The church of Notre-Dame de Paris is still no doubt, a majestic and sublime edifice. —
巴黎圣母院仍然无疑是一座雄伟而崇高的建筑。 —

But, beautiful as it has been preserved in growing old, it is difficult not to sigh, not to wax indignant, before the numberless degradations and mutilations which time and men have both caused the venerable monument to suffer, without respect for Charlemagne, who laid its first stone, or for Philip Augustus, who laid the last.
但是，尽管这座古老建筑尚未被破坏，仍然难以不叹息，不感到愤慨，因为时间和人类的无数损坏和毁坏让这座庄严的建筑承受着伤害，他们对查理曼放置第一块石头的行为没有尊重，也没有尊重菲利普·奥古斯都放置最后一块石头的行为。

On the face of this aged queen of our cathedrals, by the side of a wrinkle, one always finds a scar. —
我们的大教堂的老女王的面容上，总是能找到一道疤痕，与皱纹并列。 —

~Tempus edax, homo edacior*~; which I should be glad to translate thus: —
时间是盲目的，人是愚蠢的。 —

time is blind, man is stupid.
时间是一个吞噬者；人更是如此。

• Time is a devourer; man, more so.
  如果我们有时间逐一与读者检验这座古老教堂的各种毁坏痕迹，时间的份额将是最少的，而人的份额最多，尤其是近两个世纪称为建筑师的人们。
  

If we had leisure to examine with the reader, one by one, the diverse traces of destruction imprinted upon the old church, time’s share would be the least, the share of men the most, especially the men of art, since there have been individuals who assumed the title of architects during the last two centuries.
首先，举几个主要例子，这座前立面无疑是极美的建筑之一，这里齐整而一次出现的有三个门户凹在一拱中；

And, in the first place, to cite only a few leading examples, there certainly are few finer architectural pages than this fa? —
二十八个王家雕像的花边和齿状腰带； —

ade, where, successively and at once, the three portals hollowed out in an arch; —
中央大玫瑰窗外侧各有两只窗户，犹如一名祭司与其副手和随从； —

the broidered and dentated cordon of the eight and twenty royal niches; —
脆弱而高耸的三叶弧廊廊在细长的柱子上支撑着一个沉重的平台； —

the immense central rose window, flanked by its two lateral windows, like a priest by his deacon and subdeacon; —
最后是两座黑色而厚实的塔楼，带着青石瓦的顶楼，与其它雄伟的部分和谐共存，分为五层巨大的楼层； —

the frail and lofty gallery of trefoil arcades, which supports a heavy platform above its fine, slender columns; —
–在一个群体中，以其无数的雕塑、雕刻和雕像的细节，与整体平静的壮丽相结合，展现在眼前； —

and lastly, the two black and massive towers with their slate penthouses, harmonious parts of a magnificent whole, superposed in five gigantic stories; —
它像一部巨大的石头交响曲；即使从其中每块石头上都可以看到工匠的幻想被艺术家的天赋纪律化地展现出百般形式； —

–develop themselves before the eye, in a mass and without confusion, with their innumerable details of statuary, carving, and sculpture, joined powerfully to the tranquil grandeur of the whole; —
总之，它是一种人类创造，如同它似乎窃取了双重特性的神性创造，–多样性，永恒。 —

a vast symphony in stone, so to speak; the colossal work of one man and one people, all together one and complex, like the Iliads and the Romanceros, whose sister it is; —
专门的一个整体，如同《伊利亚特》和《罗曼塞罗斯》，其姐妹一样； —

prodigious product of the grouping together of all the forces of an epoch, where, upon each stone, one sees the fancy of the workman disciplined by the genius of the artist start forth in a hundred fashions; —
是一个时代所有力量的集合产物，使得这些力量在每块石头上以百般方式进行疯狂的演绎； —

a sort of human creation, in a word, powerful and fecund as the divine creation of which it seems to have stolen the double character,–variety, eternity.
强大而富饶地像神圣创造一样，永垂不朽。

And what we here say of the fa?ade must be said of the entire church; —
我们所说的大教堂正面也同样适用于整座教堂； —

and what we say of the cathedral church of Paris, must be said of all the churches of Christendom in the Middle Ages. All things are in place in that art, self-created, logical, and well proportioned. —
我们所说的巴黎大教堂，也同样适用于中世纪基督教世界的所有教堂。所有事物在那艺术中恰到好处，自成体系，合乎逻辑； —

To measure the great toe of the foot is to measure the giant.
测量脚的第一个脚趾就是在测量巨人；

Let us return to the fa?ade of Notre-Dame, as it still appears to us, when we go piously to admire the grave and puissant cathedral, which inspires terror, so its chronicles assert: —
让我们回到巴黎圣母院的正面，因为当我们虔诚地去欣赏这座庄严而强大的大教堂时，会让我们产生恐惧，这是其编年史所断言的； —

~quoe mole sua terrorem incutit spectantibus~.
它给观者~quoe mole sua terrorem incutit spectantibus~留下强烈印象；

Three important things are to-day lacking in that fa?ade: —
当今正面缺少三件重要的东西： —

in the first place, the staircase of eleven steps which formerly raised it above the soil; —
首先是昔日将其提高于土地之上的十一级台阶； —

next, the lower series of statues which occupied the niches of the three portals; —
其次是曾占据三个门户壁龛的下层雕像； —

and lastly the upper series, of the twenty-eight most ancient kings of France, which garnished the gallery of the first story, beginning with Childebert, and ending with Phillip Augustus, holding in his hand “the imperial apple.”
还有上层的雕像，二十八位最古老的法国国王，装饰了第一层楼的画廊，从希尔德伯特开始，以菲利普·奥古斯都结束，手持着“帝国苹果”；

Time has caused the staircase to disappear, by raising the soil of the city with a slow and irresistible progress; —
时间的影响导致台阶消失，随着巴黎市地面缓慢而不可抗拒的上升，一步一步地吞噬了为教堂增添威严高度的十一级台阶； —

but, while thus causing the eleven steps which added to the majestic height of the edifice, to be devoured, one by one, by the rising tide of the pavements of Paris,–time has bestowed upon the church perhaps more than it has taken away, for it is time which has spread over the fa? —
但是，尽管如此，时间给予了这座教堂更多，也许比它带走的更多，因为时间让教堂正面沐浴在世纪的阴郁色调中，使得古老建筑的晚年成为它们美丽的时期； —

ade that sombre hue of the centuries which makes the old age of monuments the period of their beauty.
但是是谁推倒了两排雕像？是谁让壁龛空无一物？

But who has thrown down the two rows of statues? who has left the niches empty? —
是谁在中央的门户正中划下了那个新颖又丑陋的拱门？ —

who has cut, in the very middle of the central portal, that new and bastard arch? —
是谁胆敢将路易十五风格的沉重木门框嵌在那里，旁边是拜科尼特的阿拉伯图案？ —

who has dared to frame therein that commonplace and heavy door of carved wood, à la Louis XV., beside the arabesques of Biscornette? —
谁敢？ —

The men, the architects, the artists of our day.
我们时代的男人，建筑师，艺术家。

And if we enter the interior of the edifice, who has overthrown that colossus of Saint Christopher, proverbial for magnitude among statues, as the grand hall of the Palais de Justice was among halls, as the spire of Strasbourg among spires? —
如果我们进入建筑物内部，谁推倒了那个巨大的圣克里斯托弗雕像，它以在大厅中堂而皇之著称，就像斯特拉斯堡尖塔在尖塔中的地位一样？ —

And those myriads of statues, which peopled all the spaces between the columns of the nave and the choir, kneeling, standing, equestrian, men, women, children, kings, bishops, gendarmes, in stone, in marble, in gold, in silver, in copper, in wax even,–who has brutally swept them away? It is not time.
那些数以千计的雕像，填满了教堂中殿和唱诗班之间的所有空间，跪着的，站着的，骑马的，男人，女人，孩子，国王，主教，宪兵，用石头，大理石，黄金，银，铜甚至蜡雕成，是谁粗暴地清除了它们？现在还不是时候。

And who substituted for the ancient gothic altar, splendidly encumbered with shrines and reliquaries, that heavy marble sarcophagus, with angels’ heads and clouds, which seems a specimen pillaged from the Val-de-Grace or the Invalides? —
谁用天使的头和云朵装饰的沉重大理石棺材，取代了古老的哥特式祭坛，神龛和圣髑的装饰华丽？ —

Who stupidly sealed that heavy anachronism of stone in the Carlovingian pavement of Hercandus? —
谁愚蠢地把那块沉重的石头异文主义密封在赫坎杜斯的加洛林地砖上？ —

Was it not Louis XIV., fulfilling the request of Louis XIII.?
难道不是路易十四，实现了路易十三的要求？

And who put the cold, white panes in the place of those windows,” high in color, “which caused the astonished eyes of our fathers to hesitate between the rose of the grand portal and the arches of the apse? —
谁将寒冷的白色玻璃安放在那些古怪的窗户上，“以色彩高贵而著称”，使我们列祖列宗惊异的眼光在主门玫瑰花窗和半圆拱之间犹豫不决？ —

And what would a sub-chanter of the sixteenth century say, on beholding the beautiful yellow wash, with which our archiepiscopal vandals have desmeared their cathedral? —
一个十六世纪的副圣歌手看到了，会作何感想，当他看到我们大主教的破坏行为在大教堂上不知羞耻地晾上了这美丽的黄色涂料？ —

He would remember that it was the color with which the hangman smeared “accursed” edifices; —
他会记起这恰好是刽子手涂在“被诅咒”的建筑上的颜色； —

he would recall the H?tel du Petit-Bourbon, all smeared thus, on account of the constable’s treason. “Yellow, after all, of so good a quality,” said Sauval, “and so well recommended, that more than a century has not yet caused it to lose its color.” —
他会想起因为总管的背叛，所有沾上这种黄色涂料的“可恶”的建筑，比如小布尔邦酒店。 —

He would think that the sacred place had become infamous, and would flee.
他会认为这圣洁之地变得卑鄙，便会逃离。

And if we ascend the cathedral, without mentioning a thousand barbarisms of every sort,–what has become of that charming little bell tower, which rested upon the point of intersection of the cross-roofs, and which, no less frail and no less bold than its neighbor (also destroyed), the spire of the Sainte-Chapelle, buried itself in the sky, farther forward than the towers, slender, pointed, sonorous, carved in open work. —
如果我们登上了大教堂，不提及千奇百怪的野蛮行为，那么那个迷人的小钟楼呢，就那置于交叉屋脊交点处，在天空中依然耸立，比塔楼更前面的，轻盈，尖锐，响亮，雕刻空洞的。 —

An architect of good taste amputated it (1787), and considered it sufficient to mask the wound with that large, leaden plaster, which resembles a pot cover.
一位具有良好品味的建筑师砍掉了它（1787年），认为用那块大铅石膏掩盖了伤口足矣。

‘Tis thus that the marvellous art of the Middle Ages has been treated in nearly every country, especially in France. —
中世纪神奇的艺术几乎在每个国家，尤其是在法国，受到了这样的待遇。 —

One can distinguish on its ruins three sorts of lesions, all three of which cut into it at different depths; —
我们可以辨别出这座大教堂的废墟上三种不同深度的伤痕； —

first, time, which has insensibly notched its surface here and there, and gnawed it everywhere; —
随着时间的不知不觉地在这里刻下了它的痕迹，无处不啃噬； —

next, political and religious revolution, which, blind and wrathful by nature, have flung themselves tumultuously upon it, torn its rich garment of carving and sculpture, burst its rose windows, broken its necklace of arabesques and tiny figures, torn out its statues, sometimes because of their mitres, sometimes because of their crowns; —
政治和宗教革命随后而来，它们本性盲目凶暴，猛烈地袭击着它，撕裂了它丰盛的雕刻和雕塑，打破了它的玫瑰窗，摧毁了它的阿拉伯图案和小人物项链，拔除了它的雕像，有时因为他们的冠冕，有时因为他们的王冠； —

lastly, fashions, even more grotesque and foolish, which, since the anarchical and splendid deviations of the Renaissance, have followed each other in the necessary decadence of architecture. —
最后，更加荒谬愚蠢的时尚，自文艺复兴时期的无政府和瑰丽分岐以来，不断地接踵而至，跟随着建筑的必然颓废。 —

Fashions have wrought more harm than revolutions. They have cut to the quick; —
时尚对建筑造成的伤害比革命更甚。它们伤筋动骨； —

they have attacked the very bone and framework of art; —
它们直接攻击艺术的骨架和框架； —

they have cut, slashed, disorganized, killed the edifice, in form as in the symbol, in its consistency as well as in its beauty. —
它们削减、砍伐、混乱、摧毁了建筑，不论是形式还是象征，在其一贯性和美丽性方面； —

And then they have made it over; a presumption of which neither time nor revolutions at least have been guilty. —
然后，它们对建筑进行了重新构造；这是时间和革命至少没有犯下的无耻之举； —

They have audaciously adjusted, in the name of “good taste,” upon the wounds of gothic architecture, their miserable gewgaws of a day, their ribbons of marble, their pompons of metal, a veritable leprosy of egg-shaped ornaments, volutes, whorls, draperies, garlands, fringes, stone flames, bronze clouds, pudgy cupids, chubby- cheeked cherubim, which begin to devour the face of art in the oratory of Catherine de Medicis, and cause it to expire, two centuries later, tortured and grimacing, in the boudoir of the Dubarry.
他们大胆地在哥特式建筑的伤口上，以“审美”的名义，添置了他们今天的可悲之物，他们的大理石缎带，他们的金属褶皱，一种真正的卵形装饰的痲疯，旋卷、花边、纱裙、花环、石火焰、铜云、胖乎乎的爱神，圆脸天使，这些从凯瑟琳·德·美第奇的祈祷室开始侵蚀艺术的面孔，并使艺术在两个世纪后，被折磨和扭曲，绝望地死在杜巴里的闺房。

Thus, to sum up the points which we have just indicated, three sorts of ravages to-day disfigure Gothic architecture. —
因此，总结我们刚才提到的要点，今天有三种摧残着哥特式建筑。 —

Wrinkles and warts on the epidermis; this is the work of time. —
皮肤上的皱纹和疣；这是时间的作用。 —

Deeds of violence, brutalities, contusions, fractures; —
暴力行为，野蛮冲撞，破裂，骨折； —

this is the work of the revolutions from Luther to Mirabeau. —
这是从路德到米拉伯的革命所致。 —

Mutilations, amputations, dislocation of the joints, “restorations”; —
切断、截肢、关节脱位，“修复”； —

this is the Greek, Roman, and barbarian work of professors according to Vitruvius and Vignole. —
这是根据维特鲁威和维尼奥勒的教授们的希腊、罗马和野蛮的工作。 —

This magnificent art produced by the Vandals has been slain by the academies. —
被汪达尔人创造出来的宏伟艺术，已经被学术毁掉了。 —

The centuries, the revolutions, which at least devastate with impartiality and grandeur, have been joined by a cloud of school architects, licensed, sworn, and bound by oath; —
世纪，革命，至少以公正和庄严的力量席卷而过，如今又被一群许可、宣誓并受誓言束缚的专业学派建筑师所取代； —

defacing with the discernment and choice of bad taste, substituting the ~chicorées~ of Louis XV. for the Gothic lace, for the greater glory of the Parthenon. —
他们以糟糕的品位为借口，在持选择性的破坏，用路易十五的~菊瓣图案~替代哥特式花边，为了更伟大的荣耀而描绘帕德农神庙； —

It is the kick of the ass at the dying lion. —
这是对垂死之狮的踹脚； —

It is the old oak crowning itself, and which, to heap the measure full, is stung, bitten, and gnawed by caterpillars.
这是古老橡树的加冕，堆积如满溢的杯，却被毛毛虫刺、咬、啃噬；

How far it is from the epoch when Robert Cenalis, comparing Notre-Dame de Paris to the famous temple of Diana at Ephesus, so much lauded by the ancient pagans, which Erostatus has immortalized, found the Gallic temple “more excellent in length, breadth, height, and structure.”*
与罗贝尔·瑟纳利斯曾将巴黎圣母院与古代异教徒所推崇的着名以弗所庙宇相比，将这个高卢庙宇视为“在长宽高和结构方面更为优秀。”*

• Histoire Gallicane, liv. II. Periode III. fo. 130, p. 1.
  加利加历史, 卷II。第三时期。第130页第1行。
  

Notre-Dame is not, moreover, what can be called a complete, definite, classified monument. —
圣母院不能被称为一个完整的、明确的、有序的纪念碑。 —

It is no longer a Romanesque church; nor is it a Gothic church. This edifice is not a type. —
它不再是罗马教堂，也不是哥特式教堂。这座建筑物不是一个代表。 —

Notre-Dame de Paris has not, like the Abbey of Tournus, the grave and massive frame, the large and round vault, the glacial bareness, the majestic simplicity of the edifices which have the rounded arch for their progenitor. —
巴黎圣母院并不像图尔努斯修道院那样，具有庄严而厚重的外观，大而圆的拱顶，冰冷的质朴，那种以圆拱为祖先的宏伟的简约建筑。 —

It is not, like the Cathedral of Bourges, the magnificent, light, multiform, tufted, bristling efflorescent product of the pointed arch. —
它也不像布尔日大教堂那样，是尖拱的产物，它轻盈、多样、丛生，有着尖拱的成品。 —

Impossible to class it in that ancient family of sombre, mysterious churches, low and crushed as it were by the round arch, almost Egyptian, with the exception of the ceiling; —
不可能把它归类在另一类高耸的、教堂，充满了彩绘玻璃窗和雕刻； —

all hieroglyphics, all sacerdotal, all symbolical, more loaded in their ornaments, with lozenges and zigzags, than with flowers, with flowers than with animals, with animals than with men; —
所有的象形文字、所有的教士、所有的符号，比起花朵，更注重菱形和锯齿，比起花朵更注重动物，比起动物更注重人类； —

the work of the architect less than of the bishop; —
这是建筑师而非主教的作品； —

first transformation of art, all impressed with theocratic and military discipline, taking root in the Lower Empire, and stopping with the time of William the Conqueror. —
这是艺术的首次转变，全部充满了教权主义和军事纪律，深植于下帝国时期，而终结于征服者威廉时期。 —

Impossible to place our Cathedral in that other family of lofty, aerial churches, rich in painted windows and sculpture; —
不可能将我们的大教堂归类为那些高耸的、空中的、富有彩绘玻璃窗和雕刻的教堂。 —

pointed in form, bold in attitude; communal and bourgeois as political symbols; —
以指向形式为特点，态度坚定；作为政治象征，具有社区和资产阶级特色； —

free, capricious, lawless, as a work of art; —
作为一种艺术作品，自由、反复无常、无法无天； —

second transformation of architecture, no longer hieroglyphic, immovable and sacerdotal, but artistic, progressive, and popular, which begins at the return from the crusades, and ends with Louis IX. Notre-Dame de Paris is not of pure Romanesque, like the first; —
建筑的第二次转型，不再是象形文字式、不可动摇和神圣的，而是具有艺术性、进步性和大众性的，从十字军东征归来开始，直至路易九世时期结束。巴黎圣母院不是纯粹的罗曼式，如第一次转型时； —

nor of pure Arabian race, like the second.
也不是纯粹的阿拉伯血统，如第二次转型时。

It is an edifice of the transition period. —
它是一个过渡时期的建筑。 —

The Saxon architect completed the erection of the first pillars of the nave, when the pointed arch, which dates from the Crusade, arrived and placed itself as a conqueror upon the large Romanesque capitals which should support only round arches. —
萨克森建筑师在建造完教堂中殿的第一根柱子后，当中世纪十字军东征时期的尖拱从容貌如胜者般出现，在原本只应支撑圆拱的大型罗马式柱首之上。 —

The pointed arch, mistress since that time, constructed the rest of the church. —
自此以来，尖拱成为主宰，完成了教堂的其余部分的建筑。 —

Nevertheless, timid and inexperienced at the start, it sweeps out, grows larger, restrains itself, and dares no longer dart upwards in spires and lancet windows, as it did later on, in so many marvellous cathedrals. —
尽管在开始时害羞而缺乏经验，但它扫除了、变得更大、克制自己，不再像后来那样冲向尖塔和尖形窗，如许多令人惊叹的大教堂那样。 —

One would say that it were conscious of the vicinity of the heavy Romanesque pillars.
人们会说，它似乎意识到了罗曼式柱的沉重距离。

However, these edifices of the transition from the Romanesque to the Gothic, are no less precious for study than the pure types. —
然而，这些从罗曼式到哥特式的过渡建筑，对于研究同样珍贵。 —

They express a shade of the art which would be lost without them. —
它们表达了一种艺术的细微之处，如果没有它们将会失去。 —

It is the graft of the pointed upon the round arch.
这是尖拱接在圆拱上。

Notre-Dame de Paris is, in particular, a curious specimen of this variety. —
巴黎圣母院尤其是这一种多样性的有趣实例。 —

Each face, each stone of the venerable monument, is a page not only of the history of the country, but of the history of science and art as well. —
这座古老建筑的每一块石头，每一块石头，不仅是国家历史的一页，也是科学和艺术历史的一页。 —

Thus, in order to indicate here only the principal details, while the little Red Door almost attains to the limits of the Gothic delicacy of the fifteenth century, the pillars of the nave, by their size and weight, go back to the Carlovingian Abbey of Saint-Germain des Prés. One would suppose that six centuries separated these pillars from that door. —
因此，为了在此仅指出主要细节，尽管小红门几乎达到了十五世纪哥特式精致的极限，但教堂中殿柱的大小和重量，却回到了卡洛林王朝的圣日耳曼大修道院。人们可能会认为这些柱子与那扇门相隔了六个世纪。 —

There is no one, not even the hermetics, who does not find in the symbols of the grand portal a satisfactory compendium of their science, of which the Church of Saint-Jacques de la Boucherie was so complete a hieroglyph. —
没有人，甚至炼金术师，不会在这宏伟门户的象征中找到他们科学的满意总结，圣雅克勒肉店教堂是一个如此完整的象形文字。 —

Thus, the Roman abbey, the philosophers’ church, the Gothic art, Saxon art, the heavy, round pillar, which recalls Gregory VII., the hermetic symbolism, with which Nicolas Flamel played the prelude to Luther, papal unity, schism, Saint-Germain des Prés, Saint-Jacques de la Boucherie,–all are mingled, combined, amalgamated in Notre-Dame. This central mother church is, among the ancient churches of Paris, a sort of chimera; —
因此，罗马修道院，哲学家教堂，哥特式艺术，撒克逊艺术，唤起圭尔伯七世的沉重、圆柱，尼古拉·弗拉梅尔为路德演奏前奏的炼金术象征，教皇统一，分裂，圣日耳曼大修道院，圣雅克勒肉店，-全部混合在一起，在巴黎圣母院。这座中央母堂是巴黎古老教堂中的一种奇迹； —

it has the head of one, the limbs of another, the haunches of another, something of all.
它有一种的头、另一种的肢、另一种的臀部，一切都有。

We repeat it, these hybrid constructions are not the least interesting for the artist, for the antiquarian, for the historian. —
我们再次重申，这些杂交建筑对于艺术家、古物学家、历史学家来说同样有趣。 —

They make one feel to what a degree architecture is a primitive thing, by demonstrating (what is also demonstrated by the cyclopean vestiges, the pyramids of Egypt, the gigantic Hindoo pagodas) that the greatest products of architecture are less the works of individuals than of society; —
他们让人感到建筑是一种原始的事物，通过证明（正如独眼巨人的遗迹、埃及金字塔、庞大的印度教宝塔所证明的那样）建筑的最伟大的产品不是个人的作品，而是社会的产物； —

rather the offspring of a nation’s effort, than the inspired flash of a man of genius; —
而不是一个人的灵感闪现； —

the deposit left by a whole people; the heaps accumulated by centuries; —
一个民族努力的产物，而不是一个人的灵感闪现；一个民族积累下的存款；几个世纪积累起来的废墟； —

the residue of successive evaporations of human society,–in a word, species of formations. —
人类社会连续蒸发的残留物，总的来说，就是各种结构形成。 —

Each wave of time contributes its alluvium, each race deposits its layer on the monument, each individual brings his stone. —
时间的每一波浪都会贡献其淤泥，每一代人种都会在纪念碑上堆积其一层，每个个体都会携带他的一块石头。 —

Thus do the beavers, thus do the bees, thus do men. —
比如河狸如此，蜜蜂如此，人类如此。 —

The great symbol of architecture, Babel, is a hive.
建筑的伟大象征，巴别塔，就是一个蜂巢。

Great edifices, like great mountains, are the work of centuries. —
巨大的建筑物，像巨大的山脉一样，是世纪的工作。 —

Art often undergoes a transformation while they are pending, ~pendent opera interrupta~; —
当它们悬而未决时，艺术经常会经历一次转变，~被中断的未完成作品~; —

they proceed quietly in accordance with the transformed art. —
它们按照转变后的艺术静静地继续进行。 —

The new art takes the monument where it finds it, incrusts itself there, assimilates it to itself, develops it according to its fancy, and finishes it if it can. —
新艺术将纪念碑所在处的现成艺术吸收，使其同化，按照自己的想法发展，并在可能的情况下完成。 —

The thing is accomplished without trouble, without effort, without reaction,–following a natural and tranquil law. —
这件事毫不费力，没有挣扎，没有反对，-遵循一种自然而宁静的法则进行。 —

It is a graft which shoots up, a sap which circulates, a vegetation which starts forth anew. —
这是一种长出的嫁接，一种循环的汁液，一种开始生长的植物。 —

Certainly there is matter here for many large volumes, and often the universal history of humanity in the successive engrafting of many arts at many levels, upon the same monument. —
无疑，这里有许多大卷，经历了许多艺术层次的同一纪念碑上不同层次的许多艺术，描绘出人类的普遍历史。 —

The man, the artist, the individual, is effaced in these great masses, which lack the name of their author; —
在这些巨大的要素中，人，艺术家，个体，都会消失，缺乏作者的名字； —

human intelligence is there summed up and totalized. —
人类智慧在那里被总结和总体化。 —

Time is the architect, the nation is the builder.
时间是建筑师，国家是建筑者。

Not to consider here anything except the Christian architecture of Europe, that younger sister of the great masonries of the Orient, it appears to the eyes as an immense formation divided into three well-defined zones, which are superposed, the one upon the other: —
不考虑任何除了欧洲基督教建筑之外的东西，在欧洲基督教建筑中，它看上去像是一个巨大的形成，被划分为三个明确定义的区域，它们是上下叠加的： —

the Romanesque zone*, the Gothic zone, the zone of the Renaissance, which we would gladly call the Greco-Roman zone. —
罗曼式区域，哥特式区域，文艺复兴区域，我们很愿意称之为希腊-罗马区域。 —

The Roman layer, which is the most ancient and deepest, is occupied by the round arch, which reappears, supported by the Greek column, in the modern and upper layer of the Renaissance. —
最古老且最深层的罗马层上有着圆拱，在现代和文艺复兴时期的上层，它再次出现，由希腊柱支撑。 —

The pointed arch is found between the two. —
尖拱位于这两者之间。 —

The edifices which belong exclusively to any one of these three layers are perfectly distinct, uniform, and complete. —
属于这三个层次中任何一个的建筑完全独特、统一和完整。 —

There is the Abbey of Jumiéges, there is the Cathedral of Reims, there is the Sainte-Croix of Orleans. —
有朱米耶修道院，有兰斯大教堂，有奥尔良的圣十字教堂。 —

But the three zones mingle and amalgamate along the edges, like the colors in the solar spectrum. —
但是这三个区域在边缘混合交融，就像太阳光谱中的颜色一样。 —

Hence, complex monuments, edifices of gradation and transition. —
因此，复杂的建筑，过渡渐变之作。 —

One is Roman at the base, Gothic in the middle, Greco-Roman at the top. —
一个建筑在底部为罗马式，在中部为哥特式，在顶部为希腊-罗马式。 —

It is because it was six hundred years in building. This variety is rare. —
这是因为它修建了六百年。这种多样性是罕见的。 —

The donjon keep of d’Etampes is a specimen of it. —
埃唐普的主要瞭望塔是其中的一个样本。 —

But monuments of two formations are more frequent. —
但两种形式的建筑更为常见。 —

There is Notre-Dame de Paris, a pointed-arch edifice, which is imbedded by its pillars in that Roman zone, in which are plunged the portal of Saint-Denis, and the nave of Saint-Germain des Prés. There is the charming, half-Gothic chapter-house of Bocherville, where the Roman layer extends half way up. —
巴黎的巴黎圣母院是尖拱式建筑，其柱子深入了罗曼区域，圣丹尼斯门户和圣日耳曼-德-普雷教堂的中殿所在之处。 —

There is the cathedral of Rouen, which would be entirely Gothic if it did not bathe the tip of its central spire in the zone of the Renaissance.**
鲁昂大教堂，如果不在文艺复兴区域中沐浴其中央尖塔尖端，将完全为哥特式风格。

• This is the same which is called, according to locality, climate, and races, Lombard, Saxon, or Byzantine. —
  * 这与地点、气候和种族有关联，被称为隆巴第风格，萨克逊风格或拜占庭风格。 —
  

There are four sister and parallel architectures, each having its special character, but derived from the same origin, the round arch.
有四种姐妹并行的体系结构，每种具有其独特特点，但都源于同一起源，即圆拱。

~Facies non omnibus una, No diversa tamen, qualem~, etc.
他们的面孔并非完全一样，但也并非完全不同，而应该是姐妹们的面孔应有的样子。

Their faces not all alike, nor yet different, but such as the faces of sisters ought to be.
这根尖塔的一部分是木制品，正是1823年被闪电烧毁的部分。

** This portion of the spire, which was of woodwork, is precisely that which was consumed by lightning, in 1823.
然而，所有这些色调，所有这些差异，并不仅仅影响建筑物的表面。

However, all these shades, all these differences, do not affect the surfaces of edifices only. —
这是艺术改变了它的外表。基督教教堂的本质并没有受到影响。 —

It is art which has changed its skin. The very constitution of the Christian church is not attacked by it. —
总是有着相同的内部木制结构，相同的部件逻辑排列。 —

There is always the same internal woodwork, the same logical arrangement of parts. —
不管大教堂外面被雕刻和刺绣的包装如何，人们总是能在其下面找到——至少是作为一种胚芽和基础——罗马式的大殿。 —

Whatever may be the carved and embroidered envelope of a cathedral, one always finds beneath it–in the state of a germ, and of a rudiment at the least–the Roman basilica. —
所有这些差异，这些不同，不过是外表变化而已，古罗马式圆顶教堂的内核依然存在。 —

It is eternally developed upon the soil according to the same law. —
它永恒地按照同一法则在土地上发展。 —

There are, invariably, two naves, which intersect in a cross, and whose upper portion, rounded into an apse, forms the choir; —
一般情况下，总是有两条中殿交叉形成十字，其上部圆成半圆形成唱诗班； —

there are always the side aisles, for interior processions, for chapels,–a sort of lateral walks or promenades where the principal nave discharges itself through the spaces between the pillars. —
总是有侧廊，用于内部游行，用于小堂，一种侧走廊或长廊，主要中殿通过柱子之间的空间排水。 —

That settled, the number of chapels, doors, bell towers, and pinnacles are modified to infinity, according to the fancy of the century, the people, and art. —
一旦确保并提供了宗教服务，建筑便可以随心所欲。 —

The service of religion once assured and provided for, architecture does what she pleases. —
根据这个想法，礼拜堂的数量、门、钟楼和尖塔可以任意改动。 —

Statues, stained glass, rose windows, arabesques, denticulations, capitals, bas-reliefs,–she combines all these imaginings according to the arrangement which best suits her. —
雕像、彩色玻璃、玫瑰花窗、阿拉伯式花纹、齿状线、柱顶、浅浮雕，她根据最适合的布局组合所有这些想象。 —

Hence, the prodigious exterior variety of these edifices, at whose foundation dwells so much order and unity. —
因此，这些建筑物在外部呈现出惊人的多样性，而其基础却寄托着如此多的秩序和统一。 —

The trunk of a tree is immovable; the foliage is capricious.
树干是固定不动的；叶子却是反复无常的。