The peasantry live well in their way, and are not content with inferior food. Not for them is the poor makeshift of white bread and the fat cold bacon of the English farm hand. The bread of rye with an admixture of maize flour, the broa or brona, as it is called in north-western Spain, is dark in colour and coarse in texture16; but it is a fine sustaining food, upon which, in Galicia, I have often made a good meal. The ever-present dried codfish, bacalhau, cooked with garlic and oil, and sometimes with rice, flavoured with saffron, is also not by any means a food to be contemned17, unpalatable as it is to those who taste it for the first time. But this, although forming the staple fare of the Minho peasant and 36small farmer, does not exhaust his menu. There is for high days and holidays the savoury estofado of stewed19 meat and vegetables, of which the Portuguese20 peasant housewife is pardonably proud; there are olives, onions, and fruit ad libitum, and good, sound, new wine, tart21, but not unpleasant, at the price of the cheapest small beer in England.
But the foreign visitor who comes simply for a short pleasure trip on the more or less beaten tracks will not be expected to regale22 himself upon this peasant fare, good as it is in its way. Of mutton he will find little or none, but veal23, especially in the national stew18, he will see at most meals, and ox-tongue, with a rich sauce, will appear on the table more frequently than is usual elsewhere. A thin, and, it must be confessed, usually tough steak, to which the adopted English name of beef (spelt bife) is given, will be placed before him pretty often, and he will find both the thing and the word omelette—which is never used in Spanish—universal in Portuguese dining-rooms.
Through a glorious country of pine-clad uplands and sheltered vineyards the railway runs from Oporto to the former great city of Braga, in Roman times Bracara Augusta, and capital of the whole north-western part of the Iberian Peninsula. 37Its position on a slight elevation24 in the midst of a vast undulating plain or cuenca, surrounded by mountains, has made of Braga the natural emporium of the province, and in each succeeding racial dispensation a royal seat and capital; and it remains25 to-day, though shorn of its splendour, the ecclesiastical capital of the Spains, claiming precedence over imperial Toledo for its archbishopric and primacy. It is a busy, prosperous place, humming with little spinning and weaving factories, where woollen and cotton fabrics27 are turned out in great quantities, and hold their own not only here in Minho, but in the rest of Portugal and far Brazil and Portuguese Africa.
At the railway station at Braga, in the outskirts28 of the city, a noisy, assertive29 little steam-train of several carriages is waiting in the street, and with much puffing30 and whistling, it carries the travellers up the slope into the narrow thoroughfares of the town. It is Sunday, and the streets are thronged31 with gaily-dressed people, the women, heavily decked with the ancient gold jewellery, long earrings32, heavy neck chains, and crosses upon the white shirt that covers the bosom33. Across the shoulders of most of them there is a brilliantly 38coloured silk handkerchief, whilst their full-pleated short skirts are usually of some thick dark-coloured cloth, and upon their heads here in Braga they often wear, like their sisters in Oporto, the peculiar34 round cloth pork-pie hat, with the curling silk fringe on the top of the rim26. The men are less picturesque in their Sunday trim, for many of them wear felt wide-brimmed hats instead of the workaday bag cap; but even they have usually added a bit of colour to their sombre masculine garb35 in the form of a bright scarf encircling their waists to do the duty of braces36.
Under the Porta Nova the fussy37 little train rushes, and up the narrow, picturesque street, the top-heavy stone scutcheon upon the eighteenth-century gate striking at the very entrance the dominant38 note of the ancient city. Here and everywhere the archiepiscopal insignia, the tasselled hat and mitre, and the Virgin39 and Child on the city arms, tell that the place from the earliest Christian40 times has been an ecclesiastical seignory. Churches, too, greet the eye at every turn; most of them massive seventeenth and eighteenth century structures in the peculiar style mentioned in 39the description of the Church of Mattosinhos in the last chapter: brownish grey granite41 outlines and salient points, with dazzling white plaster spaces between. Opposite one such church, in a tiny pra?a leading off from the main square of the city, the Largo42 da Lapa, I came across a picturesque scene worthy43 of the brush of John Philip. In a corner of the little square of San Francisco was an ancient recessed44 fountain in the wall, and around it, with water jars high and graceful45 like Roman amphor?, there fluttered a group of women waiting their turn at the jet. Moving to and fro and clustering in the deep shadow contrasting with the blinding sunlight, these full-bosomed, black-haired women, with fine Roman heads and flashing eyes, were so many points of glaring colour, forming a brilliant giant kaleidoscope, whilst the chattering47 of many tongues, the jest and taunt48 thrown over the shoulder to rival or to swain, the careless laughter, seemed to blend and fill the languid air with a vague harmony to the ear, such as the mixed discordant49 colours in their aggregation50 produced to the eye. By the side of the gay fountain stood the contrast that heightened 40its effect. A frowning monastery51 with heavily grated windows high upon the wall, from which glowered52 evil faces and thrust thievish hands. For here, again, on this happy holiday afternoon in Braga, the gaol-birds held their levee. Beneath their bars stood their womenkind and children, consoling or grieving; and little bags hung down at the end of strings53 from the windows to receive the gifts it pleased their friends to send up to the sinister54 rascals55, whose hoarse56 ribaldry or whining57 appeal broke in ever and anon upon the gay chatter46 of the fountain. As if in irony58, the church that faced the monastery prison bore upon its front the name the “Temple of the Sacred Order of Penitence59.” Of contrition60 one saw little sign on the part of those who from behind their bars looked for all their weary day upon the church commemorating61 the unmerited self-reproach of the “Seraphic Father St. Francis.”
THE AFTER-GLOW AT BRAGA.
There is one thing throughout Portugal that may be unhesitatingly condemned62, and here in Braga the evil is as patent as elsewhere. The old traditional and, in many cases, historical names of the pra?as and streets have been changed wholesale63 and wantonly for those of 41passing and second-rate celebrities64, political and otherwise. In Braga the ancient Largo da Lapa has been turned into Largo de Hintze Ribeiro, after the leader of the Liberal party in the Cortes, and there is hardly a town in Portugal in which the principal squares and thoroughfares do not bear the name of Hintze Ribeiro, or of his rival politician, Conselheiro Jo?o Franco. Serpa Pinto and Mouzinho de Albuquerque, two fire-eating African explorers, who in the jingo colonial fever of a few years ago, when the feeling against England ran high, were made heroes, are commemorated65 in streets innumerable throughout Portugal, to the exclusion66 of names which were often quaint67 and significant landmarks68 of long ago.
The palace of the Archbishops of Braga hardly corresponds in appearance with the high claims of the primate69, for the church in Portugal is sadly shorn of its splendour, and part of the rambling70 palace is a ruin; but the cathedral offers many points of interest. Enthusiastic local antiquarians are confident that the first edifice71 was raised by Saint James himself in the lifetime of the Holy Virgin. But, however that may be, the present 42church certainly dates from the twelfth century; and though, as usual, the seventeenth century did its best to spoil and smother72 its primitive73 simplicity74; yet, as in the case of Oporto Cathedral, which that of Braga much resembles, the stern solidity of the original work stands out clear from the frippery by which it is overlaid.
The narrow nave75 is divided from the aisles76 by massive low clustered granite pillars supporting slightly pointed77 arches, above which spring the simple groins that form the vaulted78 roof. At the west end the church is darkened by the gilt79 wooden ceiling that supports the choir80 and the great gilded81 organ with spread trumpet82 pipes that is the pride of the cathedral. The choir itself, raised upon a loft83 and occupying the whole west end of the church, is of surprising magnificence; carving84 and gilding85 have run wild; cupids, cherubim, angels, musicians, and fabulous86 monsters jostle each other exuberantly87 upon choir stalls, lecterns, and panels: all the caprice, skill, and invention of sixteenth and seventeenth century Portuguese art have been lavished88 upon the work. And the effect is rich in the extreme, but utterly89 43incongruous with the sober early ogival of the church itself. Even in the nave the massive granite pillars have been crowned by later vandals with florid capitals of carved gilt wood. The walls, too, are much covered with pictorial90 blue and white tiles, and the effect of this, though inartistic, is quaint and not displeasing91. From the tiny cloister92 of plain romanesque there opens the chapel93 of St. Luke, where in two splendid sepulchres lie the bodies of the Leonese princess, Teresa, and her Burgundian husband, Count Henrique, to whom she brought the county of Portugal in the late eleventh century. These are the progenitors94 of the Kings of Portugal, the parents of Affonso Henriques, of whom we shall hear much later; and to Donna Teresa is owing the re-foundation of the Cathedral of Braga. In the side chapels95, in the cloisters96, and in the sumptuous97 chapel of St. Gerald, the patron saint, there lie dead and mouldering98 archbishops not a few; one of them, it is said, incorrupt after eight centuries, though in consequence of the flesh having been varnished99 he has the appearance of a mulatto, and shows to this day the honourable100 scar across his 44cheek that the warrior101 archbishop gained whilst fighting valiantly102 by the side of the Master of Avis at the ever-memorable battle of Aljubarrota, that gave the regal crown of Portugal to the illegitimate scion103 of the House of Burgundy. Another coffin104 there is, just inside the west door, that has for most people a still more human interest. It is of gilt copper105, apparently106 French in design, bearing upon its lid an effigy107 of a pretty boy of ten, the little Prince Affonso, whose bones lie within, and who died at Braga in the year 1400.
The exterior108 of the cathedral has, like the interior, been much spoilt by later builders, the little square towers having been crowned by a mean-looking balustrade and crockets; but the exterior of the sixteenth-century Lady Chapel is a favourable109 specimen110 of the peculiar florid Portuguese renaissance111 style called Manueline, of which I shall have more to say later. Here at the Lady Chapel at Braga it is more restrained and presents fewer daring departures from the Gothic canons than elsewhere, though the surprising intricacy of the parapet and pinnacles112 show that the new spirit was strongly moving when it was built. That the artists who executed the work were Spaniards 45from Biscay is probably the reason why in this instance the peculiar and more questionable113 features of the style are less conspicuous114 than in the productions of native Portuguese craftsmen115 of the same period. The other churches of Braga have little show. They are mostly rococo116 seventeenth-century structures, granite and plaster outside, and nightmares of carved gilt wood inside; but almost under the shadow of the overloaded117 rococo fa?ade of Santa Cruz there is a lovely little early ogival votive chapel standing118 by itself, and containing a characteristically Portuguese group of the dead Christ, infinitely119 touching120 and beautiful.
And so through the quaint old streets the stranger finds his way, passing by a house here and there whose balconies and windows are covered with the intricate wooden jalousies that linger still as a tradition of oriental civilisation121. The whole place is bathed and flooded with vivid sunlight, except where the lengthening122 shadows fall almost purple in their depth; and wandering without special aim, past the public garden called the Campo de Sant’ Anna, towards the outskirts of the city, I found myself at the foot of a steep hill rising suddenly on the left of the walk. 46Climbing it, I found a little plateau on the top with a tiny quaint seventeenth-century hermitage chapel, the Guadalupe I learned was its name, under a clump9 of shady planes and chestnut123 trees. Around the plateau was a dwarf124 parapet upon which two lovers were sitting, oblivious125 to all around save each other; but as I reached the parapet, and my eyes took in the prospect126 spread before me, a cry of wonderment at its marvellous beauty sprang involuntarily from me, and aroused for a moment the attention of the youth and the girl, who sat with their backs to the landscape, caring nothing for such things. It was but a glance they gave me, and I could enjoy thenceforward without interruption or notice the rapture127 I felt from the scene, the first of many such peculiarly Portuguese prospects128 of rolling valleys and soaring mountains to be gained from comparatively low elevations129; scenes such as in other countries can only be attained130 after long and arduous131 climbs up high mountains. I soon found, it is true, that this view from the Guadalupe in Braga was but a trifle in comparison with many others to be encountered in the course of a few weeks’ travel; but when it first burst unexpectedly upon me it filled me with an ecstasy132 47that no subsequent prospect, however fine, could produce.
Just below me was a tangle133 of vines, and then a mass of oaks, planes, cork-trees, and acacias, with their fluttering light foliage, descending134 in a gracious ocean of greenery of every shade across a broad valley till they climbed half up the glowing red mountains miles away. White houses gleamed amidst the trees, and upon every hill-top a hermitage or shrine135 stood out with its shining cross above it. But that which attracted the eye most was what looked like a giant white marble staircase of immense width, leading right up the side of a wooded mountain spur opposite, upon the summit of which, at the head of the stupendous stair, set deep in the verdure of woods, stood a huge white temple. Seen from the Guadalupe, the architectural approach up the mountain side to the place of pilgrimage above looked almost too vast to be made by man. Beyond, on the right, rose a majestic136 range of granite peaks, bare of vegetation, and scattered137 to the summit with tremendous boulders138; and over all the setting sun threw a glow of golden light that tipped the grey granite with crimson139, orange, and purple, and deepened the shadows of the climbing 48woods to umber and to black. The light fell, and by-and-by only the crests140 of the red and grey mountains glowed, for the woods across the vast plain lay in the black shadow of the peaks. But still, white and gleaming, like a stupendous staircase of shining silver, there shone, clear from the surrounding gloom, the great pilgrimage of Bom Jesus do Monte. And so in the gathering141 twilight142, sated with the beauty of the inanimate world, I slowly wandered down into the pulsing city again, leaving the lad and his lass still whispering on the parapet, alone in their happy blindness.
From the door of the hotel in the Campo Sant’ Anna the tyrannical little street train that bullies143 Braga several times a day carries us to the foot of the Bom Jesus on the spur of Mount Espinho. For nearly two miles of continuous gentle ascent144 the road passes through a long stretching suburb of humble145 houses; and then a quarter of a mile through a close grove146 of shady trees brings us to the outer portico147 of the sanctuary148, a white gateway149 at the head of a flight of steps, backed apparently by a dense150 luxuriant wood. Hard by the portico is the starting platform of an elevator railway, by which pilgrims may, if they please, 49dodge the rigours of the penance151, and arrive at the summit without exertion152. This course, on my arrival, commended itself to me, and I left until the next day a full exploration of the place. On the summit of the spur, by the side and behind the great church, white outlined by brown granite as usual, there lies a land of enchantment153. Vegetation of surprising luxuriance is everywhere, giant trees full of verdure nearly all the year round, mosses154, ferns, and flowers in every crevice155. Gushing156 fountains and cascades157, rustic158 bridges, and sweet winding160 paths through the woods, everything that can conduce to tranquil161 repose162 and comfort is here, with air so pure and exhilarating at this great elevation as to raise the most depressed163 to vivacity164. On a picturesque little clearing on the summit there are two or three hotels, the principal of which, the Grand Hotel, a long one-storey wooden building overhung by great trees, I can vouch165 for as excellent.
The sanctuary is naturally a great resort amongst the people of Braga in the hot summers on the plain, and I cannot conceive a more agreeable place to pass a few days for rest at any time of the year; but the special religious element draws many devotees who conscientiously166 go 50through the pilgrimage to the shrines167, and on the 3rd of May and Whit15 Sunday especially many hundreds of pilgrims flock to the sanctuary for devotion as well as for pleasure. The astonishing feature of the place is, of course, the devotional approach to the church up the side of the mountain, and it is difficult in a few words to give an idea of the eccentricity168 of the structure. It may be admitted at once that the taste displayed is atrociously bad, for it belongs to that eighteenth century which has loaded Portugal with rococo monstrosities; but the very vastness of Bom Jesus, and its exquisite169 position, save it from triviality; and looked at as a whole, either from above or below, the effect is grandiose170 in the extreme.
ON THE TERRACE, BOM JESUS.
Some sort of sanctuary had existed here from the fifteenth century, but it was not until the middle of the seventeenth that a miraculous171 figure of Christ drew to the hermitage large numbers of pilgrims, and gradually in the later eighteenth century the present structures grew under the care of successive archbishops of Braga. Standing upon the spacious172 open terrace before the church on the summit I looked down soon after sunrise upon the scene spread before me. 51If the view hitherward from the Guadalupe was fine this was more striking still. Wreaths of grey mist still floated in the valley far below, and the vast plain with Braga in its centre embosomed amongst trees, and surrounded as far as the eye reached with red-roofed hamlets, still lay in grey shadow. But ridge159 over ridge, crag beyond crag, in the background rose the mountains all tipped with shining gold with chasms173 of tender heliotrope174; and then, before the mind had well realised the beauty of the contrast, the whole plain woke and smiled with sunshine.
The platform or terrace upon which I stood with my back to the church was flanked with granite obelisks175 and statues, and fronted by a wide stone parapet with a beautiful stone fountain above it. By two broad flights of steps at the sides a lower landing, or platform, was reached with an arched fountain set in the face of the wall, then by steps down to a similar platform, whence a pair of flights led to yet another, and so on, the parapets and balustrades in each case being surmounted176 by obelisks and statues, the fountains on the wall-faces being, like the figures, an extraordinary mixture of sacred and mythological177 art. 52Each alternate pair of platforms, after the first six, extending right across the structure and paved with the favourite black and white stone mosaic178, was flanked by two shrines or little open chapels, each with a beautiful life-sized coloured group of figures representing scenes in the passion of our Lord. Half-way down there was an entrance from one of the platforms into a lovely old-world terraced garden, overflowing179 with flowers, palms, and sweet-scented verdure, and overhung by the dark yews180 and pines that bordered the graded descent from top to bottom. At length after descending many flights of steps and passing many terraced platforms with fountains, figures, and obelisks, a large mosaic-paved semicircular space was reached, ending in a stone parapet. Turning and looking upwards181 from here an extraordinary effect was presented. The alternate zigzags182 of the stairs and the faces of the walls, indeed all the architectural features, were outlined, like the great church towering far overhead, with brown grey granite, and faced with perfectly184 white plaster. Stage upon stage the great staircase rose, its parapets at the side and the centre line being marked by statues rising alternately one over the other at each 53successive stage of the ascent. Dark greenery, palms, yews, acacias, orange trees, and trailing flowers overhung the ascent on each side, and it was not difficult to understand the devotional fervour of pilgrims, who with tears and contrition toil185 up this vast via dolorosa by the hundred on the special anniversary, worshipping at the affecting shrines on the landings, and ending in an agony of remorse186 at the foot of the miraculous Christ which is the main attraction of the Sanctuary. Nor is the scene looking down over the parapet at the bottom of the main flight less striking. Sheer over the precipice187 you see the billowy masses of dark thick woods far below. On one side of the wide mosaic landing is a stair leading to another chapel, and so down by a succession of zigzag183 flights, bordered by thick greenery, to the porch, set in its grove of yews, and leading to the outer world. But mere188 words are weak to describe the charm and beauty of the Bom Jesus. There is nothing quite like it anywhere else in Europe, and as sanctuary, health resort, and architectural curiosity it deserves to be better known than it is.
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arid
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| adj.干旱的；(土地)贫瘠的 | |
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stony
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| adj.石头的，多石头的，冷酷的，无情的 | |
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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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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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laboriousness
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cursory
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| adj.粗略的；草率的；匆促的 | |
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isolated
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| adj.与世隔绝的 | |
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clump
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| n.树丛，草丛；vi.用沉重的脚步行走 | |
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clumps
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| n.（树、灌木、植物等的）丛、簇( clump的名词复数 )；（土、泥等）团；块；笨重的脚步声v.（树、灌木、植物等的）丛、簇( clump的第三人称单数 )；（土、泥等）团；块；笨重的脚步声 | |
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11
foliage
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| n.叶子，树叶，簇叶 | |
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indigo
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| n.靛青，靛蓝 | |
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maize
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| n.玉米 | |
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staple
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| n.主要产物，常用品，主要要素，原料，订书钉，钩环；adj.主要的，重要的；vt.分类 | |
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whit
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| n.一点，丝毫 | |
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texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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contemned
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| v.侮辱，蔑视( contemn的过去式和过去分词 ) | |
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stew
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| n.炖汤，焖，烦恼；v.炖汤，焖，忧虑 | |
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stewed
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| adj.焦虑不安的，烂醉的v.炖( stew的过去式和过去分词 )；煨；思考；担忧 | |
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Portuguese
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| n.葡萄牙人；葡萄牙语 | |
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tart
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| adj.酸的；尖酸的，刻薄的；n.果馅饼；淫妇 | |
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regale
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| v.取悦，款待 | |
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veal
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| n.小牛肉 | |
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elevation
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| n.高度；海拔；高地；上升；提高 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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rim
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| n.(圆物的)边，轮缘；边界 | |
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fabrics
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| 织物( fabric的名词复数 )； 布； 构造； （建筑物的）结构（如墙、地面、屋顶）：质地 | |
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outskirts
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| n.郊外，郊区 | |
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assertive
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| adj.果断的，自信的，有冲劲的 | |
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puffing
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| v.使喷出( puff的现在分词 )；喷着汽（或烟）移动；吹嘘；吹捧 | |
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thronged
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| v.成群，挤满( throng的过去式和过去分词 ) | |
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earrings
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| n.耳环( earring的名词复数 )；耳坠子 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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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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garb
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| n.服装，装束 | |
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braces
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| n.吊带，背带；托架( brace的名词复数 )；箍子；括弧；（儿童）牙箍v.支住( brace的第三人称单数 )；撑牢；使自己站稳；振作起来 | |
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fussy
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| adj.为琐事担忧的，过分装饰的，爱挑剔的 | |
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dominant
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| 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 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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granite
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| adj.花岗岩，花岗石 | |
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largo
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| n.广板乐章；adj.缓慢的，宽广的；adv.缓慢地，宽广地 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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recessed
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| v.把某物放在墙壁的凹处( recess的过去式和过去分词 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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45
graceful
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| adj.优美的，优雅的；得体的 | |
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46
chatter
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| vi.／n.喋喋不休；短促尖叫；(牙齿)打战 | |
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47
chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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48
taunt
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| n.辱骂，嘲弄；v.嘲弄 | |
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49
discordant
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| adj.不调和的 | |
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50
aggregation
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| n.聚合，组合；凝聚 | |
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51
monastery
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| n.修道院，僧院，寺院 | |
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52
glowered
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| v.怒视( glower的过去式和过去分词 ) | |
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53
strings
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| n.弦 | |
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54
sinister
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| adj.不吉利的，凶恶的，左边的 | |
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55
rascals
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| 流氓( rascal的名词复数 )； 无赖； （开玩笑说法）淘气的人（尤指小孩）； 恶作剧的人 | |
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56
hoarse
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| adj.嘶哑的，沙哑的 | |
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57
whining
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| n. 抱怨，牢骚 v. 哭诉，发牢骚 | |
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58
irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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59
penitence
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| n.忏悔，赎罪；悔过 | |
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60
contrition
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| n.悔罪，痛悔 | |
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61
commemorating
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| v.纪念，庆祝( commemorate的现在分词 ) | |
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62
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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63
wholesale
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| n.批发；adv.以批发方式；vt.批发，成批出售 | |
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64
celebrities
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| n.（尤指娱乐界的）名人( celebrity的名词复数 )；名流；名声；名誉 | |
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65
commemorated
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| v.纪念，庆祝( commemorate的过去式和过去分词 ) | |
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66
exclusion
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| n.拒绝，排除，排斥，远足，远途旅行 | |
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67
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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68
landmarks
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| n.陆标( landmark的名词复数 )；目标；（标志重要阶段的）里程碑 ~ (in sth)；有历史意义的建筑物（或遗址） | |
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69
primate
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| n.灵长类（目）动物，首席主教；adj.首要的 | |
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70
rambling
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| adj.[建]凌乱的，杂乱的 | |
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71
edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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72
smother
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| vt./vi.使窒息；抑制；闷死；n.浓烟；窒息 | |
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73
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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74
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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75
nave
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| n.教堂的中部；本堂 | |
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76
aisles
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| n. (席位间的)通道, 侧廊 | |
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77
pointed
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| adj.尖的，直截了当的 | |
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78
vaulted
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| adj.拱状的 | |
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79
gilt
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| adj.镀金的；n.金边证券 | |
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80
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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81
gilded
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| a.镀金的，富有的 | |
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82
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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83
loft
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| n.阁楼，顶楼 | |
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84
carving
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| n.雕刻品，雕花 | |
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85
gilding
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| n.贴金箔，镀金 | |
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86
fabulous
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| adj.极好的；极为巨大的；寓言中的，传说中的 | |
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87
exuberantly
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| adv.兴高采烈地，活跃地，愉快地 | |
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88
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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89
utterly
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| adv.完全地，绝对地 | |
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90
pictorial
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| adj.绘画的；图片的；n．画报 | |
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91
displeasing
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| 不愉快的，令人发火的 | |
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92
cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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93
chapel
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| n.小教堂，殡仪馆 | |
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94
progenitors
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| n.祖先( progenitor的名词复数 )；先驱；前辈；原本 | |
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95
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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96
cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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97
sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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98
mouldering
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| v.腐朽( moulder的现在分词 )；腐烂，崩塌 | |
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99
varnished
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| 浸渍过的，涂漆的 | |
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100
honourable
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| adj.可敬的；荣誉的，光荣的 | |
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101
warrior
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| n.勇士，武士，斗士 | |
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102
valiantly
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| adv.勇敢地，英勇地；雄赳赳 | |
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103
scion
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| n.嫩芽，子孙 | |
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104
coffin
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| n.棺材，灵柩 | |
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105
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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106
apparently
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| adv.显然地；表面上，似乎 | |
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107
effigy
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| n.肖像 | |
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108
exterior
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| adj.外部的，外在的；表面的 | |
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109
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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110
specimen
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| n.样本，标本 | |
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111
renaissance
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| n.复活，复兴，文艺复兴 | |
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112
pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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113
questionable
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| adj.可疑的，有问题的 | |
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114
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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115
craftsmen
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| n. 技工 | |
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116
rococo
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| n.洛可可；adj.过分修饰的 | |
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117
overloaded
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| a.超载的，超负荷的 | |
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118
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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119
infinitely
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| adv.无限地，无穷地 | |
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120
touching
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| adj.动人的，使人感伤的 | |
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121
civilisation
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| n.文明，文化，开化，教化 | |
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122
lengthening
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| （时间或空间）延长，伸长( lengthen的现在分词 )； 加长 | |
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123
chestnut
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| n.栗树，栗子 | |
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124
dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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125
oblivious
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| adj.易忘的，遗忘的，忘却的，健忘的 | |
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126
prospect
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| n.前景，前途；景色，视野 | |
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127
rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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128
prospects
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| n.希望，前途(恒为复数) | |
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129
elevations
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| （水平或数量）提高( elevation的名词复数 )； 高地； 海拔； 提升 | |
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130
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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131
arduous
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| adj.艰苦的，费力的，陡峭的 | |
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132
ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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133
tangle
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| n.纠缠；缠结；混乱；v.(使)缠绕；变乱 | |
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134
descending
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| n. 下行 adj. 下降的 | |
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135
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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136
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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137
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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138
boulders
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| n.卵石( boulder的名词复数 )；巨砾；（受水或天气侵蚀而成的）巨石；漂砾 | |
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139
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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140
crests
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| v.到达山顶（或浪峰）( crest的第三人称单数 )；到达洪峰，达到顶点 | |
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141
gathering
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| n.集会，聚会，聚集 | |
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142
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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143
bullies
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| n.欺凌弱小者, 开球 vt.恐吓, 威胁, 欺负 | |
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144
ascent
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| n.(声望或地位)提高；上升，升高；登高 | |
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145
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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146
grove
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| n.林子，小树林，园林 | |
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147
portico
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| n.柱廊，门廊 | |
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148
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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149
gateway
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| n.大门口，出入口，途径，方法 | |
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150
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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151
penance
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| n.（赎罪的）惩罪 | |
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152
exertion
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| n.尽力，努力 | |
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153
enchantment
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| n.迷惑，妖术，魅力 | |
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154
mosses
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| n. 藓类, 苔藓植物 名词moss的复数形式 | |
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155
crevice
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| n.(岩石、墙等)裂缝；缺口 | |
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156
gushing
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| adj.迸出的；涌出的；喷出的；过分热情的v.喷，涌( gush的现在分词 )；滔滔不绝地说话 | |
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157
cascades
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| 倾泻( cascade的名词复数 )； 小瀑布（尤指一连串瀑布中的一支）； 瀑布状物； 倾泻（或涌出）的东西 | |
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158
rustic
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| adj.乡村的，有乡村特色的；n.乡下人，乡巴佬 | |
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159
ridge
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| n.山脊；鼻梁；分水岭 | |
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160
winding
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| n.绕，缠，绕组，线圈 | |
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161
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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162
repose
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| v.(使)休息；n.安息 | |
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163
depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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164
vivacity
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| n.快活，活泼，精神充沛 | |
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165
vouch
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| v.担保；断定；n.被担保者 | |
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166
conscientiously
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| adv.凭良心地；认真地，负责尽职地；老老实实 | |
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167
shrines
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| 圣地，圣坛，神圣场所( shrine的名词复数 ) | |
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168
eccentricity
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| n.古怪，反常，怪癖 | |
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169
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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170
grandiose
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| adj.宏伟的，宏大的，堂皇的，铺张的 | |
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171
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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172
spacious
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| adj.广阔的，宽敞的 | |
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173
chasms
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| 裂缝( chasm的名词复数 )； 裂口； 分歧； 差别 | |
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174
heliotrope
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| n.天芥菜；淡紫色 | |
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175
obelisks
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| n.方尖石塔，短剑号，疑问记号( obelisk的名词复数 ) | |
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176
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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177
mythological
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| adj.神话的 | |
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178
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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179
overflowing
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| n. 溢出物,溢流 adj. 充沛的，充满的 动词overflow的现在分词形式 | |
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180
yews
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| n.紫杉( yew的名词复数 ) | |
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181
upwards
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| adv.向上，在更高处...以上 | |
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182
zigzags
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| n.锯齿形的线条、小径等( zigzag的名词复数 )v.弯弯曲曲地走路，曲折地前进( zigzag的第三人称单数 ) | |
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183
zigzag
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| n.曲折，之字形；adj.曲折的，锯齿形的；adv.曲折地，成锯齿形地；vt.使曲折；vi.曲折前行 | |
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184
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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185
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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186
remorse
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| n.痛恨，悔恨，自责 | |
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187
precipice
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| n.悬崖，危急的处境 | |
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188
mere
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| adj.纯粹的；仅仅，只不过 | |
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