ID 原文 译文
104424 XV. We shall shortly consider the actual modes in which these two kinds of mass have been treated. XV 我们将对两种块的实际处理方式稍作研究。
104425 XVI. I have endeavored to give some idea of one of the hollow balls of stone which, surrounded by flowing leafage, occur in varied succession on the architrave of the central gate of St. Mark's at Venice, in Plate I. fig. 2. XVI 我已经想方设法让读者大致了解一个空心石球，这种石球周围环绕着流动的叶形饰，如插图一图3所示，出现在威尼斯的圣马可大教堂的中央大门的下楣中，形成形形色色的系列。
104426 XVI. It might have been thought that, by this plan, enough variety had been secured, but the builder was not satisfied even thus: for-and this is the point bearing on the present part of our subject-always calling the central arch a, and the lateral ones b and c in succession, the northern b and c are considerably wider than the southern b and c, but the southern d is as much wider than the northern d, and lower beneath its cornice besides; and, more than this, I hardly believe that one of the effectively symmetrical members of the fa? XVI 有人可能会认为通过这种设计，就可以获得足够多的变化，但是建筑师对此却并不满足，因为--这一点和我们目前的话题有关--尽管总把中央的拱称作a，边上的依次称作b和c，尽管北侧的b和c比南侧的b和c大得多，但是南侧的d却比北侧的大得多，而且低于其飞檐。不仅如此，我既很难相信正面墙上的看上去对称的装饰的某个部分真的会和别的对称：我很遗憾说不出其具体尺寸。
104427 XVI. Now, to return to our immediate subject, it so happens that, in architecture, the superinduced and accidental beauty is most commonly inconsistent with the preservation of original character, and the picturesque is therefore sought in ruin, and supposed to consist in decay. XVI 现在让我们再回到我们最直接的主题，会发现在建筑中，附加的和偶然的美丽常常与保持原有特征相抵触，所以如画的特征需在废墟中寻找，通常认为是由腐败构成。
104428 XVI. Touching the false representation of material, the question is infinitely more simple, and the law more sweeping; all such imitations are utterly base and inadmissible. XVI 谈到材料欺骗，问题就简单多了，法则则更加不可抗拒；一切模仿都极其卑鄙，绝对不能允许。
104429 XVI. What is the place of ornament? XVI 什么是建筑装饰的恰当位置？
104430 XVII. I cannot here enter into the curious questions connected with the management of larger curved surfaces; into the causes of the difference in proportion necessary to be observed between round and square towers; nor into the reasons why a column or ball may be richly ornamented, while surface decorations would be inexpedient on masses like the Castle of St. Angelo, the tomb of Cecilia Metella, or the dome of St. Peter's. XVII 此处我无法讨论如何操纵更大的弧面问题，无法探讨造成圆塔与方塔不容忽视的比例差异的原因，也不能探索为什么圆柱或球可以装饰华丽而表面装饰在像圣安杰洛（St. Angelo）城堡、塞西莉亚·梅戴拉（Cecilia Metella）的陵墓或圣彼得大教堂的穹顶却不合时宜的原因。
104431 XVII. It is not my purpose to enter into any of the questions which the application of this principle involves. XVII 讨论这一原则应用时所涉及的问题不是我的目的。
104432 XVII. Now let us consider for an instant what would be the effect of continually repeating an expression of a beautiful thought to any other of the senses at times when the mind could not address that sense to the understanding of it. XVII 现在让我们稍稍考虑一下，当大脑无法处理某种感觉以至于不能够理解时，将某一种美丽的思想向这种感觉不断重复，将会有什么样的后果。
104433 XVII. Painting, however, is not the only mode in which material may be concealed, or rather simulated; for merely to conceal is, as we have seen, no wrong. XVII 然而绘画并不是掩藏或模拟材料的唯一方式；就像我们已经发现的那样，仅仅掩藏并不是错误。