Many writers have held the belief that the first colonists8 of Ireland were a highly-civilized people, clothed with Tyrian silk, fine linen9 of Egypt, and adorned10 with costly11 ornaments12 of gold. But stern facts refute this theory. The same primitive13 race who used only stone weapons were unacquainted with the art of weaving, and knew of no other garment than the untanned skin of the animal they killed for food. Theorists might still, however, argue, doubt, and disbelieve, if one of the ancient race had not himself risen, as it were, from the grave, after a sleep of thousands of years, to give his testimony14 concerning his people. In 1821 this primitive Irishman, clad completely in skins laced with thongs15, was found in a peat bog16, ten feet below the surface. The teeth, long dark hair and beard, were perfect. Portions of this dress have been preserved in the Museum of the Royal Irish Academy. The material used in sewing was fine gut17, and the regularity18 and279 closeness of the stitching are most remarkable19. Specimens20 of the antique skin mocassins and skin caps have been also found at various times in the peat bogs22, and secured for the Museum, so that we have the dress of the ancient Irishman complete.
Long after this period of barbarism, but still at a time so distant that it is anterior23 to all historic record, we find that the Irish had attained24 some knowledge of metals and the art of weaving. The Museum contains numerous highly-finished illustrations of the beautifully-formed, slender, leaf-shaped swords and daggers25 of bronze, which began gradually to supersede26 the use of the primitive celt. Many of these swords are of the pure Grecian type, formed apparently27 on the model of the leaf of the aloe or the agave. One sword found on an ancient battle-field is curved like a Turkish yataghan; and in “The Book of Rights” “curved swords of battle” are frequently referred to. But the specimens of the broad scythe-shaped sword, “which is especially and peculiarly Irish,” are the most numerous, as many as forty-one of these heavy, thick, round-pointed29 battle-axe swords being in the Museum.
The same progress of artistic30 development is observable in the ancient swords as was noticed in the primitive celt—as the art advanced, the manufacturer began to exercise his artistic faculties31 in fanciful and costly decoration. The blade was adorned with either cast or engraved32 ornamentation, and the hilt inlaid or studded with gold. Thus, Brian Boroimhe is described as carrying a gold-hilted sword in his right hand at the battle of Clontarf.
It is very remarkable that, throughout the whole series, from the rudest to the most highly finished, a peculiar28 idea is traceable in the ornamentation, by which they can at once be recognized as Irish; and this idea seems to have travelled from Irish Paganism to Irish Christianism. The ornamentation on the sepulchral34 stones of New Grange is repeated on the stone celts; it is carried on into the age of Bronze; it decorated the swords and spears of the kings, as well as their costly diadems35 and ornaments of gold, and still continued to be traced, with a kind of loving fidelity37 to the ancient symbols, upon the manuscripts illuminated38 by priestly hands, so late as the tenth and eleventh centuries.
For the illustration of the costume of the early Irish, after it passed from primitive helpless barbarism to comparative civilization, by the aid of the knowledge of metals and the art of weaving, fortunately we are not left to mere39 theories; for, by a singular chance, the representative of the advanced period, like him of the barbaric age, arises also from the grave of the Past to bear witness for himself.
In 1824, a male body, completely clad in woollen antique garments, was found in a bog near Sligo, six feet below the surface; and so perfect was the body when first discovered, that280 a magistrate40 was called upon to hold an inquest on it. The garments also were in such complete preservation41, that a photograph was made of a person clad in this antique suit, with the exception of the shoes, which were too small for an adult of our day, and a drawing from this photograph is one of the best and most beautifully executed illustrations of the Museum catalogue. The costume of this ancient Irish gentleman is exceedingly picturesque42, consisting of trews of a plaid pattern, made wide above, like Turkish trousers, but fitting close to the leg and ankle; over them was a tunic43 of soft cloth, most elaborately gored44 and gussetted, showing high perfection in the tailoring art. The skirt of the tunic, which extends to the knee, is set on full, and measures eight feet in circumference45 at the bottom. The sleeves are tight, and open to the elbow, like an Albanian jacket; and over all was thrown the immemorial Irish mantle46, so invariably worn, so indispensable a portion of Irish costume that it passed into a proverb among our neighbours, the Welsh, “like an Irishman for the cloak.”
This graceful47 garment, as found upon the hero of the bog, and now visible in our Museum, is composed of brown, soft cloth, made straight on the upper edge, which is nine feet long, but cut nearly into the segment of a circle on the lower. The form resembles closely that worn by the Calabrian peasant at this day. These cloaks were often of great value; kings were paid tribute of them. They were made of various colours, each colour being a symbol to denote the rank of the wearer. The number of colours also in a dress had a significant value, and was regulated by law. Thus, one colour only was allowed to slaves; two for soldiers; three for goodly heroes, or young lords; six for the learned men; five for a poetess; and seven was the regal number for kings and queens.
In the “Book of Rights,” the earliest accessible authority on the subject of costume prior to the Norman Invasion, we read of cloaks of various colours presented in tribute to the kings—cloaks of purple, red cloaks, green, white, black; in fact, cloaks of all colours. Some are mentioned as bordered with gold. The tunic is also described frequently, “with golden borders—with gold ornaments—with golden hems48.” Another form of cloak was fashioned with a hood49 like the Arab bornous, and was bordered with a deep fringe of goat’s hairs.
Irish costume seems, in fact, to have been half-Oriental, half-Northern, like the compound race that peopled the island. The trews were the same as the Germanic braccœ; while the tunic was Albanian, and the mantle Eastern; as well as the high, conical head-dress, which is identical in form with the Persian cap of the present day. On this subject Sir William Wilde remarks—
“Every day’s observation and research bring to light new281 affinities50 with early Irish costume. In the great French work, ‘Herculaneum et Pompeii,’ there is a battle scene, copied from a mosaic51 at Pompeii, in which the arms and dress of the combatants are almost identical with those of ancient Ireland. The vanquished wear tight-fitting trousers, close tunics52, several of which are plaided, and cloaks with the hood coming over the head precisely53 like the Irish cochall. The chief figures wear torques round the neck, and bracelets54 on the wrists, and the hood is retained in its place by a narrow frontlet, apparently of gold. The colours of the garments are also peculiarly Irish. In some, the cloak is yellow; the mantle, dark red; and the tunic, purple bordered with white; the latter spangled with triple stars of gold, precisely after the fashion figured in the ‘Book of Kells.’ The chariot in which the principal figure stands resembles some figured on our ancient crosses, and the charioteer wears a pointed cap, green tunic, and tartan vest. All the vanquished wear beards, and their hoods55 envelop56 their chins.”
The study of ancient costume has especial interest for the historian, as the culture, civilization, and commercial relations of a people can be readily deduced from it; and in the numerous and curious illustrations of the catalogue, taken from ancient records, illuminated manuscripts, and the ancient crosses and sepulchral monuments of the country, everything has been brought together that could throw light on this obscure subject. One most remarkable illustration is a full-length portrait of Dermot M’Morrough, king of Leinster, taken from an illuminated copy of Giraldus Cambrensis in the possession of Sir Thomas Philips, which portrait was very probably drawn57 from the life.
From all that is known on the subject, it would appear that linen and cloth of every degree of fineness, according to the rank of the wearer, were the principal materials used in ancient Irish dress. No remains58 of silk garments have been discovered; nor do the historical records, as far as we are aware, make any mention of silk being employed in personal wear. It is remarkable also, that while a traditional belief exists that linen has been known from time immemorial to Ireland, yet the Academy does not possess a single specimen21 of ancient linen. The linen shirts worn at the time of the Norman Invasion are said to have been of immense size, and dyed a saffron colour. But there is undeniable proof, that the tartan, or cloth of divers59 colours, which we are accustomed to associate only with Scotland, was worn universally in Ireland in ancient times. Portions of tartans are preserved in the Museum, and probably each grade of rank and clan60 possessed61 a characteristic plaid as well as a special dress. A love of variegated62 and glowing colours, and a tendency to gorgeous decoration, seem to have been always instinctive63 to the Irish nature.
The female dress of Ireland at a period subsequent to the282 barbaric age is also illustrated64 not from conjecture65, but from actual observation; for in 1843 a complete female antique dress was discovered many feet below the surface in a bog (these museums of Nature, where she stores up and preserves her specimens of antique life with a care and perfection that no mortal curator can ever hope to equal), and is now to be seen in the Academy’s museum.
It consists of a boddice with a long waist, open in front, and attached to a full plaited skirt; which, like the Albanian fustanell, consists of several narrow gored breadths, gathered into small plaits at top, and spreading into a broad quilling at the bottom; each plait being stitched on the inside to preserve the form.
The bottom of the skirt measures twenty-two and a half feet in circumference, and there are ninety-two plaits, most elaborately arranged, so that the joining of each of the narrow breadths should fall within a plait. The material is of a brown woollen cloth.
No pictorial66 representations exist of female costume earlier than the fourteenth or fifteenth centuries but from the sculptured effigies67 on tombs, we find it consisted of either a flowing robe and veil, or of the plaited skirt and tight boddice already described, while the head-dress varied68 according to the fashion of the day.
The subject of personal decoration is perfectly69 illustrated in the Museum; the Academy possessing one of the largest collections in Europe, beginning at the first rude effort at adornment70 of the barbaric age, up to the rich golden ornaments of a later, though still pre-historic period.
It is not pleasant to national pride, after feeding on the gorgeous fables71 of our earliest annalists, to contemplate72 the primitive Irishman fastening his mantle of untanned deerskin with a fish-bone or a thorn, as we know the Germans did in the time of Tacitus; yet, unhappily, antiquarian research will not allow us to doubt the fact of the simple savageness73 of the first colonists. But when the intellect of the rude man stirred within him, he began to carve the bones of the animals he killed into articles of ornament3 and use. Thus the slender bones of fowls74 were fashioned into cloak pins, especially the leg bone, where the natural enlargement at one end suggested the form, and afforded surface for artistic display. From this first rude essay of the child-man can be traced the continuous development of his ideas in decorative75 art, from the carving76 of bones to the casting of metal, up to the most elaborate working in enamel77, gold, and precious stones. Our Museum is rich in these objects, containing more than five hundred specimens. Pins, fibulæ,10 and brooches having been discovered in Ireland in immense283 quantities and variety, some of which are unsurpassed for beauty of design and workmanship.
“In these articles,” Sir William remarks, “the process of development is displayed in a most remarkable manner; for, from the simple unadorned pin or spike78 of copper, bronze or brass79 (the metallic80 representation of the thorn), to the most elaborately wrought81 ring-brooch of precious metal, the patterns of which are now used by our modern jewellers—every stage of art, both in form and handicraft, is clearly defined, not one single link is wanting. In the first stage all the artist’s powers were lavished82 on the decoration of the pin itself, or in the development of the head, which was enlarged and decorated into every possible shape and conceivable pattern. When it was almost impossible to improve the head, a ring or loop was added, passed through a hole in the neck. In the next stage, the ring was doubled, or many rings added. Finally, the ring was enlarged, flattened83 out, decorated, enamelled, covered with filigree84, and jewelled, until, in those magnificent specimens of silver and gold found in Ireland of late years, it reached a degree of perfection which modern art can with difficulty imitate.”
The forms of many of the Irish brooches, pins, and fibulæ, are identical with numbers found in Scandinavia, but the peculiar ornamentation—a curiously85 involved spiral or serpent coil, which can be traced back through all ages of Irish art to the most remote antiquity86—is met nowhere else; neither in Etruscan nor Teutonic art, though some assert its origin can be traced to Assyria and Egypt. However, this Opus Hibernicum, as it was termed by the learned Kemble, is one of the tests by which an antiquary can distinguish national from imported work. It is also remarkable that the ornaments of like form found so copiously87 in Scandinavia are all of bronze, while the Irish are of gold, a metal which, there is every reason to believe, existed in Ireland abundantly in former times, and is still found in small quantities. That it was used for ornament, even coeval88 with the stone celt, is also probable, as the rudest savage can make the ductile89 metal assume any form by simply flattening90 it between two stones.
Many centuries before the Christian33 era, according to the annals, gold was smelted91 in Wicklow, to the east of the Liffey. Goblets92 and brooches were covered with it, and the artificer’s name was Ucadan; but no further mention of native gold occurs throughout our ancient histories. However, two thousand years after, the story of the old annalist was singularly confirmed; for, in the year 1796, in the same part of Wicklow, perhaps on the very site of the furnace of Ucadan, upwards93 of £10,000 worth of native gold was obtained in about two months, and small quantities have been gathered there from time to time ever since.
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The subject of the gold antiquities94 is one full of interest, and even of mystery. The quantity of antique manufactured gold ornaments dug up in Ireland, even in recent times, has been estimated as exceeding half a million of money. As much more may be lying beneath our feet, for, every year, as new cuttings are made for railroads, or bogs are drained, deposits of gold ornaments come to light. Two or three years ago a deposit of massive gold bracelets, in value nearly £5,000, as bright and beautiful as if just finished, was dug up in Carlow; and, still more recently, several antique golden frontlets were found by a labourer while working in a field, who, utterly95 unconscious of their value, threw them to his children, and the author of the Catalogue actually discovered, one day, the son of the man cutting them up into nose-rings for his pigs. They were happily rescued, and are now in the Academy. The form is beautiful and classic; it is a half-moon diadem36, resembling accurately96 some seen in Etruscan sculpture.
What inestimable treasures may have been thus lost! not merely from ignorance, but also from cupidity97; for numbers of gold articles have disappeared in the smelting-pot of the jewellers, who bought them from the country people at perhaps a fractional part of their value. The very small annual sum allowed to the Academy by Government is another cause why the work of destruction still goes on. Valuable gold ornaments are frequently offered there for sale—too valuable, unhappily, for the Academy to purchase, and with an indignant regret that is almost like a sense of shame, the members are obliged to leave them to their fate. Of course legislation could remedy all this, as it has done in Denmark, where the State has secured the possession of all antiquities found in the country for the National Museum, without any wrong being done to the finder, who is paid the full value of all he brings. But in Denmark there is a strong national pride in the subject, and the peasant, who is early taught by the local authorities the value of such things, would as soon think of destroying an antiquity as of burning his Bible.
It is still a question among the learned whether this enormous amount of manufactured gold, far exceeding all yet discovered in England and Scandinavia, was altogether native, or to some extent imported. An analysis of some of the gold has been made, to test the identity of its constituents98 with the gold of Wicklow, and in the instance selected the gold was found similar. This fact and the ornamentation are proofs to uphold the native theory: while opponents state that they came in the way of commerce from the Carthaginians who traded here. Ornaments identical with the Irish in form—the twisted torques, the bracelets, the diadems, and frontlets, having been found in the interior of285 Africa, and along the Gold Coast; in India, Barbary, Spain, and the islands of the Mediterranean99.
Several ancient Irish musical instruments, the chief of which were the harp100 and trumpet101, and numerous fragments of harps102 have been found also in the oldest crannoges, proving how ancient was the knowledge and the practice of music in Ireland—a fact confirmed by the Welsh Annals, which state that the Irish surpassed all nations in their proficiency103 on the harp.
The Museum possesses sixteen antique bronze trumpets104, one of which—the finest specimen yet found in Europe—measures about eight feet in length, and the joining is curiously riveted105 with metal studs, a fact proving its antiquity, as it must have been formed in an age unacquainted with the art of soldering106. With regard to coins, Sir William Wilde utterly denies that bronze ring-money was ever used in Ireland, as stated by Sir William Betham, who borrowed his idea from Vallancy: for all the articles hitherto described as ring-money, are now proved undeniably to belong to chain-dress or armour107. The ancient medium of barter108 seems to have been so many head of cattle, or so many ounces of gold. A native coinage was utterly unknown. The amount of bronze discovered in Ireland is enormous, and proves the long duration of a period when it was in general use, before iron was known. Specimens of every object necessary to a people’s life have been found fabricated of it—weapons, tools, armour, swords, and spears; culinary vessels109, caldrons, spoons, and other minor110 requisites111; hair-pins for the flowing locks of the women; brooches for the graceful mantles112 of the chiefs, but not of the dark, dingy113, modern compound that bears the name. Irish antique bronze was a metal of bright, glowing, golden beauty, and the effect of an army marching with spears of this metal in the flashing sunlight, we can imagine to have been truly magnificent.
The people of this remote age must have attained considerable skill in the manufacturing arts—must have had laws, religion, and social culture—yet how little would have been known of them if these mute witnesses of a past humanity had not been interpreted by science. Archæology and philology114 are the only solvents115 of the past; and no theory can henceforth be tolerated that will not stand the test of being assayed by them. The philologist116 traces the origin and affinities of our people in the roots of the Irish language; while their habits, modes of life, their position in the scale of civilization throughout the long duration of the unwritten age, can only be read in the letters of stone, bronze, and gold upon the walls of our Academy.
Irish manuscripts, though the oldest in North-western Europe, date back scarcely further than the fifth or sixth century. Beyond that period we enter a region of darkness, through which no286 literature or letters radiate their light; yet, unassisted by either, the archæologist can reconstruct the primitive world and the primitive man with greater truth and certainty than if he possessed both; for the facts of a museum are changeless and enduring, and can suffer no mutation117 from prejudice or ignorance, yet we must remember that it is science alone that gives value to these facts. Without its aid a museum would be only an aggregate118 of curious lumber119. The archæologist must combine, in a synthetic120 and comprehensive view—must arrange in their proper sequence—must elucidate121 by a world-wide learning, these sibyline fragments of the past; or this writing on the wall, though it express the most irrefragable truths of history, will remain an undeciphered hieroglyphic122, as useless and unprofitable to the student as the alphabet of an unknown language, which he is unable to form into intelligible123 words. All this Sir William Wilde accomplished124 for the Museum of the Academy, and in his clear and well-arranged volumes we can read the stone pages of our history by the light of all the learning and antiquarian research of the past and present age gathered to one focus.
The conclusion to be drawn from the facts laid before us is, that in an age of remote antiquity (M. Boucher de Perthes, the well-known French author and antiquarian, has written a book to prove that it was prior to the Deluge) the entire face of the earth was covered by a nomad125 people, speaking the one language, and living after the same rude fashion, with no other weapons than sharpened stone. This race passed away, and no research has ever yet discovered their name, their language, their religion, or the era of their existence. Not an inscription126, not a word, not a letter graven on any stone have they left to allay127 the torturing curiosity of the inquirer. Yet traces of them have been found from Mexico to Japan; from the steppes of Tartary to the Pampas; round the shores of every European sea, and along the coasts of the two oceans. Wherever man’s foot has trodden within historic times, they trod before all history. Even in this outlying isle128 of ours vestiges129 of this people are strewn so thickly that the very soil seems made of their remains. Then another race swept across Europe—a comparatively cultured race, bearing with them the chief element of civilization—a knowledge of metals. They spread over both sides of the Danube; left their footprints in Italy and on the shores of the Baltic; overran Switzerland, France, and Belgium, giving names to the rivers they passed, the mountains they crossed, and the towns they founded, which names cling to them even to this day. From Belgium they spread to Britain, and from thence, or by the seacoast of Spain, they reached Ireland, where they founded the existing Irish race, and brought with them the knowledge of metals, the art of music and poetry, and the still existing Irish language. Historians name287 these people the Celts. On the Continent they were gradually crushed down beneath the Roman and Gothic races, and in Britain also by successive conquests. But Ireland suffered no conquest. Here the old Celtic race lived and flourished, and here alone their language, which everywhere else melted into a compound with the Gothic and Latin, maintained its distinct existence. The English language is the gradually formed product and result of the successive conquests of England. But no invading people ever gained sufficient strength in Ireland to influence the original language. It exists still amongst us, living and spoken the same as when thousands of years ago the Celtic people first crossed the Danube and gave it the name it now bears. For this reason all the archæologists of Europe turn their eyes to our sacred isle, as to the one great museum of the Celtic race. Thus, Professor Keller, of Zurich, anxiously studies the formation of Irish crannoges, to compare them with the Swiss; and the learned Pictet, of Geneva, demands the long-deferred completion of the Irish Dictionary, with an ardour that puts to shame our own apathy130, as without it comparative philology wants its chief corner-stone. The great facts of our Museum, illustrated, described, and laid before the learned of Europe in a comprehensive form, will go far to correct the crude, imperfect notions of Continental131 writers concerning Irish antiquities. For instance, Professor Lindenschmidt, of Mayence, asserted in one of his earlier published works, that all the ancient bronze articles found on this side of the Alps were imported from Etruria, as a people so barbarous as the Irish could never have produced them. The fact being, that the largest, most varied, most highly decorated collection of bronze celts existing is to be found in our Museum, along with numerous specimens of the moulds in which they were cast, discovered on the very spot where the ancient workman had lit his furnace. This universal interest and demand for information are enough to stimulate132 our learned men to exertion133, seeing that they are, in a measure, answerable to Europe for the proper preservation of our antiquities, the very rudest of which can tell some tale of the past, as the mere furrows134 along the streets of the dead Pompeii show that life once passed there.
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implement
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| n.(pl.)工具，器具；vt.实行，实施，执行 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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vanquished
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| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
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colonists
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| n.殖民地开拓者，移民，殖民地居民( colonist的名词复数 ) | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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adorned
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| [计]被修饰的 | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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testimony
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| n.证词；见证，证明 | |
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thongs
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| 的东西 | |
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bog
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| n.沼泽；室...陷入泥淖 | |
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gut
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| n.[pl.]胆量；内脏；adj.本能的；vt.取出内脏 | |
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regularity
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| n.规律性，规则性；匀称，整齐 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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specimen
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| n.样本，标本 | |
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bogs
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| n.沼泽，泥塘( bog的名词复数 )；厕所v.（使）陷入泥沼， （使）陷入困境( bog的第三人称单数 )；妨碍，阻碍 | |
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anterior
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| adj.较早的；在前的 | |
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attained
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| （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） | |
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daggers
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| 匕首，短剑( dagger的名词复数 ) | |
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supersede
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| v.替代；充任 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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pointed
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| adj.尖的，直截了当的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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sepulchral
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| adj.坟墓的，阴深的 | |
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diadems
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| n.王冠，王权，带状头饰( diadem的名词复数 ) | |
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diadem
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| n.王冠，冕 | |
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fidelity
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| n.忠诚，忠实；精确 | |
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illuminated
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| adj.被照明的；受启迪的 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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magistrate
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| n.地方行政官，地方法官，治安官 | |
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41
preservation
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| n.保护，维护，保存，保留，保持 | |
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picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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tunic
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| n.束腰外衣 | |
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gored
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| v.（动物）用角撞伤，用牙刺破( gore的过去式和过去分词 ) | |
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circumference
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| n.圆周，周长，圆周线 | |
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mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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48
hems
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| 布的褶边，贴边( hem的名词复数 )； 短促的咳嗽 | |
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49
hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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affinities
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| n.密切关系( affinity的名词复数 )；亲近；（生性）喜爱；类同 | |
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51
mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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52
tunics
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| n.（动植物的）膜皮( tunic的名词复数 )；束腰宽松外衣；一套制服的短上衣；（天主教主教等穿的）短祭袍 | |
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53
precisely
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| adv.恰好，正好，精确地，细致地 | |
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54
bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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hoods
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| n.兜帽( hood的名词复数 )；头巾；（汽车、童车等的）折合式车篷；汽车发动机罩v.兜帽( hood的第三人称单数 )；头巾；（汽车、童车等的）折合式车篷；汽车发动机罩 | |
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envelop
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| vt.包，封，遮盖；包围 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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59
divers
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| adj.不同的；种种的 | |
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60
clan
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| n.氏族，部落，宗族，家族，宗派 | |
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possessed
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| adj.疯狂的；拥有的，占有的 | |
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variegated
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| adj.斑驳的，杂色的 | |
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63
instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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conjecture
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| n./v.推测，猜测 | |
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pictorial
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| adj.绘画的；图片的；n．画报 | |
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effigies
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| n.（人的）雕像，模拟像，肖像( effigy的名词复数 ) | |
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varied
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| adj.多样的，多变化的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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adornment
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| n.装饰；装饰品 | |
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fables
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| n.寓言( fable的名词复数 )；神话，传说 | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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savageness
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| 天然，野蛮 | |
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fowls
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| 鸟( fowl的名词复数 )； 禽肉； 既不是这； 非驴非马 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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carving
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| n.雕刻品，雕花 | |
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enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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spike
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| n.长钉，钉鞋；v.以大钉钉牢，使...失效 | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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metallic
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| adj.金属的；金属制的；含金属的；产金属的；像金属的 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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83
flattened
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| [医]（水）平扁的，弄平的 | |
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84
filigree
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| n.金银丝做的工艺品；v.用金银细丝饰品装饰；用华而不实的饰品装饰；adj.金银细丝工艺的 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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86
antiquity
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| n.古老；高龄；古物，古迹 | |
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copiously
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| adv.丰富地，充裕地 | |
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coeval
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| adj.同时代的；n.同时代的人或事物 | |
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89
ductile
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| adj.易延展的，柔软的 | |
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90
flattening
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| n. 修平 动词flatten的现在分词 | |
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91
smelted
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| v.熔炼，提炼（矿石）( smelt的过去式和过去分词 )；合演( costar的过去式和过去分词 )；闻到；嗅出 | |
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goblets
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| n.高脚酒杯( goblet的名词复数 ) | |
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93
upwards
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| adv.向上，在更高处...以上 | |
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94
antiquities
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| n.古老( antiquity的名词复数 )；古迹；古人们；古代的风俗习惯 | |
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utterly
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| adv.完全地，绝对地 | |
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96
accurately
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| adv.准确地，精确地 | |
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97
cupidity
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| n.贪心，贪财 | |
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98
constituents
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| n.选民( constituent的名词复数 )；成分；构成部分；要素 | |
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99
Mediterranean
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| adj.地中海的；地中海沿岸的 | |
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100
harp
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| n.竖琴；天琴座 | |
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101
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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102
harps
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| abbr.harpsichord 拨弦古钢琴n.竖琴( harp的名词复数 ) | |
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proficiency
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| n.精通，熟练，精练 | |
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104
trumpets
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| 喇叭( trumpet的名词复数 )； 小号； 喇叭形物； （尤指）绽开的水仙花 | |
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riveted
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| 铆接( rivet的过去式和过去分词 )； 把…固定住； 吸引； 引起某人的注意 | |
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106
soldering
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| n.软焊；锡焊；低温焊接；热焊接v.（使）焊接，焊合( solder的现在分词 ) | |
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107
armour
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| （=armor）n.盔甲；装甲部队 | |
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108
barter
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| n.物物交换，以货易货，实物交易 | |
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109
vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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110
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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111
requisites
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| n.必要的事物( requisite的名词复数 ) | |
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112
mantles
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| vt.&vi.覆盖（mantle的第三人称单数形式） | |
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113
dingy
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| adj.昏暗的，肮脏的 | |
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114
philology
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| n.语言学；语文学 | |
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115
solvents
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| 溶解的，溶剂 | |
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116
philologist
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| n.语言学者，文献学者 | |
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117
mutation
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| n.变化，变异，转变 | |
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118
aggregate
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| adj.总计的，集合的；n.总数；v.合计；集合 | |
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119
lumber
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| n.木材，木料；v.以破旧东西堆满；伐木；笨重移动 | |
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120
synthetic
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| adj.合成的，人工的；综合的；n.人工制品 | |
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121
elucidate
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| v.阐明，说明 | |
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122
hieroglyphic
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| n.象形文字 | |
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123
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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124
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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125
nomad
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| n.游牧部落的人，流浪者，游牧民 | |
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126
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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allay
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| v.消除，减轻(恐惧、怀疑等) | |
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isle
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| n.小岛，岛 | |
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129
vestiges
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| 残余部分( vestige的名词复数 )； 遗迹； 痕迹； 毫不 | |
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130
apathy
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| n.漠不关心，无动于衷；冷淡 | |
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131
continental
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| adj.大陆的，大陆性的，欧洲大陆的 | |
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132
stimulate
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| vt.刺激，使兴奋；激励，使…振奋 | |
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133
exertion
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| n.尽力，努力 | |
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134
furrows
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| n.犁沟( furrow的名词复数 )；（脸上的）皱纹v.犁田，开沟( furrow的第三人称单数 ) | |
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