ID	原文	译文
104370	Wulie River	武烈河
104371	Wyatt points out that secondary uses such as the security screening area and the gift shop were intentionally located "off axis" so as not to compromise the sense of occasion as one enters and leaves the building.	怀亚特还指出，诸如安检区和礼品店这样的二类功能区域被特意安排在偏离轴线的位置，是为了让人们在进出建筑的时候没有对场所的妥协感。
104372	Wyatt says that the Stern team looked at the civic architecture of the pre– and post–World War II era, and the central lantern as well as the piers of the colonnaded entrance hearken back to Cret's New Classicism.	怀亚特说斯特恩研究了第二次世界大战前后的民用建筑，于是中央的灯饰和入口柱廊的支墩都回归到了克雷的新古典主义风格。
104373	Wyatt was a pretty awful architect, in practical terms.	在实用性上，怀亚特是一个比较糟糕的建筑师。
104374	Wyatt, "Axiality and symmetry are formative principles that everyday people understand as they experience them in three dimensions, and for a lot of people they imply formality, maybe even a degree of gravitas."	斯特恩的合伙人格雷厄姆•怀亚特（Graham S. Wyatt）如是说：“人们对轴对称和对称的认知基于日常生活中在三维空间内的体验。对很多人而言，这种形式感，在一定程度上，甚至关乎庄严。”
104376	X. But whether this be granted me or not, the fact is, that every idea respecting size, proportion, decoration, or construction, on which we are at present in the habit of acting or judging, depends on presupposition of such materials: and as I both feel myself unable to escape the influence of these prejudices, and believe that my readers will be equally so, it may be perhaps permitted to me to assume that true architecture does not admit iron as a constructive material, 7 and that such works as the cast-iron central spire of Rouen Cathedral, or the iron roofs and pillars of our railway stations, and of some of our churches, are not architecture at all.	X 不管我的这一观点是否得到承认，但是事实却是我们目前习惯上用来进行行动或判断的有关大小、比例、装饰或结构的概念，全都依赖于对这些材料的假设。我觉得不仅我自己无法摆脱这些偏见的影响，而且我的读者们也同样如此，因此也许可以允许我假设真正的建筑不允许使用铁材作为建筑材料，像鲁昂大教堂的铸铁中央塔楼或者我们的火车站和一些教堂的铁顶和铁柱这样的作品，根本就不是建筑。
104377	X. For the first: it is alone enough to secure success, and it is for want of observing it that we continually fail.	X 关于第一条原则：这一原则本身就足以取得成功，而正因为没能够遵守这一原则才使得我们不断失败。
104378	X. I could pursue this subject willingly, but I have some strange notions about it which it is perhaps wiser not loosely to set down.	X 我很乐意继续谈论这一话题，但是我对它却有一些奇怪的概念，不过不轻易把它们写下来也许更明智。
104379	X. In the Lombard Romanesque, the two principles are more fused into each other, as most characteristically in the Cathedral of Pisa: length of proportion, exhibited by an arcade of twenty-one arches above, and fifteen below, at the side of the nave; bold square proportion in the front; that front divided into arcades, placed one above the other, the lowest with its pillars engaged, of seven arches, the four uppermost thrown out boldly from the receding wall, and casting deep shadows; the first, above the basement, of nineteen arches; the second of twenty-one; the third and fourth of eight each; sixty-three arches in all; all circular headed, all with cylindrical shafts, and the lowest with square panellings, set diagonally under their semicircles, an universal ornament in this style (Plate XII., fig. 7); the apse, a semicircle, with a semi-dome for its roof, and three ranges of circular arches for its exterior ornament; in the interior of the nave, a range of circular arches below a circular-arched triforium, and a vast flat surface, observe, of wall decorated with striped marble above; the whole arrangement (not a peculiar one, but characteristic of every church of the period; and, to my feeling, the most majestic; not perhaps the fairest, but the mightiest type of form which the mind of man has ever conceived) based exclusively on associations of the circle and the square.	X 在伦巴第的罗马式建筑中，这两种原则被更加密切地融合在一起，其中尤以比萨大教堂最为典型：在中殿的侧面，由上下分别为二十一和十五个圆拱组成的连拱廊所显示出的长度比例；在正面，显著的正方形比例；正面本身又被分隔成一座座连拱廊，一座座相互叠加，最底层的由柱子支撑，有七个圆拱，最上面的四座连拱廊则从退缩的墙壁上突出来，投下深深的阴影；第一层共有十九个圆拱，直接建立在地基之上，第二层有二十一个，第三、第四层各有八个，总共有六十三个圆拱，顶为半圆形，全都由圆柱支撑，最底层的圆拱的半圆下面装饰有方格，对角线成水平--这是这种风格的建筑中一种普遍使用的装饰（见插图十二图7）；半圆室的顶部是半个球，外面装饰有三排圆拱；在中殿内部，在由圆拱构成的三叶饰的下面有一排圆拱，一块巨大平整的墙面--请注意--上方装饰有带有条纹的大理石；整个设计（并非指某一座建筑，那个时期的每一座教堂都具有这样的特点。而且在我看来，这是人类所能想出来的最庄严、也许不是最漂亮、但是却最强大的一种形状），都完全建立在对圆和方的联想基础上。
104380	X. Inscriptions appear sometimes to be introduced for the sake of the scroll on which they are written; and in late and modern painted glass, as well as in architecture, these scrolls are flourished and turned hither and thither as if they were ornamental.	X 有时候，铭文似乎专为用来书写铭文的卷轴引进的；在建筑中以及后期及现代彩绘玻璃中，这些卷轴很盛行，到处应用，好似它们具有装饰作用似的。