ID	原文	译文
104404	XIV. 2d. Surface Deceits.	XIV 第二、表面欺骗。
104405	XIV. Again, in the management of the sculptures of the Parthenon, shadow is frequently employed as a dark field on which the forms are drawn.	XIV 在帕台农神庙的雕塑设计中，阴影也常常被用作黑暗区域，好在这里绘制图形。
104406	XIV. Finally, work may be wasted by being too good for its material, or too fine to bear exposure; and this, generally a characteristic of late, especially of renaissance, work, is perhaps the worst fault of all.	XIV 最后，作品也许会因为材料太好而被浪费，或者因为过于纤巧而不能对外开放。后期建筑作品，尤其是文艺复兴作品，一般都有这个特点，这也许是最糟糕的缺点。
104407	XIV. Let us next examine the plan of the west front of St. Mark's at Venice, which, though in many respects imperfect, is in its proportions, and as a piece of rich and fantastic color, as lovely a dream as ever filled human imagination.	XIV 接下来请让我们来看一下威尼斯的圣马可大教堂西侧墙壁的设计，尽管在很多方面不完美，但是却合乎比例，其富丽奇特的色彩似人类梦幻一般可爱。
104408	XIV. Now I call that Living Architecture.	XIII 如今我把它就做活的建筑。
104409	XIV. One of the worst enemies of modern Gothic architecture, though seemingly an unimportant feature, is an excrescence, as offensive by its poverty as the garland by its profusion, the dripstone in the shape of the handle of a chest of drawers, which is used over the square-headed windows of what we call Elizabethan buildings.	XIV 赘疣尽管看上去像是一个无关紧要的特征，却是现代哥特式建筑最可怕的敌人之一。就像花环以富丽而令人生厌一样，赘疣以贫乏而令人生厌，比如在我们所谓的伊丽莎白式建筑的方头窗户上，使用五斗橱把手一样的滴水石。
104410	XIV. Painters are in the habit of speaking loosely of masses of light and shade, meaning thereby any large spaces of either.	XIV 画家在谈论光影块时，往往不太严密，常常是指任何一大片光或影。
104411	XIX. Do not let us talk then of restoration.	XIX 那么就让我们不再谈论修复。
104412	XIX. Far more splendid is a license taken with the niche decoration of the portal of St. Maclou at Rouen.	XIX 鲁昂的圣马克鲁（St. Maclou）的正门的壁龛装饰中的破格现象更加辉煌。
104413	XIX. Hence then a general law, of singular importance in the present day, a law of simple common sense,-not to decorate things belonging to purposes of active and occupied life.	这条法则只不过是简单的常识，在当前却重要得令人有些奇怪。这条法则就是：凡出于积极而忙碌生活需要的事物，都不应当加以装饰。