The noble Pra?a do Comercio, Black Horse Square, as English visitors call it, fronts the river in the foreground, the most imposing12 public square in Europe, with the exception perhaps of the Place de la Concorde in Paris. Previous to the great earthquake of 1755 a royal palace stood upon a portion of this site, and the valley behind it was a closely crowded congeries of narrow and filthy13 lanes. In my manuscript already referred to of Lord Strathmore’s travels in the country, an interesting account is given 231of the condition of things in 1760, when he saw the ruined city; and a quotation14 from his description of the plans then existing for rebuilding the portion destroyed will give a good idea of the present aspect, since the plans were executed precisely15.
“The prospect16,” writes Lord Strathmore, “of this great city rising from its ruins is still distant, as besides ye arsenal17 there are but three houses built upon the intended plan. The plan of the streets and squares is extremely well imagin’d. There is a pretty broad valley between two hills, running down to ye Tagus in ye part where ye palace stood. Thro’ this they intend to make their principal street, all ye houses regularly built after one model and tirés au cordon18, terminating in a noble square open in front to ye river, which is of great breadth here, with old Lisbon upon high ground opposite. The other three sides [of the square] will be surrounded by a very handsome, narrow arcade19, with public buildings above and an equestrian20 statue of ye King in ye centre. The other streets will likewise be regular, and will lead at right angles into ye great street from ye hills on each side. Tho’ ye design is extremely noble ye architecture is as bad [i.e. as before] except in ye square already described. They seem to consider ye front of a house only as a high wall with holes larger or smaller to admit light as occasion requires.”
This exactly pictures Lisbon as it stands to-day. From Black Horse Square on the Tagus bank run the Rua Augusta and two other parallel streets, called respectively the streets of “gold” and “silver,” straight as a line to the busy centre 232of Lisbon, the fine parallelogram, called the Pra?a de Dom Pedro, or the Rocio, paved with its inevitable21 mosaic22 of black and white waves, at the end of which is the theatre of Donna Maria, the central railway station, and the entrance to the handsome Avenida da Libertade, a garden and tree-shaded drive of good houses occupying the whole of the narrow valley for nearly two miles into the suburbs. On either side of the Avenida and the principal rectangular streets in the valley the hills rise precipitously, and when the tops of these have been surmounted23 a series of sudden dips and rapid ascents24 succeed east and west. The city is, therefore, a most fatiguing25 one to explore, as to go anywhere away from the river-bank, which with the exception of Black Horse Square is irretrievably ugly and squalid, and from the streets “tirés au cordon” in the central valley, formidable hills have to be faced. This of late years has been much relieved by a complete system of electric trams, which practically cover the city, and by the instalment of funicular railways and lifts up some of the more difficult ascents.
The city, on the whole, is decidedly disappointing at close quarters. The straight 233principal streets and rectangular cross thoroughfares, with their flat, prosaic27 architecture, the high white houses all alike, are the antipodes of picturesqueness29, whilst the authorities seem perversely30 to have done their utmost to make the river-side as ugly as Rotherhithe or Wapping. This is the more to be regretted, as since I first knew the city many years ago, great tracts31 of land have been reclaimed32 from the sludge and ooze33 of the foreshore which might well have been treated with some regard for public amenity34. The large strip reclaimed from the river, however, almost as far as Belem, has for the most part been turned into untidy deserts of dust, shabby-looking docks, and dumping-places for débris. The utter lack of ?sthetic taste is observable on all hands. The terrace before the king’s residence, the palace of the Necesidades, for instance, is upon the brow of a low hill, and commands a splendid view of the river and the opposite shore for many miles on either hand; and yet even here, between the palace and the river factory chimneys belch35 black smoke day and night, hopelessly ugly industrial buildings block the prospect, and the reclaimed foreshore and docks are as desolate36 as elsewhere.
234Of the pure picturesque28, indeed, little remains37 in Lisbon; but what still exists must be sought amongst the fisher folk on the river-side, and especially in the markets that have been built on the reclaimed land of the Ribeira Nova, not far from the centre of the city and close to the Hotel Central. It was pleasant to turn into the cool, spacious39, covered fish-market out of the brilliant sunlight, which even quite early in the day drove people to welcome shade. The air was clear, crisp, and elastic40, and every object seemed to sparkle with light and colour. Inside the market hundreds of people were bargaining quietly, for even here the absence of vociferation was remarkable41; servants buying their stocks of provisions for the day, housewives of the humbler class doing their own marketing43, baskets on their arms, and women fish hawkers by the score laying in their stocks. They were all shoeless, as usual, wearing under their vast head burden black pork-pie hats over red or yellow kerchiefs, and they have girdles below the hips44 into which the upper portion of their pleated skirts is drawn45 to relieve the waist of their weight. Upon the ground, spread around the women sellers, were great heaps of glistening46 fish; cod47, dory, skate, whiting, and large quantities of squids or cuttlefish48, which are much liked by the Portuguese poor.
ON THE QUAY49, LISBON.
235The male fish-sellers of Lisbon are for a wonder even more picturesque than the women; for here on the Tagus the seafarers of the south are first noticeable, quite distinct in racial characteristics as they are from those of the north. These Lisbon fishermen go barefooted, which the poorest men of the north never do, they wear breeches only to the knee, girt by a crimson50 sash, and the hanging tasselled bag-cap falls and waves over their shoulder as they loup along with a peculiar51 springing gait under a long flexible pole balanced transversely across the shoulders, at each end of which a flat, shallow basket of fish is suspended. The vegetable market adjoining that devoted52 to fish is a brilliant sight in this favoured land. Heaps of scarlet53 pimentos and tomatoes are flanked by enormous yellow gourds54, and mountains of purple grapes incredibly cheap, pomegranates, and big luscious55 pears jostle piles of humbler vegetables of the kitchen, and some of the groups of bright-coloured produce seem to reproduce the old pictures of the mythical56 cornucopia57 236overflowing with all the best fruits of the earth.
It is a long and tiring walk from here to Belem, but two lines of electric trams go thither58, one along the river-bank and the other by the parallel route past Alcantara, and either will serve our turn. Belem is now but a suburb of Lisbon, continuous lines of houses covering the two miles of the route. There still remains, however, something of distinction in this royal village, full of memories as it is of Portugal’s great day of power and wealth. For here it was that at length the dream came true, and those long vigils of the Fortunate King on the savage60 peak of Cintra were rewarded by the coming of Vasco da Gama to the squat61, sturdy old tower of Belem, that had been in his yearning62 thoughts through so many trials and dangers. King Manuel greeted his great subject, who had brought to his native land the potentiality of wealth illimitable, here in the village of Belem, at the mouth of the Tagus; and as the explorer stepped ashore63, the king, overjoyed at his coming, swore to build upon that very spot a Jeronomite monastery64 splendid enough to be worthy65 even of that great occasion. And he kept his word; for 237two years afterwards, in 1500, the first course was laid of a building which surpasses all others in its particular style, and in some respects is one of the most remarkable ecclesiastical structures in the world.
A long line of church and monastery adjoining runs parallel with the sea, the conventual portion partly in ruins but now in course of reconstruction66, and the eye is at first perfectly67 bewildered by the richness of the details of the doors and windows of the edifice68. Here Manueline architecture is at its earliest and best, before extravagance like that of the unfinished chapels69 at Batalha overwhelmed it. Here the orthodox florid Gothic and Renaissance71 styles are leavened72, but not obliterated73, by the new spirit of expansion and aspiration74 that found its national expression in what is called Manueline. The west door of the church, where the monastic buildings join it, is extremely beautiful. On each side are rich canopies75 under which kneel the king and queen with their patron saints, and smaller figures exquisitely76 carved surround the rest of the door, which is surmounted by flamboyant78 pinnacles79 in the Manueline taste. The general idea of the windows, which are 238very large and high, is of a round-topped arch three or four courses or orders deep, each course being set with bosses of a different, but always elaborate, pattern, an outer moulding representing a twisted cable or twined branches in infinite variety, ending in a series of pinnacles, surrounding the window on the surface of the wall.
The great south doorway80 facing the road and the Tagus, the principal door of entrance, almost defies description by its richness and complexity81 of ornament82, this and the cloisters84 of the church being perhaps the best specimen85 of Gothic Manueline in Portugal. Between the two doorways86 into which the entrance is divided there is a pillar or column, upon which, under a rich Gothic canopy87, stands a large figure of a man wearing a tabard. The scheme of decoration is carried up by a series of flamboyant pinnacles and canopied88 figures beautifully interlaced to the top of the aisle89 wall. The two great windows flanking this gorgeous doorway match it in magnificence, and one feels on turning away from this monument of human skill and ingenuity90 that here the short-lived art of the Portuguese Renaissance has reached its highest flight.
The South Door at Belem
239The impression, however, hardly survives the moment when you cross the threshold and enter the church itself; for here you see an interior unlike any other great temple. The first impression is one of immense unencumbered spaciousness92. The ordinary arrangement of nave93 and aisles94 does not exist, but from the floor there spring straight up to a height that seems prodigious95 six slender isolated96 marble pillars, three on each side. They form no continued arcade, although, of course, they are aligned97, and each pillar is decorated lavishly98 in high relief with Renaissance ornamentation in panels, with canopied niches100 half-way up their height. From the top of each column spring a series of branches like the fronds101 of a palm-leaf, which, meeting in beautiful graceful102 curves, form the intricate series of bossed groins which compose the vaulted103 marble roof. At the west end of the church three low-pointed104 Manueline arches support the choir-loft, and along the north wall twelve Manueline doorways are ranged, with rich canopied niches above them, whilst the magnificent transept, with its gorgeous ceiling and royal chapels and tombs, and its vast Manueline chancel arch of twisted cables 240and cordage supporting rich canopied pulpits, altogether produce an effect of overpowering majesty105.
Here in the chancel repose106, in splendid tombs, the ashes of the king, Manuel the Fortunate, and his son, John III., the two great builders of the fane; and here too lie, in a transept chapel70, Vasco da Gama himself, and Cam?es, who enshrined in deathless epic108 the spirit of exalted109 enterprise of which the great explorer was the personification, and the Infante, Prince Henry, the prophetic inspirer. Kings, queens, princes, and princesses lie around in fretted110 sepulchres—that ill-used Catharine of Braganza, Queen-Consort of England, amongst them, here where she passed the long years of her widowhood—but their very names are for the most part forgotten now; and this memorable111 church of Belem, whilst its daring beauty stands, will remain the shrine107 of the two greatest figures of Portugal’s golden age, and of the “Fortunate Monarch112,” Manuel, in whose reign113 the vision of the Infante was realised.
The cloisters of the monastery vie with those of Batalha in beauty, which is saying much. Each of the twenty arches, four on each face 241and one at each corner, is filled with Manueline tracery, exhibiting inexhaustible caprice and invention, no two being alike in pattern; whilst highly decorated Manueline doorways line the inner walls. The upper ambulatory is wider and, if possible, more elaborate than the lower, an unusual arrangement, each upper arch buttress114 being capped by a beautifully decorated finial. The chapter-house, as usual, leads out of the cloister83, an exquisitely rich specimen of Manueline, and is now devoted to the stately tomb of Alexandre Herculano, the nineteenth-century Portuguese historian. Pompous115 as are the sepulchres of kings and heroes in the adjoining church, this monument to the historian—a respectable figure in literature, it is true, but by no means a genius of universal fame—surpasses them all. Here, alone in the midst of this grandiose116 chapter-house of the monks117, the dead man-of-letters rests more splendidly than monarch or millionaire. Modern Portugal, at least, can honour the gifted pen; for the names of Cam?es, of Almeida-Garrett, the nineteenth-century poet, and Herculano, the historian, are all through the country commemorated118 by street names. How long shall we have to 242wait before Englishmen, so ready to bow the knee before successful finance, will thus do homage119 to an historian? Verily, little as we may relish120 the truth, we have much to learn from Portugal, and not in this alone.
The monastery buildings of Belem shelter twelve hundred orphan121 boys, who are there clothed, fed, and educated by the State, and it was a fine sight to witness them all at table in the great Manueline refectory of the vanished monks, and pleasant to hear the ringing of their youthful laughter as they played joyously122 in the stately cloisters. In the museum adjoining there is a collection of ancient royal coaches, some of them very imposing and curious, but generally speaking not so interesting a collection as that in the royal caballerizas at Madrid.
Sated almost with sculptural richness, I left the monastery, and rested beneath the grateful shade of palms in the public garden opposite, with the broad Tagus before me and the glowing blue sky overhead until the perfect day began to wane123. Then through the fine Pra?a de Dom Fernando, with its handsome Manueline pillar and statue of Albuquerque, the great viceroy of the Indies, I slowly wended my way back by the 243chaotic river-bank to Lisbon. Belem is beautiful and suggestive enough to provide reflection for one day without allowing other impressions to disturb it, and the sordid124 sights and sounds of the water-side were nothing to me, for the airy fancies of the artist in stone and the romantic memories of the heroic days surrounded me as with a mantle125.
Lisbon is a city of prospects126, and, uninteresting as are its main streets, it is only necessary to stand upon one of its many eminences128 to see spread before you a wide and varied129 panorama. The end windows of the upper corridors in the Hotel de Bragan?a afford a splendid view of the port and the mouth of the Tagus, whilst from the ancient citadel of St. Jorge, and from the dome130 of the big classical church of Estrella, the city and the rolling hills for miles around are spread out at the foot like a map in relief. Speaking for myself, I have always considered one of the most attractive coigns of vantage in Lisbon to be the Largo131 da Gloria just over the entrance of the Avenida. This can be reached either up the Rua de S?o Roque or by the funicular lift from the Avenida itself. The view from this pretty public garden on the top of a 244precipitous bluff132 is charming. The whole of the central valley lies under you with its straight lines of streets, starting from the great parallelogram of the Rocio just below and reaching the Tagus. Just in front of you across the valley rise the hills covered with houses of all colours amidst greenery, with the great old citadel of the Moors133 and their conquerors135 crowning the highest point towards the river; the square battlemented towers of the old cathedral being seated upon a lower hill at its foot. To the left an ocean of mountainous hills covered with verdure and buildings stretch as far as the eye reaches; whilst on the right beyond the extensive Black Horse Square shines the wide estuary136 of the river, and miles away across the water the mountains that bound the prospect towards the south.
As you stand and look down from the garden of Gloria to the big busy square, with its wavy137 black and white pavement, and tall column just underneath138 you, you may notice that at the north-east corner of the square the valley broadens somewhat, and a maze139 of narrow streets starts from that corner. If when you descend140 from your eminence127 you penetrate141 and explore this corner you will find in it all that is left of the 245quaint Lisbon of before the great earthquake. For here, in a district still called the Mouraria, and in what once was the Villa59 Nova de Gibraltar adjoining it, dwelt outside the ancient walls the Moors and Jews, who for centuries almost monopolised the wealth of Portugal, until at the bidding of his Spanish father-in-law and mother-in-law, Ferdinand and Isabel, the “Fortunate” King Manuel made short work of the children of Israel. Here in the ghetto143, of which the ancient gateway144 still stands, the streets are narrow and tortuous145. Crumbling146 gables and quaint142 corner turrets147 overhang the pathway, and dark mysterious entries, lined with oriental azulejos, tell of the time when men lived in daily fear of rapine and violence.
Almost sheer over the district of the Mouraria towers the hill upon which the fortress148 of St. Jorge stands, and if you care to climb it you may see Lisbon, and beyond from the point opposite to that from which you have just descended149. The cathedral stands upon a hill nearer the river, and may best be reached by following the tram-lines up the Rua da Concei??o. The sturdy old church fronts a triangular150 space, from which picturesque glimpses of the roofs of the old 246town and river-bank may be caught. Two square Romanesque towers, which, like the rest of the cathedral, are now in course of restoration from the vandalism of the seventeenth and eighteenth centuries, stand on each side of and connect with a large square porch before the west door. Cupolas and a railed parapet formerly151 surmounted these towers, but battlements in accordance with the original design are in future to replace them, and the lavish99 additions of carved wood capitals to the pillars and coats of stucco over ancient decorations are being cleared away, thanks largely to the encouragement of the present Queen of Portugal, who is interested in the work.
Here on this hill stood the mosque152 of the Moslem153 kings, and here, when in 1147 Affonso Henriques, the first King of Portugal, captured the city, the first Christian154 church was built by the conqueror134, who nominated an English warrior-monk, Gilbert, to be the first bishop155 of the new See. Upon a stone within the porch of the west door, the carved legend tells how the Moors were vanquished156 by the Christian king, and the cross set up in this place, and the twelfth-century round-arched doorway with the grotesque157 capitals of its pillars demonstrate that this part of the 247edifice at least dates from the earliest years of the Portuguese monarchy158.
The interior presents six round arches on clustered marble columns, now stripped of the stucco that disfigured them for centuries, though the Corinthian capitals which were added in the eighteenth century still remain. When Lord Strathmore saw the church in 1760, five years after the earthquake, he referred to these Corinthian capitals in a sketch159 he drew of the church: “I have left out,” he says, “the large Corinthian capitals and marble pedestals which have been added to the pillars within memory. The fire has burnt most of the capitals off, both of the ambulatory and the nave arches, and the other capitals have been so much impaired160 that you can only see remains of basket-work, foliage161, and flowers.” The intention referred to by Lord Strathmore to restore the church to its original simplicity162 was so far from being carried out that new gilt163 wood acanthus leaf capitals were added to these fine old Romanesque pillars. At last, however, the church is really being judiciously164 treated, and is rapidly assuming the grave, devotional appearance of the early Christian temples raised after the victories of Affonso Henriques.
248The roof is particularly striking in its solid majesty, the middle flute165 of each cluster of columns springing to the ceiling and supporting a round arch carried over the nave to the opposite column, something like the roof plan at Alcoba?a. The transepts have majestic166 rose windows at each end, and the central lantern tower or cimborio stands on pillars of lofty clustered columns, forming round arches rising as high as the roof of the nave; all this being as early as the first foundation of the church. The chancel is very beautiful early Gothic, with pointed arches, and a gorgeous ceiling, and the little Gothic chapels round the ambulatory are many of them interesting. Tombs and sarcophagi of archbishops, most of ages long past, crumble167 in dark corners and dim, grated chapels, and two splendid royal tombs of Affonso IV. and his wife are on the left of the high altar. Here, to be seen only on great occasions, rest the bones of the patron saint, Vincent, opportunely168 discovered by the king, Affonso Henriques, in their hiding-place far away, where, guarded by ravens169, they had been saved from the desecration170 of the unbelieving Moors. The ship that brought the holy relics171 from the southernmost point of Portugal, for 249reverent preservation172, to Lisbon was always escorted by the faithful ravens, thenceforward sacred birds for the cathedral church of Lisbon, where some of them are kept to this day in memory of their piety173.
Along the walls of the aisles run large pictorial174 tableaux175 of scenes in the life of St. Vincent and incidents in the miracles of the ravens, the ancient blue and white tiles of which the pictures are composed showing clear indications of the still lingering Moorish176 traditions in early Christian ceramics177. It was Saturday afternoon as I mused178 in the old church, which was blocked and encumbered91 in many places by the materials of the restoring workmen; and, wandering past an open doorway in the end of the south aisle, I heard the hum of voices. It came from the ruined cloister, where a sad-looking young priest and a sister of charity were teaching classes of little children. It was a charming picture. The bright sun filtered through the half-ruined twin lancet lights of the ogival arches and fell in dappled patches of gold upon the ancient sarcophagi and dismantled179 altars that lined the humble42 arcade: a wild, neglected little garden, all abloom with untended masses of autumn flowers and trails of 250crimson creepers, and the droning hum of the children reciting in turn the sacred lesson they were conning180. Peace and remoteness from the world seemed to reign in this quiet nook of the busy capital. Here was none of the sculptured glories such as dazzled the beholder181 at Belem or Batalha; only two plain pointed narrow arches in each bay of the arcade, with a round light above, bordered by a simple nailhead or rouleau moulding. Everything is ruinous and in course of restoration, but devout182 humility183 is the note struck throughout the cathedral, from the solemn, restrained Romanesque of the nave to the plain sepulchral184 little Gothic cloister, where, in the dim sea-green light filtering through leaves and crumbling arches young children learn the letter of their faith.
There is in these Portuguese churches no affectation of the gloomy splendour and mystery which is the characteristic of the Spanish cathedrals. At mass on Sundays the faithful gather, and on other days a certain number attend; but the constant coming and going of worshippers at all hours of the day, and the celebration of mass at one altar or another continuously from dawn to midday that in Spain is universal, find no counterpart 251in the Portuguese portion of the Peninsula. Here, and above all in the north, the priest is not constantly in evidence, as he is in Spain, and his garb185 is, as a rule, as unobtrusive as that of an English clergyman; for the shovel-hat and flowing cassock and cloak have in Portugal almost disappeared. However religious the Portuguese may be the apparatus186 and panoply187 of religion are not conspicuous9, and when once mass is over in the Portuguese church, the place is usually deserted188.
Although with justice, Lisbon is usually considered an extremely un?sthetic capital, and has not much to show worth seeing in pictorial art, there is one feature, in which, little known or noticed as it is by visitors, Lisbon can boast of unrivalled artistic189 possessions. I mean in that of ecclesiastical orfèvrerie. When the religious houses were suppressed, and the State appropriated church property, the priceless productions of the old goldsmiths, gifts of devout sovereigns and grandees190 for centuries to sacred shrines191, were not plundered192 or frittered away in private hands, as happened in England and France, but carefully preserved by the State for public enjoyment193. Truth to say, no one seems to enjoy these exquisite77 objects very much now, for of the many 252times I have spent hours in admiring the collections in the National Museum, and in that of S?o Roque, I have rarely seen any but an occasional stranger in either place.
The Museum of Fine Arts at Lisbon possesses, it is true, few objects of importance, apart from the goldsmith’s work and ecclesiastical embroidery194, and the lack of a catalogue of the paintings—except for the collection given to the nation by Count de Carvalhido—stands in the way of their enjoyment. Most that is worth seeing here in pictorial art comes from the suppressed religious houses and churches, especially the early Flemish and German paintings, of which several are really fine. But the collection of ancient pictures is so lamentable195 in condition as a whole, and so badly lit, as to make the study of them difficult. Count de Carvalhido’s large collection, which is separately housed in two rooms in the Museum, contains a few good pictures and many by obscure artists quite the reverse, the specimens196 of the Flemish and Germanic schools predominating. The attribution of the works to named painters is often quite wide of the mark, many pictures bearing no resemblance whatever to the style of their alleged197 authors. There is, for instance, a 253little panel attributed to Sir Thomas Lawrence. It is called “Seduction,” and represents, in the usual eighteenth-century French genre198 style, an interior with a young man seated at an open escritoire offering jewels and money to a girl, whilst an old woman watches through a half-closed door. Anything more unlike Lawrence, either in technique or subject, it would be difficult to conceive. Another picture, a large canvas attributed to Zaniberti, an Italian painter, who died in 1636, represents a Carnival199 in Rome with a large number of maskers and spectators, all of whom are dressed in the fashion of the late eighteenth century, a hundred and fifty years after Zaniberti’s death.
But the wealth of church and altar plate more than makes up for the shortcomings of the picture galleries. Monstrances in gold of great antiquity200 and beauty, covered with precious stones, are to be seen literally201 by the dozen. Silver gilt processional crosses of the fourteenth and fifteenth centuries, some almost Byzantine, some nearly Mudejar in design, abound202; chalices203 of unimaginable richness in pure Gothic and Manueline styles, reliquaries in gold and gems204 beyond price, and gold and enamelled crowns and girdles, altar crosses, and candlesticks without number, are 254displayed in cases in a suite205 of rooms commanding a fine view over the Tagus. Alcoba?a has contributed the lion’s share of these treasures, but Batalha and many other religious houses have been placed under involuntary contribution; and the result is a collection of early ecclesiastical art in gold and silver that I have never seen approached elsewhere. The church vestments, too, are rich and numerous beyond description; and a large series of beautifully embroidered206 court dresses of the eighteenth century displays the influence exerted by the Portuguese connection with the far East upon artistic embroidery of the period.
The collection of church property contained in the small museum attached to the Jesuit church of S?o Roque is circumscribed207 in period to the late seventeenth and early eighteenth centuries; but as the whole collection is derived208 from the possessions of a single chapel—that of St. John—in the adjoining church, a vivid idea is gained of the lavishness209 with which the church in Portugal was endowed in the days of the national prosperity.
The church and district of S?o Roque have always possessed210 special interest for me. The monastery, standing211 upon a bluff overlooking the 255valley, was the point of attack when the English under Norris and the Earl of Essex tried to capture Lisbon for the Pretender, Dom Antonio, in 1589;[6] and, though the monks were in favour of the English protégé, the Spanish musketeers filled the long line of windows commanding the approach from the English camp, on the opposite hill outside the gate of S?o Ant?o, and frustrated212 all attempts to force the position.
Inside the great square church there is an object of interest that first attracted my attention many years ago, and always demands from me a pilgrimage to S?o Roque, up the hill of the Carmo, as soon as I arrive in Lisbon. Sir Francis Tregian was one of those stout213 Cornish Catholic recusant gentlemen whose career in the days of Elizabeth I had had occasion to follow in detail; and his persecution214 and escape were familiar to me, as they are to many students of the religious troubles of the last years of the Tudor queen; but I had never known where he had found a last resting-place. Here in S?o Roque a large upright slab215 stands beneath the pulpit on the north side of the church which quaintly216 tells the 256story: “Aqui esta, em pé, o corpo de Dom Francisco Tregian, fidalgo inglés mui illustre, o qual depois de confiscados os seus estados, e grandes trabalhos padecidos em 28 annos de prisam, polla defensa da fe catholica em Inglaterra, na persecu?am da Rainha Isabel, no anno 1608 ao 25 Dezembro morreó nesta cidade de Lisboa, com fama de santidade. Avendo 17 annos que estava sepultado nesta igrega de S. Roque da Companhia de Jesus, no anno de 1625 ao 25 Abril, se achouo seu corpo inteiro e incorrupto, e foe217 collocado neste lugar pelos ingleses catholicos residentes en esta cidade, ao 25 Abril 1626.” “Here upright stands the body of Sir Francis Tregian, a very illustrious English gentleman, who, after his estates were confiscated218 and he had suffered great tribulation219 during twenty-eight years of imprisonment220 for the defence of the Catholic faith in England, in the persecution of Queen Elizabeth, died on the 25th December 1608 in this city of Lisbon, famed for his saintliness. After he had been entombed for seventeen years in this church of S?o Roque of the Company of Jesus, in the year 1625, on the 25th April, his body was found intact and uncorrupted, and was placed in this position by the English Catholics resident in this city on the 25th April 1626.”
257The chapel on the north side of S?o Roque nearest the altar is the beautifully decorated chapel of St. John. It had been for centuries the poorest chapel in the sanctuary221; but with the advent222 of King John V., at the dawn of the eighteenth century, the new monarch declared his intention of making the shrine of his patron saint the richest altar in Portugal. And he did so, with gifts both lavish and beautiful, an example naturally followed by his courtiers; so that when the Jesuits were expelled, the treasures of St. John, the property thenceforward of the State, formed a museum of their own. The objects exhibited, monstrances, reliquaries, crosses, altar furniture, banners, frontals, and vestments, are of surpassing magnificence; although they often attract more by their intrinsic worth than by the purity of their taste, as, for instance, the silver-gilt altar candlesticks ten feet high, and the great silver repousé altar front: but as specimens of the decorative223 art—Italian, French, and Portuguese—of their period, they are well worth study.
Lower down the hill stands the beautiful ruined Gothic-Manueline church of the Carmo, now an arch?ological museum, filled with many 258fragments of the older buildings of Lisbon saved from the ruin of the earthquake that wrecked224 the Carmo itself.
Lisbon abounds225 in public gardens of almost tropical luxuriance. The fine plantations226 before the big classical church of the Estrella, the park of the Necessidades palace, the square of the Principe Real, the Avenida itself, and the pretty garden of the Gloria already referred to, might for the vegetation in them almost be in the West Indies; whilst the Botanic Gardens, especially, can show palm groves228 to be matched nowhere in Europe, except at Elche in the east of Spain. And not palms alone grow here in a way wonderful in the midst of a populous229 city, but cacti230, aloes, daturas, and magnolias bloom with great luxuriance, and huge tropical forest trees from South America thrive in the open as if on their native soil.
The climate of Lisbon, indeed, is extraordinarily231 soft and mild relatively232 to its latitude233, owing to its sheltered position and to the prevalence of westerly sea breezes. As a winter resort it has unaccountably fallen somewhat out of fashion of late years in favour of the Mediterranean234 Riviera, where the climate is 259much less equable and more trying to those in delicate health. The latitude of Lisbon is about the same as that of Palermo, three hundred miles south of that of the Mediterranean Riviera, and the mean winter temperature (December, January, and February) in Lisbon is 10.63° Centigrade (51° Fahrenheit), against 7.79° at Biarritz, and 7.91° at Nice. Not only is Lisbon thus much warmer on an average than the winter resorts now most affected235 by English visitors, but the climate is more uniform, the diurnal236 fluctuation237 in winter being considerably238 less at Lisbon than at Biarritz, Nice, or even at Palermo in the same latitude. The winter atmospheric239 humidity of Lisbon slightly exceeds that of Biarritz and Nice, though in summer Lisbon is atmospherically240 much drier than either: but in the matter of the entire winter rainfall the average of Lisbon is considerably higher, and this it is that to some extent has set English physicians against the place as a winter health resort, although the average rainfall for the whole year is much less at Lisbon[7] than either at Biarritz or Nice. 260The rains in Lisbon, however, which fall heavily in the months of November, December, and January (a mean of 277 milimetres, as against 254 milimetres at Biarritz and 167 milimetres at Nice), are usually rapid and torrential, and pass away at once.
Snow is practically unknown at Lisbon, and frost is extremely rare. But, withal, equable and mild as the average hibernal climate of Lisbon is, I do not personally recommend it as a residence for those who are forced in the winter to seek a warm, dry, and bracing241 atmosphere. The smoke of the numerous factories, and the mist that clings about the river and in the narrow gullies that contain much of the town, make the place somewhat depressing. But within fifteen miles of the city, and free from the objections natural to the valley of the Tagus, there are two resorts which are, in my opinion, and I speak from experience of both of them, ideal places in which the unpleasantness and danger of winter in a northern climate may be escaped. It is, indeed, difficult to overrate the attractions in this respect of Cascaes and Mont’ Estoril, especially the latter. Cascaes stands in a lovely bay surrounded by bold, 261rocky scenery, and backed by hills which protect it from the north. A fine sheltered promenade242 facing the sea possesses a grove227 of palms more luxuriant than any that Nice or Cannes can show, and the walks along the coast are beautiful. Mont’ Estoril, which is within a mile or so of Cascaes, on the point of the Bay, is of more modern reputation, but is in some respects to be preferred to Cascaes as a winter resort. The train from Lisbon, running along the coast for fourteen miles, lands the visitor to Mont’ Estoril in the midst of a beautifully picturesque village of hotels and villas243, grouped upon the slope of a hill descending244 in a semicircle to the sea, with pines and eucalyptus245 woods above, and palms everywhere below. The high range of Cintra, and the lower hills on the north and east, completely protect the place from inclement246 winds, whilst the open sea-front on west and south prevents the sweltering stuffiness247 and relaxing effect of so many shut-in places. There are several excellent hotels specially38 intended for winter visitors; and for any one to whom a three-days’ voyage at sea in a commodious248, well-found steamer has no terrors, 262this Portuguese Riviera just outside the Tagus forms a winter refuge which it will be difficult to beat in Europe. The climate of Mont’ Estoril is noticeably warmer than Lisbon in the winter, and the diurnal variations of temperature are smaller; whilst the humidity and rainfall, which in Lisbon during the three winter months form its only natural drawback, are very much smaller at Mont’ Estoril. It is, indeed, very rare that mist is seen at the latter place, even when the Tagus valley is full of haze249. From personal knowledge of both places I should say that the mean winter rainfall of Mont’ Estoril is much less than that of Biarritz, whilst certainly its temperature is higher and its uniformity greater.
I have dwelt only upon the winter climatic conditions, because it is in this respect that misapprehension usually exists. The spring and autumn climate generally is simply perfect, and from the middle of March onward250 fine warm weather, with only an occasional heavy shower in April, May, and October, may be counted upon almost with certainty. During the particular tour of which this book is a record, I passed thirty days in Portugal in the 263month of October. Out of this period I saw rain on four days only—namely, three hours of deluge251 at Oporto, a portion of the day at Bussaco, and two days at Lisbon; whilst in previous journeys in Portugal I have on more than one occasion seen an even smaller quantity of rain in October, April, and May. November is usually wet, though not so wet as at Biarritz or Nice for the same month (Lisbon, 106 milimetres; Biarritz, 122 milimetres; Nice, 114 milimetres), whilst in December and January Lisbon and Biarritz have about an equal rainfall, Nice being in those months drier than either. From March onward Lisbon has a decided26 advantage over both places.
5. Byron, who, much as he loved Cintra, hated Lisbon and the Portuguese generally, which perhaps is not very surprising when it is considered that he visited it in 1809, after the first French invasion and before the Peninsular War, thus wrote of Lisbon:—
“What beauties does Lisboa first unfold;
Her image floating on that noble tide,
Which poets vainly pave with sands of gold,
And now whereon a thousand keels do ride.
But whoso entereth within this town,
That sheening far celestial252 seems to be,
Disconsolate253 will wander up and down,
Mid5 many things unsightly to strange ee.”
6. The story of the expedition is told in full in “The Year after the Armada,” by the present writer.
7. Lisbon, 738 milimetres; Biarritz, 1067 milimetres; Nice, 766 milimetres.
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1
panorama
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| n.全景，全景画，全景摄影，全景照片[装置] | |
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Portuguese
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| n.葡萄牙人；葡萄牙语 | |
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mar
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| vt.破坏，毁坏，弄糟 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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mid
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| adj.中央的，中间的 | |
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defiling
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| v.玷污( defile的现在分词 )；污染；弄脏；纵列行进 | |
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merges
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| （使）混合( merge的第三人称单数 )； 相融； 融入； 渐渐消失在某物中 | |
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8
conspicuously
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| ad.明显地，惹人注目地 | |
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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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citadel
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| n.城堡；堡垒；避难所 | |
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cramped
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| a.狭窄的 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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filthy
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| adj.卑劣的；恶劣的，肮脏的 | |
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quotation
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| n.引文，引语，语录；报价，牌价，行情 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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prospect
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| n.前景，前途；景色，视野 | |
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17
arsenal
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| n.兵工厂，军械库 | |
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18
cordon
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| n.警戒线，哨兵线 | |
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arcade
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| n.拱廊；(一侧或两侧有商店的)通道 | |
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20
equestrian
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| adj.骑马的；n.马术 | |
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21
inevitable
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| adj.不可避免的，必然发生的 | |
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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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23
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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24
ascents
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| n.上升( ascent的名词复数 )；（身份、地位等的）提高；上坡路；攀登 | |
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25
fatiguing
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| a.使人劳累的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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27
prosaic
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| adj.单调的，无趣的 | |
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28
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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29
picturesqueness
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30
perversely
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| adv. 倔强地 | |
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31
tracts
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| 大片土地( tract的名词复数 )； 地带； （体内的）道； （尤指宣扬宗教、伦理或政治的）短文 | |
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32
reclaimed
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| adj.再生的；翻造的；收复的；回收的v.开拓( reclaim的过去式和过去分词 )；要求收回；从废料中回收（有用的材料）；挽救 | |
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33
ooze
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| n.软泥，渗出物；vi.渗出，泄漏；vt.慢慢渗出，流露 | |
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34
amenity
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| n.pl.生活福利设施，文娱康乐场所；（不可数）愉快，适意 | |
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35
belch
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| v.打嗝，喷出 | |
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36
desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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37
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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38
specially
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| adv.特定地；特殊地；明确地 | |
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39
spacious
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| adj.广阔的，宽敞的 | |
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40
elastic
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| n.橡皮圈，松紧带；adj.有弹性的；灵活的 | |
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41
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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42
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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43
marketing
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| n.行销，在市场的买卖，买东西 | |
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44
hips
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| abbr.high impact polystyrene 高冲击强度聚苯乙烯，耐冲性聚苯乙烯n.臀部( hip的名词复数 )；[建筑学]屋脊；臀围（尺寸）；臀部…的 | |
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45
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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46
glistening
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| adj.闪耀的，反光的v.湿物闪耀，闪亮( glisten的现在分词 ) | |
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47
cod
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| n.鳕鱼；v.愚弄；哄骗 | |
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48
cuttlefish
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| n.乌贼，墨鱼 | |
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49
quay
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| n.码头，靠岸处 | |
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50
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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51
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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52
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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53
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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54
gourds
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| n.葫芦( gourd的名词复数 ) | |
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55
luscious
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| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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56
mythical
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| adj.神话的；虚构的；想像的 | |
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57
cornucopia
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| n.象征丰收的羊角 | |
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58
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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59
villa
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| n.别墅，城郊小屋 | |
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60
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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61
squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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62
yearning
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| a.渴望的；向往的；怀念的 | |
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63
ashore
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| adv.在(向)岸上，上岸 | |
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64
monastery
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| n.修道院，僧院，寺院 | |
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65
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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66
reconstruction
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| n.重建，再现，复原 | |
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67
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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68
edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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69
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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70
chapel
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| n.小教堂，殡仪馆 | |
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71
renaissance
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| n.复活，复兴，文艺复兴 | |
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72
leavened
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| adj.加酵母的v.使（面团）发酵( leaven的过去式和过去分词 )；在…中掺入改变的因素 | |
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73
obliterated
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| v.除去( obliterate的过去式和过去分词 )；涂去；擦掉；彻底破坏或毁灭 | |
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74
aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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75
canopies
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| （宝座或床等上面的）华盖( canopy的名词复数 )； （飞行器上的）座舱罩； 任何悬于上空的覆盖物； 森林中天棚似的树荫 | |
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76
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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77
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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78
flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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79
pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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80
doorway
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| n.门口，(喻)入门；门路，途径 | |
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81
complexity
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| n.复杂(性)，复杂的事物 | |
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82
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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83
cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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84
cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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85
specimen
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| n.样本，标本 | |
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86
doorways
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| n.门口，门道( doorway的名词复数 ) | |
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87
canopy
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| n.天篷，遮篷 | |
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88
canopied
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| adj. 遮有天篷的 | |
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89
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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90
ingenuity
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| n.别出心裁；善于发明创造 | |
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91
encumbered
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| v.妨碍，阻碍，拖累( encumber的过去式和过去分词 ) | |
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92
spaciousness
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| n.宽敞 | |
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93
nave
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| n.教堂的中部；本堂 | |
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94
aisles
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| n. (席位间的)通道, 侧廊 | |
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prodigious
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| adj.惊人的，奇妙的；异常的；巨大的；庞大的 | |
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isolated
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| adj.与世隔绝的 | |
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aligned
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| adj.对齐的，均衡的 | |
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lavishly
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| adv.慷慨地，大方地 | |
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lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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100
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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101
fronds
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| n.蕨类或棕榈类植物的叶子( frond的名词复数 ) | |
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102
graceful
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| adj.优美的，优雅的；得体的 | |
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103
vaulted
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| adj.拱状的 | |
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104
pointed
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| adj.尖的，直截了当的 | |
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105
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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106
repose
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| v.(使)休息；n.安息 | |
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107
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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108
epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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109
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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110
fretted
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| 焦躁的，附有弦马的，腐蚀的 | |
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111
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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112
monarch
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| n.帝王，君主，最高统治者 | |
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113
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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114
buttress
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| n.支撑物；v.支持 | |
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115
pompous
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| adj.傲慢的，自大的；夸大的；豪华的 | |
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116
grandiose
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| adj.宏伟的，宏大的，堂皇的，铺张的 | |
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117
monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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118
commemorated
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| v.纪念，庆祝( commemorate的过去式和过去分词 ) | |
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119
homage
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| n.尊敬，敬意，崇敬 | |
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120
relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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121
orphan
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| n.孤儿；adj.无父母的 | |
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122
joyously
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| ad.快乐地, 高兴地 | |
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123
wane
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| n.衰微，亏缺，变弱；v.变小，亏缺，呈下弦 | |
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124
sordid
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| adj.肮脏的，不干净的，卑鄙的，暗淡的 | |
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125
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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126
prospects
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| n.希望，前途(恒为复数) | |
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127
eminence
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| n.卓越，显赫；高地，高处；名家 | |
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128
eminences
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| 卓越( eminence的名词复数 )； 著名； 高地； 山丘 | |
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129
varied
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| adj.多样的，多变化的 | |
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130
dome
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| n.圆屋顶，拱顶 | |
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131
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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132
bluff
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| v.虚张声势，用假象骗人；n.虚张声势，欺骗 | |
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133
moors
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| v.停泊，系泊（船只）( moor的第三人称单数 ) | |
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134
conqueror
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| n.征服者，胜利者 | |
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135
conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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136
estuary
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| n.河口，江口 | |
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137
wavy
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| adj.有波浪的，多浪的，波浪状的，波动的，不稳定的 | |
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138
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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139
maze
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| n.迷宫，八阵图，混乱，迷惑 | |
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140
descend
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| vt./vi.传下来，下来，下降 | |
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141
penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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142
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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143
ghetto
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| n.少数民族聚居区，贫民区 | |
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144
gateway
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| n.大门口，出入口，途径，方法 | |
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145
tortuous
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| adj.弯弯曲曲的，蜿蜒的 | |
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146
crumbling
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| adj.摇摇欲坠的 | |
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147
turrets
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| （六角）转台( turret的名词复数 )； （战舰和坦克等上的）转动炮塔； （摄影机等上的）镜头转台； （旧时攻城用的）塔车 | |
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148
fortress
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| n.堡垒，防御工事 | |
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149
descended
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| a.为...后裔的，出身于...的 | |
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150
triangular
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| adj.三角（形）的，三者间的 | |
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151
formerly
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| adv.从前，以前 | |
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152
mosque
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| n.清真寺 | |
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153
Moslem
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| n.回教徒，穆罕默德信徒；adj.回教徒的，回教的 | |
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154
Christian
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| adj.基督教徒的；n.基督教徒 | |
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155
bishop
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| n.主教，（国际象棋）象 | |
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156
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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157
grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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158
monarchy
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| n.君主，最高统治者；君主政体，君主国 | |
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159
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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160
impaired
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| adj.受损的；出毛病的；有（身体或智力）缺陷的v.损害，削弱( impair的过去式和过去分词 ) | |
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161
foliage
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| n.叶子，树叶，簇叶 | |
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162
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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163
gilt
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| adj.镀金的；n.金边证券 | |
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164
judiciously
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| adv.明断地，明智而审慎地 | |
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165
flute
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| n.长笛；v.吹笛 | |
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166
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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167
crumble
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| vi.碎裂，崩溃；vt.弄碎，摧毁 | |
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168
opportunely
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| adv.恰好地，适时地 | |
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169
ravens
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| n.低质煤；渡鸦( raven的名词复数 ) | |
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170
desecration
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| n. 亵渎神圣, 污辱 | |
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171
relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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172
preservation
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| n.保护，维护，保存，保留，保持 | |
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173
piety
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| n.虔诚，虔敬 | |
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174
pictorial
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| adj.绘画的；图片的；n．画报 | |
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175
tableaux
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| n.舞台造型，（由活人扮演的）静态画面、场面；人构成的画面或场景( tableau的名词复数 )；舞台造型；戏剧性的场面；绚丽的场景 | |
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176
moorish
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| adj.沼地的，荒野的，生[住]在沼地的 | |
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177
ceramics
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| n.制陶业；陶器 | |
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178
mused
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| v.沉思，冥想( muse的过去式和过去分词 )；沉思自语说（某事） | |
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179
dismantled
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| 拆开( dismantle的过去式和过去分词 )； 拆卸； 废除； 取消 | |
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180
conning
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| v.诈骗，哄骗( con的现在分词 )；指挥操舵( conn的现在分词 ) | |
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181
beholder
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| n.观看者，旁观者 | |
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182
devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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183
humility
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| n.谦逊，谦恭 | |
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184
sepulchral
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| adj.坟墓的，阴深的 | |
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185
garb
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| n.服装，装束 | |
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186
apparatus
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| n.装置，器械；器具，设备 | |
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187
panoply
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| n.全副甲胄，礼服 | |
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188
deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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189
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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190
grandees
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| n.贵族，大公，显贵者( grandee的名词复数 ) | |
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191
shrines
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| 圣地，圣坛，神圣场所( shrine的名词复数 ) | |
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192
plundered
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| 掠夺，抢劫( plunder的过去式和过去分词 ) | |
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193
enjoyment
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| n.乐趣；享有；享用 | |
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194
embroidery
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| n.绣花，刺绣；绣制品 | |
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195
lamentable
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| adj.令人惋惜的，悔恨的 | |
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196
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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197
alleged
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| a.被指控的，嫌疑的 | |
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198
genre
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| n.(文学、艺术等的)类型，体裁，风格 | |
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199
carnival
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| n.嘉年华会，狂欢，狂欢节，巡回表演 | |
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200
antiquity
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| n.古老；高龄；古物，古迹 | |
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201
literally
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| adv.照字面意义，逐字地；确实 | |
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202
abound
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| vi.大量存在；(in，with)充满，富于 | |
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203
chalices
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| n.高脚酒杯( chalice的名词复数 )；圣餐杯；金杯毒酒；看似诱人实则令人讨厌的事物 | |
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204
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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205
suite
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| n.一套(家具)；套房；随从人员 | |
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206
embroidered
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| adj．绣花的 | |
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207
circumscribed
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| adj.[医]局限的：受限制或限于有限空间的v.在…周围划线( circumscribe的过去式和过去分词 )；划定…范围；限制；限定 | |
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208
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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209
lavishness
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| n.浪费，过度 | |
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210
possessed
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| adj.疯狂的；拥有的，占有的 | |
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211
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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212
frustrated
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| adj.挫败的，失意的，泄气的v.使不成功( frustrate的过去式和过去分词 )；挫败；使受挫折；令人沮丧 | |
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214
persecution
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| n. 迫害,烦扰 | |
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215
slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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216
quaintly
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| adv.古怪离奇地 | |
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217
foe
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| n.敌人，仇敌 | |
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218
confiscated
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| 没收，充公( confiscate的过去式和过去分词 ) | |
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219
tribulation
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| n.苦难，灾难 | |
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220
imprisonment
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| n.关押，监禁，坐牢 | |
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221
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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222
advent
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| n.(重要事件等的)到来，来临 | |
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223
decorative
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| adj.装饰的，可作装饰的 | |
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224
wrecked
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| adj.失事的，遇难的 | |
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225
abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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226
plantations
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| n.种植园，大农场( plantation的名词复数 ) | |
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227
grove
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| n.林子，小树林，园林 | |
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228
groves
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| 树丛，小树林( grove的名词复数 ) | |
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229
populous
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| adj.人口稠密的，人口众多的 | |
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cacti
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| n.（复）仙人掌 | |
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extraordinarily
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| adv.格外地；极端地 | |
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relatively
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| adv.比较...地，相对地 | |
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latitude
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| n.纬度，行动或言论的自由(范围)，(pl.)地区 | |
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Mediterranean
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| adj.地中海的；地中海沿岸的 | |
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affected
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| adj.不自然的，假装的 | |
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diurnal
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| adj.白天的，每日的 | |
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fluctuation
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| n.(物价的)波动，涨落；周期性变动；脉动 | |
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considerably
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| adv.极大地；相当大地；在很大程度上 | |
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atmospheric
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| adj.大气的，空气的；大气层的；大气所引起的 | |
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atmospherically
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| adv.由大气压所致地，气压所致地，气压上 | |
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bracing
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| adj.令人振奋的 | |
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promenade
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| n./v.散步 | |
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villas
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| 别墅，公馆( villa的名词复数 )； （城郊）住宅 | |
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descending
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| n. 下行 adj. 下降的 | |
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eucalyptus
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| n.桉树，桉属植物 | |
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inclement
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| adj.严酷的，严厉的，恶劣的 | |
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stuffiness
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| n.不通风，闷热；不通气 | |
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commodious
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| adj.宽敞的；使用方便的 | |
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249
haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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deluge
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| n./vt.洪水，暴雨，使泛滥 | |
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celestial
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| adj.天体的；天上的 | |
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disconsolate
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| adj.忧郁的，不快的 | |
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