestions complement each other.这两条建议相互补充。
• They oppose each other also complement each other.它们相辅相成。

246 ribs   

n.肋骨( rib的名词复数 )；（船或屋顶等的）肋拱；肋骨状的东西；（织物的）凸条花纹

参考例句：

• He suffered cracked ribs and bruising. 他断了肋骨还有挫伤。
• Make a small incision below the ribs. 在肋骨下方切开一个小口。

247 precedents   

引用单元； 范例( precedent的名词复数 )； 先前出现的事例； 前例； 先例

参考例句：

• There is no lack of precedents in this connection. 不乏先例。
• He copied after bad precedents. 他仿效恶例。

248 touching   

adj.动人的，使人感伤的

参考例句：

• It was a touching sight.这是一幅动人的景象。
• His letter was touching.他的信很感人。

249 briefly   

adv.简单地，简短地

参考例句：

• I want to touch briefly on another aspect of the problem.我想简单地谈一下这个问题的另一方面。
• He was kidnapped and briefly detained by a terrorist group.他被一个恐怖组织绑架并短暂拘禁。

250 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。

251 symbolical   

a.象征性的

参考例句：

• The power of the monarchy in Britain today is more symbolical than real. 今日英国君主的权力多为象徵性的，无甚实际意义。
• The Lord introduces the first symbolical language in Revelation. 主说明了启示录中第一个象徵的语言。

252 ridicule   

v.讥讽，挖苦；n.嘲弄

参考例句：

• You mustn't ridicule unfortunate people.你不该嘲笑不幸的人。
• Silly mistakes and queer clothes often arouse ridicule.荒谬的错误和古怪的服装常会引起人们的讪笑。

253 susceptible   

adj.过敏的，敏感的；易动感情的，易受感动的

参考例句：

• Children are more susceptible than adults.孩子比成人易受感动。
• We are all susceptible to advertising.我们都易受广告的影响。

254 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。

255 incapability   

n.无能

参考例句：

• I hereby apologize for my regretful incapability exposed last year. 非常遗憾地，我的能力缺陷在过去一年中暴露无遗，我在此道歉。 来自互联网
• The university bring out all ability including incapability. 大学在于可使学生们发挥其所有才能——包括无能。 来自互联网

256 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。

257 attainment   

n.达到，到达；［常pl.］成就，造诣

参考例句：

• We congratulated her upon her attainment to so great an age.我们祝贺她高寿。
• The attainment of the success is not easy.成功的取得并不容易。

258 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

259 sketched   

v.草拟（sketch的过去式与过去分词形式）

参考例句：

• The historical article sketched the major events of the decade. 这篇有关历史的文章概述了这十年中的重大事件。 来自《简明英汉词典》
• He sketched the situation in a few vivid words. 他用几句生动的语言简述了局势。 来自《现代汉英综合大词典》

260 candid   

adj.公正的，正直的；坦率的

参考例句：

• I cannot but hope the candid reader will give some allowance for it.我只有希望公正的读者多少包涵一些。
• He is quite candid with his friends.他对朋友相当坦诚。

261 piquant   

adj.辛辣的，开胃的，令人兴奋的

参考例句：

• Bland vegetables are often served with a piquant sauce.清淡的蔬菜常以辛辣的沙司调味。
• He heard of a piquant bit of news.他听到了一则令人兴奋的消息。

262 lobe   

n.耳垂，（肺，肝等的）叶

参考例句：

• Tiny electrical sensors are placed on your scalp and on each ear lobe.小电器传感器放置在您的头皮和对每个耳垂。
• The frontal lobe of the brain is responsible for controlling movement.大脑前叶的功能是控制行动。

263 lobes   

n.耳垂( lobe的名词复数 )；（器官的）叶；肺叶；脑叶

参考例句：

• The rotor has recesses in its three faces between the lobes. 转子在其凸角之间的三个面上有凹槽。 来自辞典例句
• The chalazal parts of the endosperm containing free nuclei forms several lobes. 包含游离核的合点端胚乳部分形成几个裂片。 来自辞典例句

264 incision   

n．切口，切开

参考例句：

• The surgeon made a small incision in the patient's cornea.外科医生在病人的眼角膜上切开一个小口。
• The technique involves making a tiny incision in the skin.这项技术需要在皮肤上切一个小口。

265 enunciated   

v.（清晰地）发音( enunciate的过去式和过去分词 )；确切地说明

参考例句：

• She enunciated each word slowly and carefully. 她每个字都念得又慢又仔细。
• His voice, cold and perfectly enunciated, switched them like a birch branch. 他的话口气冰冷，一字一板，有如给了他们劈面一鞭。 来自辞典例句

266 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。

267 gargoyle   

n.笕嘴

参考例句：

• His face was the gargoyle of the devil,it was not human,it was not sane.他的脸简直就像魔鬼模样的屋檐滴水嘴。
• The little gargoyle is just a stuffed toy,but it looks so strange.小小的滴水嘴兽只是一个填充毛绒玩具，但它看起来这么奇怪的事。

268 lizard   

n.蜥蜴，壁虎

参考例句：

• A chameleon is a kind of lizard.变色龙是一种蜥蜴。
• The lizard darted out its tongue at the insect.蜥蜴伸出舌头去吃小昆虫。

269 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。

270 animate   

v.赋于生命，鼓励；adj.有生命的，有生气的

参考例句：

• We are animate beings,living creatures.我们是有生命的存在，有生命的动物。
• The girls watched,little teasing smiles animating their faces.女孩们注视着，脸上挂着调皮的微笑，显得愈加活泼。

271 conciseness   

n.简洁，简短

参考例句：

• Conciseness is served when the sentence is so corrected. 句子这样一改就简洁了。
• The topics of Diction section include Conciseness, Repetition Simple Words, and etc. 字法单元的主题包括简洁、重复、简单的字等等。

272 coxcombry   

n.（男子的）虚浮，浮夸，爱打扮

参考例句：

273 degradation   

n.降级；低落；退化；陵削；降解；衰变

参考例句：

• There are serious problems of land degradation in some arid zones.在一些干旱地带存在严重的土地退化问题。
• Gambling is always coupled with degradation.赌博总是与堕落相联系。

274 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

275 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。

276 doom   

n.厄运，劫数；v.注定，命定

参考例句：

• The report on our economic situation is full of doom and gloom.这份关于我们经济状况的报告充满了令人绝望和沮丧的调子。
• The dictator met his doom after ten years of rule.独裁者统治了十年终于完蛋了。

277 durable   

adj.持久的，耐久的

参考例句：

• This raincoat is made of very durable material.这件雨衣是用非常耐用的料子做的。
• They frequently require more major durable purchases.他们经常需要购买耐用消费品。

278 discordance   

n.不调和，不和，不一致性；不整合；假整合

参考例句：

• The structure of and rock extremly complex in the discordance formation system in Karst area. 岩溶地区不整合地层系统之岩土构成复杂。 来自互联网
• Objective To analyze environmental factors of the discordance of concomitant strabismus phenotypes in monozygotic twins. 目的通过分析单卵双胎儿表型不一致性共同性斜视发病因素，探讨其发病机制。 来自互联网

279 mellow   

adj.柔和的；熟透的；v.变柔和；(使)成熟

参考例句：

• These apples are mellow at this time of year.每年这时节，苹果就熟透了。
• The colours become mellow as the sun went down.当太阳落山时，色彩变得柔和了。

280 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。

281 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。

282 expedient   

adj.有用的，有利的；n.紧急的办法，权宜之计

参考例句：

• The government found it expedient to relax censorship a little.政府发现略微放宽审查是可取的。
• Every kind of expedient was devised by our friends.我们的朋友想出了各种各样的应急办法。

283 leopard   

n.豹

参考例句：

• I saw a man in a leopard skin yesterday.我昨天看见一个穿着豹皮的男人。
• The leopard's skin is marked with black spots.豹皮上有黑色斑点。

284 discordant   

adj.不调和的

参考例句：

• Leonato thought they would make a discordant pair.里奥那托认为他们不适宜作夫妻。
• For when we are deeply mournful discordant above all others is the voice of mirth.因为当我们极度悲伤的时候，欢乐的声音会比其他一切声音都更显得不谐调。

285 heresy   

n.异端邪说；异教

参考例句：

• We should denounce a heresy.我们应该公开指责异端邪说。
• It might be considered heresy to suggest such a notion.提出这样一个观点可能会被视为异端邪说。

286 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。

287 variegation   

n.上色，彩色，斑；彩斑

参考例句：

• Many hollies have delightful vellow-and-white variegation. 许多冬青树长有好看的黄白相间的杂色斑。 来自辞典例句
• Variegation The occurrence of patches of different colors on leaves or flowers. 色斑：植物叶片或花表面出现的彩色斑块。 来自互联网

288 filaments   

n.（电灯泡的）灯丝( filament的名词复数 )；丝极；细丝；丝状物

参考例句：

• Instead, sarcomere shortening occurs when the thin filaments'slide\" by the thick filaments. 此外，肌节的缩短发生于细肌丝沿粗肌丝“滑行”之际。 来自辞典例句
• Wetting-force data on filaments of any diameter and shape can easily obtained. 各种直径和形状的长丝的润湿力数据是易于测量的。 来自辞典例句

289 fiery   

adj.燃烧着的，火红的；暴躁的；激烈的

参考例句：

• She has fiery red hair.她有一头火红的头发。
• His fiery speech agitated the crowd.他热情洋溢的讲话激动了群众。

290 quaint   

adj.古雅的，离奇有趣的，奇怪的

参考例句：

• There were many small lanes in the quaint village.在这古香古色的村庄里，有很多小巷。
• They still keep some quaint old customs.他们仍然保留着一些稀奇古怪的旧风俗。

291 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

• He was considered to be a paragon of virtue.他被认为是品德尽善尽美的典范。
• You need to decorate your mind with virtue.你应该用德行美化心灵。

292 luxurious   

adj.精美而昂贵的；豪华的

参考例句：

• This is a luxurious car complete with air conditioning and telephone.这是一辆附有空调设备和电话的豪华轿车。
• The rich man lives in luxurious surroundings.这位富人生活在奢侈的环境中。

293 dispositions   

安排( disposition的名词复数 )； 倾向； （财产、金钱的）处置； 气质

参考例句：

• We got out some information about the enemy's dispositions from the captured enemy officer. 我们从捕获的敌军官那里问出一些有关敌军部署的情况。
• Elasticity, solubility, inflammability are paradigm cases of dispositions in natural objects. 伸缩性、可缩性、易燃性是天然物体倾向性的范例。

294 reprobate   

n.无赖汉；堕落的人

参考例句：

• After the fall,god begins to do the work of differentiation between his elect and the reprobate.人堕落之后，上帝开始分辨选民与被遗弃的人。
• He disowned his reprobate son.他声明与堕落的儿子脱离关系。

295 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。

296 spaciousness   

n.宽敞

参考例句：

• A high ceiling gives a feeling of airness and spaciousness. 天花板高给人一种通风和宽敞的感觉。
• The tremendous spaciousness of it was glowing with rich gold. 苍茫辽阔的景色染上了一片瑰丽浓艳的金黄色。

297 atoned   

v.补偿，赎（罪）( atone的过去式和过去分词 )；补偿，弥补，赎回

参考例句：

• He atoned for his sin with life. 他以生命赎罪。 来自《现代汉英综合大词典》
• She had atoned for everything by the sacrifice she had made of her life. 她用牺牲生命来抵偿了一切。 来自辞典例句

298 entanglement   

n.纠缠，牵累

参考例句：

• This entanglement made Carrie anxious for a change of some sort.这种纠葛弄得嘉莉急于改变一下。
• There is some uncertainty about this entanglement with the city treasurer which you say exists.对于你所说的与市财政局长之间的纠葛,大家有些疑惑。

299 verticals   

垂直线，垂直位置( vertical的名词复数 )

参考例句：

• Monorail vehicles and ships use gyro verticals for stabilization. 独轨车辆及船舶上使用陀螺垂直器作为稳定之用。
• The pendulum-torque type of erector is extensively employed on gyro verticals. 陀螺垂直器上广泛地采用由摆和力矩马达组成的修正装置。

300 sieve   

n.筛，滤器，漏勺

参考例句：

• We often shake flour through a sieve.我们经常用筛子筛面粉。
• Finally,it is like drawing water with a sieve.到头来，竹篮打水一场空。

301 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。

302 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。

303 concurrent   

adj.同时发生的，一致的

参考例句：

• You can't attend two concurrent events!你不能同时参加两项活动！
• The twins had concurrent birthday. 双胞胎生日在同一天。

304 intaglio   

n.凹版雕刻；v.凹雕

参考例句：

• The picture shows the intaglio printing workshop of this company.图为该企业凹印制版车间。
• Other anti-counterfeiting features include the use of latent images,pearl ink,and intaglio printing.其他防伪特征，包括隐形图案、珍珠油墨和凹印。

305 rigid   

adj.严格的，死板的；刚硬的，僵硬的

参考例句：

• She became as rigid as adamant.她变得如顽石般的固执。
• The examination was so rigid that nearly all aspirants were ruled out.考试很严，几乎所有的考生都被淘汰了。

306 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。

307 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。

308 decorative   

adj.装饰的，可作装饰的

参考例句：

• This ware is suitable for decorative purpose but unsuitable for utility.这种器皿中看不中用。
• The style is ornate and highly decorative.这种风格很华丽，而且装饰效果很好。

309 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。

310 arena   

n.竞技场，运动场所；竞争场所，舞台

参考例句：

• She entered the political arena at the age of 25. 她25岁进入政界。
• He had not an adequate arena for the exercise of his talents.他没有充分发挥其才能的场所。

311 archaic   

adj.(语言、词汇等)古代的，已不通用的

参考例句：

• The company does some things in archaic ways,such as not using computers for bookkeeping.这个公司有些做法陈旧，如记账不使用电脑。
• Shaanxi is one of the Chinese archaic civilized origins which has a long history.陕西省是中国古代文明发祥之一，有悠久的历史。

312 condescension   

n.自以为高人一等，贬低(别人)

参考例句：

• His politeness smacks of condescension. 他的客气带有屈尊俯就的意味。
• Despite its condescension toward the Bennet family, the letter begins to allay Elizabeth's prejudice against Darcy. 尽管这封信对班纳特家的态度很高傲，但它开始消除伊丽莎白对达西的偏见。

313 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。

314 legitimate   

adj.合法的，合理的，合乎逻辑的；v.使合法

参考例句：

• Sickness is a legitimate reason for asking for leave.生病是请假的一个正当的理由。
• That's a perfectly legitimate fear.怀有这种恐惧完全在情理之中。

315 specified   

adj.特定的

参考例句：

• The architect specified oak for the wood trim. 那位建筑师指定用橡木做木饰条。
• It is generated by some specified means. 这是由某些未加说明的方法产生的。

316 glides   

n.滑行( glide的名词复数 )；滑音；音渡；过渡音v.滑动( glide的第三人称单数 )；掠过；（鸟或飞机 ） 滑翔

参考例句：

• The new dance consists of a series of glides. 这种新舞蹈中有一连串的滑步。 来自《简明英汉词典》
• The stately swan glides gracefully on the pond. 天鹅在池面上优美地游动。 来自《简明英汉词典》

317 serpentine   

adj.蜿蜒的，弯曲的

参考例句：

• One part of the Serpentine is kept for swimmers.蜿蜒河的一段划为游泳区。
• Tremolite laths and serpentine minerals are present in places.有的地方出现透闪石板条及蛇纹石。

318 illustrated   

adj. 有插图的，列举的 动词illustrate的过去式和过去分词

参考例句：

• His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
• The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。

319 necessitates   

使…成为必要，需要( necessitate的第三人称单数 )

参考例句：

• The increase in population necessitates a greater food supply. 人口的增加需要更多食物供应。
• Your proposal necessitates borrowing money. 你的提议使借款成为必要。

320 opposition   

n.反对，敌对

参考例句：

• The party leader is facing opposition in his own backyard.该党领袖在自己的党內遇到了反对。
• The police tried to break down the prisoner's opposition.警察设法制住了那个囚犯的反抗。

321 enumerated   

v.列举，枚举，数( enumerate的过去式和过去分词 )

参考例句：

• A spokesperson enumerated the strikers' demands. 发言人列数罢工者的要求。 来自《简明英汉词典》
• He enumerated the capitals of the 50 states. 他列举了50个州的首府。 来自《现代汉英综合大词典》

322 recapitulate   

v.节述要旨，择要说明

参考例句：

• Let's recapitulate the main ideas.让我们来概括一下要点。
• It will be helpful to recapitulate them.在这里将其简要重述一下也是有帮助的。

323 unison   

n.步调一致，行动一致

参考例句：

• The governments acted in unison to combat terrorism.这些国家的政府一致行动对付恐怖主义。
• My feelings are in unison with yours.我的感情与你的感情是一致的。

324 projection   

n.发射，计划，突出部分

参考例句：

• Projection takes place with a minimum of awareness or conscious control.投射在最少的知觉或意识控制下发生。
• The projection of increases in number of house-holds is correct.对户数增加的推算是正确的。

325 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》

326 masonry   

n.砖土建筑；砖石

参考例句：

• Masonry is a careful skill.砖石工艺是一种精心的技艺。
• The masonry of the old building began to crumble.旧楼房的砖石结构开始崩落。

327 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。

328 portrayed   

v.画像( portray的过去式和过去分词 )；描述；描绘；描画

参考例句：

• Throughout the trial, he portrayed himself as the victim. 在审讯过程中，他始终把自己说成是受害者。
• The author portrayed his father as a vicious drunkard. 作者把他父亲描绘成一个可恶的酒鬼。 来自《现代汉英综合大词典》

329 mingling   

adj.混合的

参考例句：

• There was a spring of bitterness mingling with that fountain of sweets. 在这个甜蜜的源泉中间，已经掺和进苦涩的山水了。
• The mingling of inconsequence belongs to us all. 这场矛盾混和物是我们大家所共有的。

330 consummate   

adj.完美的；v.成婚；使完美 [反]baffle

参考例句：

• The restored jade burial suit fully reveals the consummate skill of the labouring people of ancient China.复原后的金缕玉衣充分显示出中国古代劳动人民的精湛工艺。
• The actor's acting is consummate and he is loved by the audience.这位演员技艺精湛，深受观众喜爱。

331 savageness   

天然，野蛮

参考例句：

• Judy: That was a time of savageness and chauvinism. 那是个充斥着野蛮和沙文主义的年代。
• The coastline is littered with testaments to the savageness of the waters. 海岸线上充满了海水肆虐过后的杂乱东西。

332 mouldering   

v.腐朽( moulder的现在分词 )；腐烂，崩塌

参考例句：

• The room smelt of disuse and mouldering books. 房间里有一股长期不用和霉烂书籍的味道。
• Every mouldering stone was a chronicle. 每块崩碎剥落的石头都是一部编年史。 来自辞典例句

333 serene   

adj. 安详的，宁静的，平静的

参考例句：

• He has entered the serene autumn of his life.他已进入了美好的中年时期。
• He didn't speak much,he just smiled with that serene smile of his.他话不多，只是脸上露出他招牌式的淡定的微笑。

334 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。

335 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。

336 testimony   

n.证词；见证，证明

参考例句：

• The testimony given by him is dubious.他所作的证据是可疑的。
• He was called in to bear testimony to what the police officer said.他被传入为警官所说的话作证。