ID 原文 译文
104394 XII. Closely connected with the abuse of scrolls and bands, is that of garlands and festoons of flowers as an architectural decoration, for unnatural arrangements are just as ugly as unnatural forms; and architecture, in borrowing the objects of nature, is bound to place them, as far as may be in her power, in such associations as may befit and express their origin. XII 与滥用卷轴和束带紧密相应的是滥用花环和垂花饰，把它们当作一种建筑装饰。不自然的排列就如同不自然的形状一样丑陋；建筑在借用自然物体时，应当尽量把它们设计得与其起源相吻合，能够表现其起源。
104395 XII. Next to those of the masonry, we have to consider the divisions of the design itself. XII 紧接着砖石砌成之物，我们必须考虑的是设计本身。
104396 XII. Still, the reader will say that all these variations are probably dependent more on the bad foundation than on the architect's feeling. Not so the exquisite delicacies of change in the proportions and dimensions of the apparently symmetrical arcades of the west front. XII 读者仍然会说这一切变化很可能更多地依赖于坏的基础，而不是建筑师的感情，也并不是看上去对称的西侧连拱廊的比例和大小中微妙的变化。
104397 XII. That peculiar character, however, which separates the picturesque from the characters of subject belonging to the higher walks of art (and this is all that is necessary for our present purpose to define), may be shortly and decisively expressed. Picturesqueness, in this sense, is Parasitical Sublimity . XII 不过那种把如画和属于更高层次艺术的主题特征（这是我们目前目标所要界定的一切）区别开来的特征可以简短而明确地表示出来。
104398 XII. Visibility, however, we must remember, depends, not only on situation, but on distance; and there is no way in which work is more painfully and unwisely lost than in its over delicacy on parts distant from the eye. XII 不过我们必须记住，可见性不仅取决于位置，还取决于距离；对于那些因为距离遥远而看不清的部分进行精雕细琢，这样的浪费力气最令人痛苦，也最不明智。
104399 XIII. It is to be remembered, however, that while the ornaments in every fine ancient building, without exception so far as I am aware, are most delicate at the base, they are often in greater effective quantity on the upper parts. XIII 但是我们却必须牢记：就我所知，所有精美的古典建筑的装饰在其底部都非常细腻，但是在其上部往往都经过放大，以取得更好的效果。
104400 XIII. Lastly, before leaving the subject of structural deceits, I would remind the architect who thinks that I am unnecessarily and narrowly limiting his resources or his art, that the highest greatness and the highest wisdom are shown, the first by a noble submission to, the second by a thoughtful providence for, certain voluntarily admitted restraints. VIII 最后，在离开结构欺骗这个话题之前，我想提醒那些认为我多此一举，认为我对其资源或艺术范围限制过严的建筑师：最高级的伟大和最高级的智慧首先表现在高尚地自觉遵守某种限制，其次表现在富有远见，提供这种限制。
104401 XIII. Now I do not mean to say that Nature never uses festoons: she loves them, and uses them lavishly; and though she does so only in those places of excessive luxuriance wherein it seems to me that architectural types should seldom be sought, yet a falling tendril or pendent bough might, if managed with freedom and grace, be well introduced into luxuriant decoration (or if not, it is not their want of beauty, but of architectural fitness, which incapacitates them for such uses). XIII 我的意思并不是说大自然从不使用华彩：她热爱华彩，大量使用华彩。尽管大自然只在奢华的地方使用，而这些地方在我看来，却不应当使用建筑装饰，但是下垂的卷须或枝干假如可以自由优雅地布置的话，则完全可以引入豪华的装饰中（假如不能，则不是因为它们不美，而是因为不合适，从而使它们无法在这种情况下使用）。
104402 XIII. Of these limitations the first consequence is, that positive shade is a more necessary and more sublime thing in an architect's hands than in a painter's. XIII 这些局限的首要后果就是：与在画家手中相比，积极的阴影在建筑师手中是一种更加必要、更加崇高的东西。
104403 XIII. Thus, in the treatment of the features of the human face by Francia or Angelico, the shadows are employed only to make the contours of the features thoroughly felt; and to those features themselves the mind of the observer is exclusively directed (that is to say, to the essential characters of the thing represented). XIII 因此，弗兰西亚（Francia）或安基利柯在处理人物的脸部特征时，使用阴影只是为了能让这些特征能够被完全感受到，看画人的心思全都集中在这些特征上（也就是说，集中在所表现事物的基本特征上）。