Our lady readers will pardon us if we pause for a moment to seek what could have been the thought concealed beneath those enigmatic words of the archdeacon: —
我们的女读者们会原谅我们，如果我们停顿一会儿，试图探索大主教那些充满谜团的话语中隐藏的思想： —

“This will kill that. The book will kill the edifice.”
“这将会毁灭那个。这本书将毁灭这座建筑。”

To our mind, this thought had two faces. In the first place, it was a priestly thought. —
在我们看来，这个想法有两个面孔。首先，这是一个牧师的想法。 —

It was the affright of the priest in the presence of a new agent, the printing press. —
这是在新因素-印刷机-面前耳闻目睹的牧师的惊恐。 —

It was the terror and dazzled amazement of the men of the sanctuary, in the presence of the luminous press of Gutenberg. —
这是圣所之人在古腾堡的闪耀印刷机面前的恐惧和眩惑惊惶。 —

It was the pulpit and the manuscript taking the alarm at the printed word: —
这是讲坛和手稿在印刷字面前感到惊慌的情景： —

something similar to the stupor of a sparrow which should behold the angel Legion unfold his six million wings. —
就像一只麻雀看到频发数百万翅膀展开的天使军团而感到惊愕。 —

It was the cry of the prophet who already hears emancipated humanity roaring and swarming; —
这是大胆预言未来人类思想在印刷机之下挥发消失； —

who beholds in the future, intelligence sapping faith, opinion dethroning belief, the world shaking off Rome. It was the prognostication of the philosopher who sees human thought, volatilized by the press, evaporating from the theocratic recipient. —
是预见到智慧取代信仰，看法推翻信条，世界摆脱罗马的先知之叹。 —

It was the terror of the soldier who examines the brazen battering ram, and says: —
这是军人检视青铜撞角说的恐惧：“塔楼将会倒塌。” —

–“The tower will crumble.” It signified that one power was about to succeed another power. —
它意味着，一个权力即将取代另一个权力。 —

It meant, “The press will kill the church.”
它的意思是，“印刷机将毁灭教会。”

But underlying this thought, the first and most simple one, no doubt, there was in our opinion another, newer one, a corollary of the first, less easy to perceive and more easy to contest, a view as philosophical and belonging no longer to the priest alone but to the savant and the artist. —
但潜藏在这个想法之下，第一个也许最简单的想法，无疑有着另一个，更新的，更不易察觉但更容易争议的想法，一种更具哲学性质，不再仅属于牧师，而是属于学者和艺术家。 —

It was a presentiment that human thought, in changing its form, was about to change its mode of expression; —
这是一种预感，认为随着确实的改变，人类思想将改变其表达方式； —

that the dominant idea of each generation would no longer be written with the same matter, and in the same manner; —
每一代人的主导思想将不再以相同的方式、在相同的方式上书写。 —

that the book of stone, so solid and so durable, was about to make way for the book of paper, more solid and still more durable. —
硬如石头且持久耐用的书卷即将被更为坚固和耐用的纸质书籍所取代。 —

In this connection the archdeacon’s vague formula had a second sense. It meant, “Printing will kill architecture.”
在这种联系上，总铎模糊的形式有着第二层含义。它意味着，“印刷将毁掉建筑。”

In fact, from the origin of things down to the fifteenth century of the Christian era, inclusive, architecture is the great book of humanity, the principal expression of man in his different stages of development, either as a force or as an intelligence.
实际上，从事物起源到基督教纪元的第十五个世纪，建筑是人类的巨大书籍，是人类在不同发展阶段表达自己的主要方式，不论是作为一种力量还是智慧。

When the memory of the first races felt itself overloaded, when the mass of reminiscences of the human race became so heavy and so confused that speech naked and flying, ran the risk of losing them on the way, men transcribed them on the soil in a manner which was at once the most visible, most durable, and most natural. —
当最初的种族记忆感到过载时，当人类群体的回忆负担变得如此沉重和混乱，以至于赤裸而迅速的语言在路途中有失落它们的风险时，人们把它们抄写到土壤中，这种方式既是最显而易见、最持久又最自然的。 —

They sealed each tradition beneath a monument.
他们将每一项传统封存在纪念碑下。

The first monuments were simple masses of rock, “which the iron had not touched,” as Moses says. —
最初的纪念碑是简单的岩石堆，“铁未曾触及”，正如摩西所说。 —

Architecture began like all writing. It was first an alphabet. —
建筑像所有书写一样开始。它首先是一种字母。 —

Men planted a stone upright, it was a letter, and each letter was a hieroglyph, and upon each hieroglyph rested a group of ideas, like the capital on the column. —
人们竖起一块石头，那是一个字母，每个字母是一个象形文字，而每个象形文字之上都有一群思想，就像柱子上的首字母。 —

This is what the earliest races did everywhere, at the same moment, on the surface of the entire world. —
这就是过去的种族在世界的整个表面上同一时刻所做的事情。 —

We find the “standing stones” of the Celts in Asian Siberia; —
我们在亚洲西伯利亚的凯尔特“耸立的石头”； —

in the pampas of America.
在美洲的草原上找到。

Later on, they made words; they placed stone upon stone, they coupled those syllables of granite, and attempted some combinations. —
后来，他们做出了单词；他们砌石头，他们连接那些花岗岩的音节，并尝试一些组合。 —

The Celtic dolmen and cromlech, the Etruscan tumulus, the Hebrew galgal, are words. —
凯尔特人的王坟和立石，伊特鲁里亚人的土墩，希伯来人的圈坛，都是词语。 —

Some, especially the tumulus, are proper names. —
有些，特别是土墩，是专有名词。 —

Sometimes even, when men had a great deal of stone, and a vast plain, they wrote a phrase. —
有时，甚至当人们拥有大量的石头和广阔的平原时，他们写下一句话。 —

The immense pile of Karnac is a complete sentence.
卡纳克的庞大堆积是一个完整的句子。

At last they made books. Traditions had brought forth symbols, beneath which they disappeared like the trunk of a tree beneath its foliage; —
最终他们制作了书籍。传统孕育了符号，这些符号消失在其中，就像树干在叶子下消失一样； —

all these symbols in which humanity placed faith continued to grow, to multiply, to intersect, to become more and more complicated; —
所有这些人类寄托信仰的符号继续增长，繁殖，相互交汇，变得越来越复杂。 —

the first monuments no longer sufficed to contain them, they were overflowing in every part; —
第一个纪念碑已经不再足以容纳它们，它们在每个部分都溢出来了； —

these monuments hardly expressed now the primitive tradition, simple like themselves, naked and prone upon the earth. —
这些纪念物现在几乎不再表达原始传统，就像它们本身一样简单，赤裸地躺在地上。 —

The symbol felt the need of expansion in the edifice. —
符号感到有必要在这座建筑物中扩展。 —

Then architecture was developed in proportion with human thought; —
然后建筑物被设计成与人类思维成比例； —

it became a giant with a thousand heads and a thousand arms, and fixed all this floating symbolism in an eternal, visible, palpable form. —
它变成了一个拥有千头千臂的巨人，并将所有这些飘忽不定的象征固定在了一个永恒的、可见的、可以触摸的形态中。 —

While Daedalus, who is force, measured; while Orpheus, who is intelligence, sang; —
当代达达罗斯，他代表力量，测量；当奥菲斯，他代表智慧，歌唱； —

–the pillar, which is a letter; the arcade, which is a syllable; —
- 柱子，即一个字母；拱廊，即一个音节； —

the pyramid, which is a word,–all set in movement at once by a law of geometry and by a law of poetry, grouped themselves, combined, amalgamated, descended, ascended, placed themselves side by side on the soil, ranged themselves in stories in the sky, until they had written under the dictation of the general idea of an epoch, those marvellous books which were also marvellous edifices: —
金字塔，这个词，– 一切同时按照几何学的规律和诗歌的规律运动，相互组合，融合，下降，上升，排列在土地上，排列在天空中，直到它们在一个时代的总体思想的指导下，写出那些奇妙的书籍，同时也是奇妙的建筑物： —

the Pagoda of Eklinga, the Rhamseion of Egypt, the Temple of Solomon.
Eklinga塔，埃及Rhamseion，所罗门神殿。

The generating idea, the word, was not only at the foundation of all these edifices, but also in the form. —
产生的理念，即“言”字，不仅是所有这些建筑的基础，而且还体现在其形式上。 —

The temple of Solomon, for example, was not alone the binding of the holy book; —
所罗门的殿并不仅仅是圣书的约束； —

it was the holy book itself. On each one of its concentric walls, the priests could read the word translated and manifested to the eye, and thus they followed its transformations from sanctuary to sanctuary, until they seized it in its last tabernacle, under its most concrete form, which still belonged to architecture: —
它本身就是圣书。在每一层同心墙上，祭司们能够读到这个被翻译并显现在眼前的话语，于是他们跟随着从圣所到圣所的变化，直到在最后的圣龛中抓住它，那个仍然属于建筑的最具体形式下： 一、它本身就是圣书。在每一层同心墙上，祭司们能够读到这个被翻译并显现在眼前的话语，于是他们跟随着从圣所到圣所的变化，直到在最后的圣龛中抓住它，那个仍然属于建筑的最具体形式下： —

the arch. Thus the word was enclosed in an edifice, but its image was upon its envelope, like the human form on the coffin of a mummy.
因此，这个词被封存在了一座建筑物里，但它的形象却印在了信封上，就像木乃伊棺材上的人形一样。

And not only the form of edifices, but the sites selected for them, revealed the thought which they represented, according as the symbol to be expressed was graceful or grave. —
不仅建筑物的形式，而且为它们选定的地点也透露了它们所代表的思想，根据要表达的象征是优雅还是庄重。 —

Greece crowned her mountains with a temple harmonious to the eye; —
希腊把她的山峰戴上了一座对眼睛和谐的神庙； —

India disembowelled hers, to chisel therein those monstrous subterranean pagodas, borne up by gigantic rows of granite elephants.
印度则在内部雕刻那些庞大的地下宫殿，由巨大的花岗岩大象支撑。

Thus, during the first six thousand years of the world, from the most immemorial pagoda of Hindustan, to the cathedral of Cologne, architecture was the great handwriting of the human race. —
因此，在世界的头六千年里，从印度最古老的庙宇到科隆大教堂，建筑是人类的伟大书写。 —

And this is so true, that not only every religious symbol, but every human thought, has its page and its monument in that immense book.
这是如此真实，以至于不仅每一种宗教符号，而且每一种人类思想，在那本广阔的书中都有它的一页和纪念碑。

All civilization begins in theocracy and ends in democracy. —
一切文明以神权统治开始，以民主结束。 —

This law of liberty following unity is written in architecture. —
这个自由跟随统一的法则写在建筑中。 —

For, let us insist upon this point, masonry must not be thought to be powerful only in erecting the temple and in expressing the myth and sacerdotal symbolism; —
因为，让我们坚持这一点，石匠不仅仅强大于建造神殿和表现神话和教权符号； —

in inscribing in hieroglyphs upon its pages of stone the mysterious tables of the law. —
在它的石头上印上象形文字，装饰了圣律的神秘法桌。 —

If it were thus,–as there comes in all human society a moment when the sacred symbol is worn out and becomes obliterated under freedom of thought, when man escapes from the priest, when the excrescence of philosophies and systems devour the face of religion,–architecture could not reproduce this new state of human thought; —
如果是这样的话，–因为在所有的人类社会中，当禁锢象征被解放开来，当人类摆脱牧师的束缚，当哲学和体系的突变吞噬了宗教的脸庞时，就会出现一种人的思想新状态，那时建筑就不能再复制这种人类思想； —

its leaves, so crowded on the face, would be empty on the back; —
它的一页，虽有内容拥挤，背面却是空的； —

its work would be mutilated; its book would he incomplete. But no.
它的工作将会残缺；它的书将会不完整。不过不是这样的。

Let us take as an example the Middle Ages, where we see more clearly because it is nearer to us. —
让我们以中世纪为例，因为这更清晰，它更接近我们。 —

During its first period, while theocracy is organizing Europe, while the Vatican is rallying and reclassing about itself the elements of a Rome made from the Rome which lies in ruins around the Capitol, while Christianity is seeking all the stages of society amid the rubbish of anterior civilization, and rebuilding with its ruins a new hierarchic universe, the keystone to whose vault is the priest–one first hears a dull echo from that chaos, and then, little by little, one sees, arising from beneath the breath of Christianity, from beneath the hand of the barbarians, from the fragments of the dead Greek and Roman architectures, that mysterious Romanesque architecture, sister of the theocratic masonry of Egypt and of India, inalterable emblem of pure catholicism, unchangeable hieroglyph of the papal unity. —
在它的第一个时期，当神权在组织欧洲，当教廷在拉拢并重新组织罗马周围废墟中构建一个由废墟中的罗马所组成的罗马，当基督教在前人文明的废墟中寻找社会的各个阶层，并用它的废墟重建一个新的教权宇宙，它拱顶的拱石的顶石是神父–人们首先听到那个混乱中的沉闷回响，然后，逐渐地，人们看到从基督教的气息下，从野蛮人的手下，从死去的希腊和罗马建筑的碎片下升起那座神秘的罗马式建筑，是埃及和印度神权石匠的姐妹，是纯天主教的不可改变的象征，是教皇统一的永恒象形。 —

All the thought of that day is written, in fact, in this sombre, Romanesque style. —
所有那一天的思维都以这种阴郁的罗曼式风格写下来。 —

One feels everywhere in it authority, unity, the impenetrable, the absolute, Gregory VII.; —
到处都感觉到威严、统一、不可渗透、绝对的格雷戈里七世； —

always the priest, never the man; everywhere caste, never the people.
到处都是牧师，从不是人；到处都是种姓，从不是人民。

But the Crusades arrive. They are a great popular movement, and every great popular movement, whatever may be its cause and object, always sets free the spirit of liberty from its final precipitate. —
但是十字军到来了。它们是一场伟大的民众运动，每一场伟大的民众运动，不论其原因和目的如何，总会让自由的精神从最后的沉淀中释放出来。 —

New things spring into life every day. Here opens the stormy period of the Jacqueries, Pragueries, and Leagues. —
每天都会涌现新事物。这里开启了暴动、布拉格暴动和联盟的风云时期。 —

Authority wavers, unity is divided. Feudalism demands to share with theocracy, while awaiting the inevitable arrival of the people, who will assume the part of the lion: —
权威动摇，统一分裂。封建主义需要与神权分享，同时等待人民的必然到来，他们将扮演狮子的角色： —

~Quia nominor leo~. Seignory pierces through sacerdotalism; the commonality, through seignory. —
〜因为我被称为狮子。封建领主穿透僧侣制度；平民阶层穿透封建制度。 —

The face of Europe is changed. Well! the face of architecture is changed also. —
欧洲的面容发生了改变。嗯！建筑的面貌也改变了。 —

Like civilization, it has turned a page, and the new spirit of the time finds her ready to write at its dictation. —
就像文明一样，建筑也翻开了新的一页，时代的新精神发现她准备好按照它的命令写作。 —

It returns from the crusades with the pointed arch, like the nations with liberty.
它带着尖拱回到了十字军东归后，就像国家带着自由一样。

Then, while Rome is undergoing gradual dismemberment, Romanesque architecture dies. —
然后，当罗马逐渐解体时，罗曼式建筑灭亡了。 —

The hieroglyph deserts the cathedral, and betakes itself to blazoning the donjon keep, in order to lend prestige to feudalism. —
象形文字离开了大教堂，转而去作属于封建主义的别墅，以增添威望。 —

The cathedral itself, that edifice formerly so dogmatic, invaded henceforth by the bourgeoisie, by the community, by liberty, escapes the priest and falls into the power of the artist. —
大教堂本身，这座曾经如此教条主义的建筑，现在被资产阶级、社区、自由所占据，逃脱了牧师的控制，落入了艺术家手中。 —

The artist builds it after his own fashion. Farewell to mystery, myth, law. —
艺术家按照自己的方式建造它。再见神秘、神话、法则。 —

Fancy and caprice, welcome. Provided the priest has his basilica and his altar, he has nothing to say. —
幻想和奇想，欢迎。只要牧师有他的大教堂和祭坛，他就什么也说不上。 —

The four walls belong to the artist. The architectural book belongs no longer to the priest, to religion, to Rome; —
这四堵墙属于艺术家。那建筑书不再属于神父，宗教，罗马； —

it is the property of poetry, of imagination, of the people. —
它属于诗歌，想象力，人民。 —

Hence the rapid and innumerable transformations of that architecture which owns but three centuries, so striking after the stagnant immobility of the Romanesque architecture, which owns six or seven. —
因此，在停滞不前的罗曈建筑拥有六七个世纪之后，这座仅有三个世纪的建筑进行了迅速而无数次的转变，这一点尤为引人注目。 —

Nevertheless, art marches on with giant strides. —
尽管如此，艺术却以巨大的步伐行进。 —

Popular genius amid originality accomplish the task which the bishops formerly fulfilled. —
原创的大众天赋完成了主教们曾经履行的任务。 —

Each race writes its line upon the book, as it passes; —
每一个种族在走过时在那本书上书写着它的线条； —

it erases the ancient Romanesque hieroglyphs on the frontispieces of cathedrals, and at the most one only sees dogma cropping out here and there, beneath the new symbol which it has deposited. —
它擦去了大教堂正面上的古老罗曈象形文字，最多只能在新的符号之下看到教义不时露出的痕迹。 —

The popular drapery hardly permits the religious skeleton to be suspected. —
大众所展现的服饰几乎不会让人怀疑其中教会的骨架。 —

One cannot even form an idea of the liberties which the architects then take, even toward the Church. —
甚至向着教堂，建筑师也采取了不可思议的自由。 —

There are capitals knitted of nuns and monks, shamelessly coupled, as on the hall of chimney pieces in the Palais de Justice, in Paris. There is Noah’s adventure carved to the last detail, as under the great portal of Bourges. —
有些柱头上刻着贞女和修道士，无耻地交错在一起，就像巴黎司法宫的壁炉大厅那样。有挪亚的冒险按照最后的细节雕刻着，恰伯日的大门下就有。 —

There is a bacchanalian monk, with ass’s ears and glass in hand, laughing in the face of a whole community, as on the lavatory of the Abbey of Bocherville. —
有一个狂欢的修道士，耳朵尖尖，手持杯子，冲着整个教团笑，就像波切尔维尔修道院的洗手间上那样。 —

There exists at that epoch, for thought written in stone, a privilege exactly comparable to our present liberty of the press. —
在那个时代，对于写在石头上的思想，存在着一种正好可以与我们现今的新闻自由相比拟的特权。 —

It is the liberty of architecture.
那就是建筑的自由。

This liberty goes very far. Sometimes a portal, a fa? —
这种自由的范围非常广泛。有时一个门廊，一个正面，甚至整座教堂，展现出一种绝对不同于礼拜仪式的象征意义，甚至对教会是敌对的。 —

ade, an entire church, presents a symbolical sense absolutely foreign to worship, or even hostile to the Church. —
这段自由走得远。有时门户，一个正面，整座教堂呈现出绝对与崇拜无关，甚至对教会敌对的象征意义。 —

In the thirteenth century, Guillaume de Paris, and Nicholas Flamel, in the fifteenth, wrote such seditious pages. —
在十三世纪，吉约姆·德·巴黎和尼古拉斯·弗拉梅尔在十五世纪写下了这样煽动性的篇章。 —

Saint-Jacques de la Boucherie was a whole church of the opposition.
圣雅各教堂是完全反对派的一座教堂。

Thought was then free only in this manner; —
思想只有这种方式时才是自由的； —

hence it never wrote itself out completely except on the books called edifices. —
因此，它从未完全写在书上，除非写在被称为建筑物的书上。 —

Thought, under the form of edifice, could have beheld itself burned in the public square by the hands of the executioner, in its manuscript form, if it had been sufficiently imprudent to risk itself thus; —
若如此不谨慎，思想将以手稿形式在公共广场被行刑者焚烧，作为建筑，它自己看到刑罚。 —

thought, as the door of a church, would have been a spectator of the punishment of thought as a book. —
思想，就像一扇教堂的门，将作为书籍的惩罚的一个观众。 —

Having thus only this resource, masonry, in order to make its way to the light, flung itself upon it from all quarters. —
因此，为了获得光明，石工向它扑来. —

Hence the immense quantity of cathedrals which have covered Europe–a number so prodigious that one can hardly believe it even after having verified it. —
由此欧洲覆盖着如此多的大教堂–一个数量之大，以至于即使核实后也难以置信。 —

All the material forces, all the intellectual forces of society converged towards the same point: —
社会的所有物质力量，所有知识力量都汇聚到同一点上：建筑。通过这种方式，在建造教堂供奉上帝的借口下，艺术以壮丽的比例发展。 —

architecture. In this manner, under the pretext of building churches to God, art was developed in its magnificent proportions.
于是，凡是出生作诗人的人都成为了建筑师。

Then whoever was born a poet became an architect. —
天才，散布在群众中，在封建制度和铜制盾牌之下，除了通过建筑这种艺术找不到出口，涌出了，它的《伊利亚特》以大教堂的形式呈现。 —

Genius, scattered in the masses, repressed in every quarter
所有其他艺术都服从于建筑，并置身于建筑的纪律之下。

under feudalism as under a ~testudo~ of brazen bucklers, finding no issue except in the direction of architecture,–gushed forth through that art, and its Iliads assumed the form of cathedrals. —
他们是这个伟大工程的工人。 —

All other arts obeyed, and placed themselves under the discipline of architecture. —
它们是这个伟大工程的工人。 —

They were the workmen of the great work. —
他们是这个伟大工程的工人。 —

The architect, the poet, the master, summed up in his person the sculpture which carved his fa? —
建筑师，诗人，大师，综合于他的人格中雕刻出他的面庞？ —

ades, painting which illuminated his windows, music which set his bells to pealing, and breathed into his organs. —
照亮他的窗户的绘画，使他的钟声鸣响的音乐，并注入他的风琴。 —

There was nothing down to poor poetry,–properly speaking, that which persisted in vegetating in manuscripts,–which was not forced, in order to make something of itself, to come and frame itself in the edifice in the shape of a hymn or of prose; —
要使自己的孤本诗歌得以发展，没有任何一个不必回来，在建筑物内成为赞美诗或散文的形式； —

the same part, after all, which the tragedies of AEschylus had played in the sacerdotal festivals of Greece; —
毕竟，这与Aeschylus的悲剧在希腊神圣节日中所扮演的角色相同； —

Genesis, in the temple of Solomon.
Genesis，在所罗门的殿宇。

Thus, down to the time of Gutenberg, architecture is the principal writing, the universal writing. —
因此，自格鲁特堡（Gutenberg）时代以来，建筑是主要的书写方式，是普遍的书写方式。 —

In that granite book, begun by the Orient, continued by Greek and Roman antiquity, the Middle Ages wrote the last page. —
在那块由东方人开创，由希腊和罗马古代延续下去的花岗岩书中，中世纪将写下最后一页。 —

Moreover, this phenomenon of an architecture of the people following an architecture of caste, which we have just been observing in the Middle Ages, is reproduced with every analogous movement in the human intelligence at the other great epochs of history. —
此外，我们刚刚在中世纪观察到的人民建筑跟随阶级建筑这种现象，在人类智慧的每一个类似历史伟大时期都有复制。 —

Thus, in order to enunciate here only summarily, a law which it would require volumes to develop: —
因此，简要地陈述一个需要用大量篇幅来发展的规律： —

in the high Orient, the cradle of primitive times, after Hindoo architecture came Phoenician architecture, that opulent mother of Arabian architecture; —
在高东方，原始时代的摇篮，印度建筑之后便是腓尼基建筑，那个阿拉伯建筑的丰富母亲； —

in antiquity, after Egyptian architecture, of which Etruscan style and cyclopean monuments are but one variety, came Greek architecture (of which the Roman style is only a continuation), surcharged with the Carthaginian dome; —
在古代，埃及建筑之后，包括Etruscan风格和巨石纪念碑在内的希腊建筑（罗马风格仅为延续）而丰富多变的迦太基穹顶便来了； —

in modern times, after Romanesque architecture came Gothic architecture. —
在现代，罗马式建筑之后便是哥特式建筑。 —

And by separating there three series into their component parts, we shall find in the three eldest sisters, Hindoo architecture, Egyptian architecture, Romanesque architecture, the same symbol; —
并且通过将这三系列分解成它们的组成部分，我们将在这三个最古老的姐妹中，印度建筑，埃及建筑，罗马式建筑，找到相同的象征； —

that is to say, theocracy, caste, unity, dogma, myth, God: —
也就是说，神权统治、种姓制度、统一、教条、神话、上帝： —

and for the three younger sisters, Phoenician architecture, Greek architecture, Gothic architecture, whatever, nevertheless, may be the diversity of form inherent in their nature, the same signification also; —
对于这三个较年轻的姐妹，腓尼基建筑，希腊建筑，哥特式建筑，不论它们的本质中形式的多样性如何，也有相同的意义； —

that is to say, liberty, the people, man.
也就是说，自由，人民，人类。

In the Hindu, Egyptian, or Romanesque architecture, one feels the priest, nothing but the priest, whether he calls himself Brahmin, Magian, or Pope. It is not the same in the architectures of the people. —
在印度教、埃及或罗马建筑中，人感受到的只有祭司，无论他自称为婆罗门、魔术师还是教皇。但在人民的建筑中并非如此。 —

They are richer and less sacred. In the Phoenician, one feels the merchant; —
这些建筑更富有，不那么神圣。在腓尼基建筑中，人感受到的是商人； —

in the Greek, the republican; in the Gothic, the citizen.
在希腊建筑中，是共和国精神；在哥特式建筑中，是市民。

The general characteristics of all theocratic architecture are immutability, horror of progress, the preservation of traditional lines, the consecration of the primitive types, the constant bending of all the forms of men and of nature to the incomprehensible caprices of the symbol. —
神权主义建筑的共同特征是固执不变、厌恶进步、保存传统线条、神圣化原始模型、始终尊重男性和自然形态，以无法理解的象征的古怪方式将它们弯曲。 —

These are dark books, which the initiated alone understand how to decipher. —
这些是晦涩难懂的书，只有内行才懂得如何解读。 —

Moreover, every form, every deformity even, has there a sense which renders it inviolable. —
此外，每种形态，甚至每种畸形，在其中都有一个赋予其不可侵犯性的含义。 —

Do not ask of Hindoo, Egyptian, Romanesque masonry to reform their design, or to improve their statuary. —
不要指望印度教、埃及或哥特式石工改变他们的设计，或者改进他们的雕塑。 —

Every attempt at perfecting is an impiety to them. —
任何完善的尝试对于他们来说都是僭越。 —

In these architectures it seems as though the rigidity of the dogma had spread over the stone like a sort of second petrifaction. —
在这些建筑中，似乎教条的严苛已经像第二次石化一样传布到了石头上。 —

The general characteristics of popular masonry, on the contrary, are progress, originality, opulence, perpetual movement. —
而民间石工的总体特征恰恰相反，是进步、原创、富饶和永不停歇的运动。 —

They are already sufficiently detached from religion to think of their beauty, to take care of it, to correct without relaxation their parure of statues or arabesques. —
他们已经足够脱离宗教，以至于可以关心他们的美，照看它，不停地纠正他们雕像或阿拉伯式图案的装饰。 —

They are of the age. They have something human, which they mingle incessantly with the divine symbol under which they still produce. —
他们是时代的产物。他们具有某种人性，不断地与他们仍在制作的神圣象征融为一体。 —

Hence, edifices comprehensible to every soul, to every intelligence, to every imagination, symbolical still, but as easy to understand as nature. —
因此，这些建筑对每个灵魂、每个智慧、每个想象力都是可理解的，仍然带有象征意义，但和大自然一样易懂。 —

Between theocratic architecture and this there is the difference that lies between a sacred language and a vulgar language, between hieroglyphics and art, between Solomon and Phidias.
神权主义建筑和民间建筑之间的区别，就好比神圣语言和通俗语言之间的区别，象形文字和艺术之间的区别，所罗门和菲迪亚斯之间的区别。

If the reader will sum up what we have hitherto briefly, very briefly, indicated, neglecting a thousand proofs and also a thousand objections of detail, be will be led to this: —
如果读者将我们迄今为止简要概括的东西，非常简要地忽略一千个证据和一千个细节上的论据，那么他将得出这样的结论： —

that architecture was, down to the fifteenth century, the chief register of humanity; —
直到十五世纪，建筑是人类的主要记录； —

that in that interval not a thought which is in any degree complicated made its appearance in the world, which has not been worked into an edifice; —
在那个时期，世界上出现的任何略显复杂的想法都已经融入了建筑中； —

that every popular idea, and every religious law, has had its monumental records; —
每个流行的观念和宗教法律都有它的纪念碑式记录； —

that the human race has, in short, had no important thought which it has not written in stone. —
简言之，人类在石头当中未留下任何重要的思想； —

And why? Because every thought, either philosophical or religious, is interested in perpetuating itself; —
为什么？因为每一个哲学或宗教的思想都希望永久存在； —

because the idea which has moved one generation wishes to move others also, and leave a trace. —
因为引导一代人的想法也希望引导其他人，并留下痕迹； —

Now, what a precarious immortality is that of the manuscript! —
现在，手稿的不朽性是多么不牢靠啊！ —

How much more solid, durable, unyielding, is a book of stone! —
石头书更加坚固、耐久、坚不可摧！ —

In order to destroy the written word, a torch and a Turk are sufficient. —
要销毁书面文字,一个火把和一个土耳其人就足够了； —

To demolish the constructed word, a social revolution, a terrestrial revolution are required. —
要摧毁建筑之词,需要一场社会革命，一个地球革命； —

The barbarians passed over the Coliseum; —
野蛮人经过了斗兽场； —

the deluge, perhaps, passed over the Pyramids.
或许，洪水经过了金字塔；

In the fifteenth century everything changes.
十五世纪，一切都改变了；

Human thought discovers a mode of perpetuating itself, not only more durable and more resisting than architecture, but still more simple and easy. —
人类的思想发现了一种比建筑更加持久、更加抗打击的永久化方式，也更加简单易行。 —

Architecture is dethroned. Gutenberg’s letters of lead are about to supersede Orpheus’s letters of stone.
建筑被废黜。 古腾堡的铅字即将取代奥菲斯的石字。

The book is about to kill the edifice.
书即将毁灭建筑物。

The invention of printing is the greatest event in history. It is the mother of revolution. —
印刷术的发明是历史上最伟大的事件。 它是革命的母亲。 —

It is the mode of expression of humanity which is totally renewed; —
这是完全更新的人类表达方式； —

it is human thought stripping off one form and donning another; —
是人类思想蜕去一种形式并穿上另一种形式； —

it is the complete and definitive change of skin of that symbolical serpent which since the days of Adam has represented intelligence.
是那代表智慧自亚当以来的象征性蛇完全而决定性的换皮。

In its printed form, thought is more imperishable than ever; —
在其印刷形式中，思想比以往任何时候更持久； —

it is volatile, irresistible, indestructible. It is mingled with the air. —
它是挥发的，不可抗拒的，不可毁灭的。 它混合于空气中。 —

In the days of architecture it made a mountain of itself, and took powerful possession of a century and a place. —
在建筑时期，它使自己成为一座山，强势占据一个世纪和一个地方。 —

Now it converts itself into a flock of birds, scatters itself to the four winds, and occupies all points of air and space at once.
现在它变成了一群鸟，四散到四处，同时占据空气和空间的所有点。

We repeat, who does not perceive that in this form it is far more indelible? —
我们重申，谁不认识到在这种形式中，它更为持久？ —

It was solid, it has become alive. It passes from duration in time to immortality. —
它曾经是实体的，现在变得活生生的。 它从时间的持续到永恒。 —

One can demolish a mass; bow can one extirpate ubiquity? —
一个堤坝可以被摧毁；但如何根除无处不在？ —

If a flood comes, the mountains will have long disappeared beneath the waves, while the birds will still be flying about; —
如果洪水来临，山已经长时间消失在浪潮之下，而鸟仍在飞翔； —

and if a single ark floats on the surface of the cataclysm, they will alight upon it, will float with it, will be present with it at the ebbing of the waters; —
如果水面上仍漂浮着一只方舟，它们将降落其上，将随之漂浮，将在水退时与之同在。 —

and the new world which emerges from this chaos will behold, on its awakening, the thought of the world which has been submerged soaring above it, winged and living.
新世界从这场混乱中崭露头角，当它醒来时，会看到被淹没的世界的思想在它上面翱翔，有着翅膀且生动。

And when one observes that this mode of expression is not only the most conservative, but also the most simple, the most convenient, the most practicable for all; —
当人们观察到这种表达方式不仅最保守，而且最简单、最方便、最适用于所有人时； —

when one reflects that it does not drag after it bulky baggage, and does not set in motion a heavy apparatus; —
当人们反思，它不会拖着笨重的行李，也不会启动沉重的装置； —

when one compares thought forced, in order to transform itself into an edifice, to put in motion four or five other arts and tons of gold, a whole mountain of stones, a whole forest of timber-work, a whole nation of workmen; —
当人们比较，强迫思想为了变成一座建筑物而需要调动其他四五种艺术和吨的金子，整座山的石头，整片的木材架构，整个工人阶层； —

when one compares it to the thought which becomes a book, and for which a little paper, a little ink, and a pen suffice,–how can one be surprised that human intelligence should have quitted architecture for printing? —
当人们将其与变成一本书的思想进行比较，一个小纸张、一点墨水和一支钢笔就足够了，–我们怎么会感到惊讶，人类的智慧放弃了建筑而选择了印刷呢？ —

Cut the primitive bed of a river abruptly with a canal hollowed out below its level, and the river will desert its bed.
突然用一个低于水平的运河切断一个河流的原始河床，那么河流就会离开原来的河床。

Behold how, beginning with the discovery of printing, architecture withers away little by little, becomes lifeless and bare. —
看，从印刷的发现开始，建筑逐渐枯萎，渐渐变得无生气、光秃秃。 —

How one feels the water sinking, the sap departing, the thought of the times and of the people withdrawing from it! —
感觉到水流失、汁液离去，时代和人民的思想也在远离它！ —

The chill is almost imperceptible in the fifteenth century; —
在15世纪，寒意几乎不可察觉； —

the press is, as yet, too weak, and, at the most, draws from powerful architecture a superabundance of life. —
印刷术还太过薄弱，最多只能从强大的建筑中套取过剩的生命力。 —

But practically beginning with the sixteenth century, the malady of architecture is visible; —
但实际上从16世纪开始，建筑的病症开始显现； —

it is no longer the expression of society; it becomes classic art in a miserable manner; —
它不再是社会的表达；变得以悲惨的方式成为经典艺术； —

from being Gallic, European, indigenous, it becomes Greek and Roman; —
从原本的高卢、欧洲、国内的风格，变成了希腊和罗马的； —

from being true and modern, it becomes pseudo-classic. —
从真实和现代，变成了伪古典。 —

It is this decadence which is called the Renaissance. —
这种颓废被称为文艺复兴。 —

A magnificent decadence, however, for the ancient Gothic genius, that sun which sets behind the gigantic press of Mayence, still penetrates for a while longer with its rays that whole hybrid pile of Latin arcades and Corinthian columns.
一种宏伟的颓废，然而对于古老的哥特式天才来说，那落日仍穿过莱茵的巨大建筑压迫，照耀着这堆混合了拉丁拱廊和科林斯柱的建筑。

It is that setting sun which we mistake for the dawn.
我们误将这个落日视为黎明。

Nevertheless, from the moment when architecture is no longer anything but an art like any other; —
但是，从建筑不再是唯一的艺术，变成和其他艺术一样的艺术起， —

as soon as it is no longer the total art, the sovereign art, the tyrant art,–it has no longer the power to retain the other arts. —
当这已不再是综合艺术、至高无上的艺术、专制的艺术时——它就失去了留住其他艺术的能力。 —

So they emancipate themselves, break the yoke of the architect, and take themselves off, each one in its own direction. —
于是它们解放了自己，摆脱了建筑师的枷锁，并各自朝着自己的方向发展。 —

Each one of them gains by this divorce. Isolation aggrandizes everything. —
每一种艺术都因这种分离而增益。孤立使一切事物变得伟大。 —

Sculpture becomes statuary, the image trade becomes painting, the canon becomes music. —
雕塑变成了雕像，图像工艺变成了绘画，规范变成了音乐。 —

One would pronounce it an empire dismembered at the death of its Alexander, and whose provinces become kingdoms.
人们会觉得这就像亚历山大大帝逝世后帝国解体，各省成为王国。

Hence Raphael, Michael Angelo, Jean Goujon, Palestrina, those splendors of the dazzling sixteenth century.
因此，有了拉斐尔、米开朗基罗、让·古容、帕莱斯特里纳，那盛开在璀璨的十六世纪的辉煌。

Thought emancipates itself in all directions at the same time as the arts. —
思想在各方向上解放，同时艺术也这样做。 —

The arch-heretics of the Middle Ages had already made large incisions into Catholicism. —
中世纪的大异端者已经对天主教产生了重大影响。 —

The sixteenth century breaks religious unity. —
十六世纪打破了宗教的统一。 —

Before the invention of printing, reform would have been merely a schism; —
在印刷术发明之前，改革只是一种分裂； —

printing converted it into a revolution. Take away the press; heresy is enervated. —
印刷将其转化为一场革命。没有印刷，异端将会变软。 —

Whether it be Providence or Fate, Gutenburg is the precursor of Luther.
无论是上帝的旨意还是命运，古腾堡都是路德的先驱。

Nevertheless, when the sun of the Middle Ages is completely set, when the Gothic genius is forever extinct upon the horizon, architecture grows dim, loses its color, becomes more and more effaced. —
然而，当中世纪的太阳完全落山，哥特式的天才永远消失在地平线上时，建筑变得昏暗，失去颜色，变得越来越模糊。 —

The printed book, the gnawing worm of the edifice, sucks and devours it. —
印刷的书籍，是这座大厦的腐蚀之虫，吮吸着它，将其吞噬。 —

It becomes bare, denuded of its foliage, and grows visibly emaciated. —
它变得赤裸，剥去了树叶，明显变得消瘦。 —

It is petty, it is poor, it is nothing. It no longer expresses anything, not even the memory of the art of another time. —
它渺小，贫瘠，一无所有。它不再表达任何东西，甚至不再保留其他时代艺术的记忆。 —

Reduced to itself, abandoned by the other arts, because human thought is abandoning it, it summons bunglers in place of artists. —
独自一人，被其他艺术遗弃，因为人类的思想正在抛弃它，它请来拙劣者替代艺术家。 —

Glass replaces the painted windows. The stone-cutter succeeds the sculptor. —
玻璃取代了彩色玻璃窗。石匠取代雕塑家。 —

Farewell all sap, all originality, all life, all intelligence. —
谢幕了所有的生机、所有的独创性、所有的生命、所有的智慧。 —

It drags along, a lamentable workshop mendicant, from copy to copy. —
它悠悠地拖着，悲哀的工作坊乞丐，从一份拷贝到另一份拷贝。 —

Michael Angelo, who, no doubt, felt even in the sixteenth century that it was dying, had a last idea, an idea of despair. —
即使在十六世纪，迈克尔·安杰洛也感受到它即将消亡，他有一个绝望的最后想法。 —

That Titan of art piled the Pantheon on the Parthenon, and made Saint-Peter’s at Rome. A great work, which deserved to remain unique, the last originality of architecture, the signature of a giant artist at the bottom of the colossal register of stone which was closed forever. —
这位艺术泰坦在巴黎公墓上堆积着卫城，建造了罗马的圣彼得大教堂。一项伟大的工程，值得唯一存在，建筑的最后独创性，巨人艺术家的签名，永远关闭的巨大石头注册表底部。 —

With Michael Angelo dead, what does this miserable architecture, which survived itself in the state of a spectre, do? —
迈克尔·安杰洛去世后，这座悲惨的建筑，变成了幽灵的状态，还能做些什么呢？ —

It takes Saint-Peter in Rome, copies it and parodies it. It is a mania. It is a pity. —
它接过罗马的圣彼得大教堂，复制和拙劣模仿。这是一种痴迷。这是一种可惜。 —

Each century has its Saint-Peter’s of Rome; in the seventeenth century, the Val-de-Grace; —
每个世纪都有自己的罗马圣彼得大教堂；在十七世纪，是瓦尔德格拉斯； —

in the eighteenth, Sainte-Geneviève. Each country has its Saint-Peter’s of Rome. London has one; —
在十八世纪，是圣日耳曼德普雷。每个国家都有自己的罗马圣彼得大教堂。伦敦有一个； —

Petersburg has another; Paris has two or three. —
圣彼得堡有另一个；巴黎有两三个。 —

The insignificant testament, the last dotage of a decrepit grand art falling back into infancy before it dies.
这是一个微不足道的遗教，是一个濒临死亡前回到婴儿期的老朽大艺术的最后时代。

If, in place of the characteristic monuments which we have just described, we examine the general aspect of art from the sixteenth to the eighteenth century, we notice the same phenomena of decay and phthisis. —
如果我们不看刚才描述的特征性纪念物，而是审视从十六世纪到十八世纪的艺术的总体面貌，我们会注意到同样的衰落和亡者病现象。 —

Beginning with Fran?ois II., the architectural form of the edifice effaces itself more and more, and allows the geometrical form, like the bony structure of an emaciated invalid, to become prominent. —
从弗朗索瓦二世开始，建筑的形式越来越淡化，而几何形式，就像一个虚弱的病人的骨架，突显出来。 —

The fine lines of art give way to the cold and inexorable lines of geometry. —
精美的艺术线条被冷酷无情的几何线条所取代。 —

An edifice is no longer an edifice; it is a polyhedron. —
一座建筑不再是一座建筑；它是一个多面体。 —

Meanwhile, architecture is tormented in her struggles to conceal this nudity. —
与此同时，建筑在掩盖这种裸露上挣扎。 —

Look at the Greek pediment inscribed upon the Roman pediment, and vice versa. —
看看镌刻在罗马尖顶上的希腊尖顶，反之亦然。 —

It is still the Pantheon on the Parthenon: —
这仍然是万神殿在帕台农神庙上：罗马的圣彼得大教堂。 —

Saint-Peter’s of Rome. Here are the brick houses of Henri IV., with their stone corners; —
这里是亨利四世的砖房，带有石头的角落； —

the Place Royale, the Place Dauphine. Here are the churches of Louis XIII., heavy, squat, thickset, crowded together, loaded with a dome like a hump. —
皇家广场，多芬广场。这里是路易十三的教堂，沉重的，矮胖的，密集的，载着一个驼峰状的圆顶。 —

Here is the Mazarin architecture, the wretched Italian pasticcio of the Four Nations. —
这里是马扎林建筑，四个国家的可耻的意大利拼凑物。 —

Here are the palaces of Louis XIV., long barracks for courtiers, stiff, cold, tiresome. —
这里是路易十四的宫殿，为侍臣们建造的长条形兵营，僵硬，冷漠，乏味。 —

Here, finally, is Louis XV., with chiccory leaves and vermicelli, and all the warts, and all the fungi, which disfigure that decrepit, toothless, and coquettish old architecture. —
最后，这里是路易十五，有菊苣叶和细面条，以及所有那些玷污那座老朽、无齿和媚俗的建筑的疣和真菌。 —

From Fran?ois II. to Louis XV., the evil has increased in geometrical progression. —
从弗朗索瓦二世到路易十五，恶劣状况呈几何级数增长。 —

Art has no longer anything but skin upon its bones. It is miserably perishing.
艺术只剩下了一层皮囊。它正悲惨地灭亡。

Meanwhile what becomes of printing? All the life which is leaving architecture comes to it. —
同时印刷业将会变成什么？正在离开建筑业的所有生命都转向了它。 —

In proportion as architecture ebbs, printing swells and grows. —
随着建筑的衰退，印刷业蓬勃发展和壮大。 —

That capital of forces which human thought had been expending in edifices, it henceforth expends in books. —
人类思想一直在建筑上投入的资本力量，现在转而投入在书籍中。 —

Thus, from the sixteenth century onward, the press, raised to the level of decaying architecture, contends with it and kills it. —
因此，从十六世纪开始，印刷业升华到了颓废建筑的高度，与之争斗并将其摧毁。 —

In the seventeenth century it is already sufficiently the sovereign, sufficiently triumphant, sufficiently established in its victory, to give to the world the feast of a great literary century. —
在十七世纪，文学成为主宰，成为凯旋者，成为胜利的根基已足够牢固，在这个伟大的文学世纪中为世界带来盛宴。 —

In the eighteenth, having reposed for a long time at the Court of Louis XIV., it seizes again the old sword of Luther, puts it into the hand of Voltaire, and rushes impetuously to the attack of that ancient Europe, whose architectural expression it has already killed. —
在十八世纪，长时间休憩在路易十四宫廷的启蒙思想再次夺取了路德的旧剑，交到伏尔泰手中，冲向那个早已被它的建筑表达杀死的古老欧洲。 —

At the moment when the eighteenth century comes to an end, it has destroyed everything. —
当十八世纪即将结束的时刻，一切都已经被摧毁了。 —

In the nineteenth, it begins to reconstruct.
在十九世纪，开始进行重建。

Now, we ask, which of the three arts has really represented human thought for the last three centuries? —
现在，我们问，过去三个世纪中究竟是哪一种艺术真正代表了人类思想？ —

which translates it? which expresses not only its literary and scholastic vagaries, but its vast, profound, universal movement? —
哪一种传达了它？不仅表达了它的文学和学术怪癖，还表达了它的广泛、深刻、普遍的运动？ —

which constantly superposes itself, without a break, without a gap, upon the human race, which walks a monster with a thousand legs? —
它不断地叠加在人类身上，毫无间断，毫无缝隙，人类如千条腿的怪物前行？ —

–Architecture or printing?
–建筑还是印刷？

It is printing. Let the reader make no mistake; architecture is dead; —
是印刷。读者不要误解；建筑已经死了； —

irretrievably slain by the printed book,–slain because it endures for a shorter time,–slain because it costs more. —
被印刷书杀死得无可挽回，–死因为它的持续时间更短，–死因为它成本更高。 —

Every cathedral represents millions. Let the reader now imagine what an investment of funds it would require to rewrite the architectural book; —
每座大教堂代表着数百万。现在读者想象一下要重新撰写建筑书需要多少投资； —

to cause thousands of edifices to swarm once more upon the soil; —
要使成千上万的建筑再次涌现在土地上； —

to return to those epochs when the throng of monuments was such, according to the statement of an eye witness, “that one would have said that the world in shaking itself, had cast off its old garments in order to cover itself with a white vesture of churches.” —
回到那些有目击者称之为“人群中塔克、建筑物如此之多”的时代； —

~Erat enim ut si mundus, ipse excutiendo semet, rejecta vetustate, candida ecclesiarum vestem indueret~. —
“Erat enim ut si mundus, ipse excutiendo semet, rejecta vetustate, candida ecclesiarum vestem indueret”。 —

(GLABER RADOLPHUS.)
（GLABER RADOLPHUS）。

A book is so soon made, costs so little, and can go so far! —
一本书很快就能完成，成本很低，而且能走得很远！ —

How can it surprise us that all human thought flows in this channel? —
人类所有的思想为何流淌在这个渠道里，这又如何令我们惊讶？ —

This does not mean that architecture will not still have a fine monument, an isolated masterpiece, here and there. —
这并不意味着建筑就不会有精美的纪念碑，零星的杰作。 —

We may still have from time to time, under the reign of printing, a column made I suppose, by a whole army from melted cannon, as we had under the reign of architecture, Iliads and Romanceros, Mahabahrata, and Nibelungen Lieds, made by a whole people, with rhapsodies piled up and melted together. —
在印刷统治时期，我们可能会偶尔看到一个用整个军队从融化的大炮制作而成的柱子，就像在建筑统治时期，有整个民族创作的《伊利亚特》、《罗曼塞罗》、《摩诃婆罗多》和《尼贝龙之歌》，由堆砌和熔合而成的史诗。 —

The great accident of an architect of genius may happen in the twentieth century, like that of Dante in the thirteenth. —
二十世纪可能会再次出现一位天才建筑师，就像十三世纪的但丁那样。 —

But architecture will no longer be the social art, the collective art, the dominating art. —
但是建筑将不再是社会艺术，集体艺术，主导艺术。 —

The grand poem, the grand edifice, the grand work of humanity will no longer be built: —
宏伟的诗篇，宏伟的建筑，宏伟的人类杰作将不再被建立： —

it will be printed.
它将被印刷。

And henceforth, if architecture should arise again accidentally, it will no longer be mistress. —
从此，如果建筑再度出现，它将不再是主宰者。 —

It will be subservient to the law of literature, which formerly received the law from it. —
它将屈从于文学的法则，而文学以前是由它来接受法律规定的。 —

The respective positions of the two arts will be inverted. —
两种艺术的地位将颠倒。 —

It is certain that in architectural epochs, the poems, rare it is true, resemble the monuments. —
毫无疑问，在建筑时代，那些鲜有的诗篇类似于纪念碑。 —

In India, Vyasa is branching, strange, impenetrable as a pagoda. —
在印度，维那斯像一座塔式建筑一样分支众多，奇特，深不可测。 —

In Egyptian Orient, poetry has like the edifices, grandeur and tranquillity of line; —
在埃及东方，诗歌和建筑一样具有宏大和线条的宁静； —

in antique Greece, beauty, serenity, calm; —
在古希腊，美丽，宁静，宁静的线条； —

in Christian Europe, the Catholic majesty, the popular naivete, the rich and luxuriant vegetation of an epoch of renewal. —
在基督教欧洲，具有天主教的威严，普遍的朴实，富裕并蓬勃发展的新时代植被。 —

The Bible resembles the Pyramids; the Iliad, the Parthenon; Homer, Phidias. —
圣经类似于金字塔；《伊利亚特》类似于帕台农神庙；荷马类似于菲狄亚斯。 —

Dante in the thirteenth century is the last Romanesque church; —
但世纪第十三的但丁是最后一个罗曼式教堂； —

Shakespeare in the sixteenth, the last Gothic cathedral.
莎士比亚于十六世纪是最后一座哥特式大教堂。

Thus, to sum up what we have hitherto said, in a fashion which is necessarily incomplete and mutilated, the human race has two books, two registers, two testaments: —
因此，总结我们迄今所说的，以一种必然不完整和残缺的方式，人类有两本书，两个记录，两个约定书： —

masonry and printing; the Bible of stone and the Bible of paper. —
砖石和印刷；石头的圣经和纸的圣经。 —

No doubt, when one contemplates these two Bibles, laid so broadly open in the centuries, it is permissible to regret the visible majesty of the writing of granite, those gigantic alphabets formulated in colonnades, in pylons, in obelisks, those sorts of human mountains which cover the world and the past, from the pyramid to the bell tower, from Cheops to Strasburg. —
毫无疑问，当人们凝视着这两本圣经，这些世纪以来展现得如此广泛时，很容易会遗憾看到花岗岩字体的可见壮丽，那些巨大的字母在柱廊、塔楼、方尖碑中形成，那些种类繁多的人类山脉自金字塔到钟楼，从吉萨到斯特拉斯堡，遍布世界和过去。 —

The past must be reread upon these pages of marble. —
过去必须重新在这些大理石页上阅读。 —

This book, written by architecture, must be admired and perused incessantly; —
这本由建筑书写的书必须不断被赞美和阅读； —

but the grandeur of the edifice which printing erects in its turn must not be denied.
但印刷所建造的巨大建筑的宏伟不容否认。

That edifice is colossal. Some compiler of statistics has calculated, that if all the volumes which have issued from the press since Gutenberg’s day were to be piled one upon another, they would fill the space between the earth and the moon; —
那座建筑是巨大的。有人统计了一下，自古腾堡时代以来从印刷机中涌现出的所有卷轴如果堆在一起，它们将填满地球和月球之间的空间； —

but it is not that sort of grandeur of which we wished to speak. —
但这并不是我们想要讨论的那种宏伟。 —

Nevertheless, when one tries to collect in one’s mind a comprehensive image of the total products of printing down to our own days, does not that total appear to us like an immense construction, resting upon the entire world, at which humanity toils without relaxation, and whose monstrous crest is lost in the profound mists of the future? —
不过，当人们试图在脑海中形成对印刷产品的全面形象，这一总和是否不是像一个巨大的建筑，休息在整个世界之上，人类不知疲倦地忙碌着，其庞大的顶部消失在未来的深迷中？ —

It is the anthill of intelligence. It is the hive whither come all imaginations, those golden bees, with their honey.
那里是智慧的蚁穴。那里是所有想象力汇聚的地方，那些负载着蜜糖的金蜂。

The edifice has a thousand stories. Here and there one beholds on its staircases the gloomy caverns of science which pierce its interior. —
建筑有上千个故事。在它的楼梯上，人们可以看到穿透内部的科学阴暗洞穴。 —

Everywhere upon its surface, art causes its arabesques, rosettes, and laces to thrive luxuriantly before the eyes. —
无论在它的表面的哪里，艺术都使它的花纹、蔷薇花和花边在眼前茂盛地生长。 —

There, every individual work, however capricious and isolated it may seem, has its place and its projection. —
在那里，每一个个体作品，无论看上去多么奇特和孤立，都有它的位置和影响。 —

Harmony results from the whole. From the cathedral of Shakespeare to the mosque of Byron, a thousand tiny bell towers are piled pell-mell above this metropolis of universal thought. —
和谐源自整体。从莎士比亚的大教堂到拜伦的清真寺，成千上万的小钟楼混杂地堆叠在这个普遍思想的大都会之上。 —

At its base are written some ancient titles of humanity which architecture had not registered. —
在其基座上写着一些古老的人类头衔，这是建筑未曾记录的。 —

To the left of the entrance has been fixed the ancient bas-relief, in white marble, of Homer; —
入口的左侧固定着白大理石的古代浮雕，描绘着荷马； —

to the right, the polyglot Bible rears its seven heads. —
右侧则是七头的多语圣经。 —

The hydra of the Romancero and some other hybrid forms, the Vedas and the Nibelungen bristle further on.
南欧谣歌的九头蛇和其他杂交形态、吠陀和尼伯龙根在更远处张牙舞爪。

Nevertheless, the prodigious edifice still remains incomplete. —
然而，这座惊人的建筑仍然没有完成。 —

The press, that giant machine, which incessantly pumps all the intellectual sap of society, belches forth without pause fresh materials for its work. —
这座巨大的机器——印刷机——不停地泵出社会的所有智力汁液，源源不断地提供新素材。 —

The whole human race is on the scaffoldings. Each mind is a mason. —
整个人类都在脚手架上。每个思想就是一名瓦工。 —

The humblest fills his hole, or places his stone. Retif dè le Bretonne brings his hod of plaster. —
卑微者填满自己的洞，或者放置自己的石头。瑞蒂夫·德·勒布雷顿拿着自己的灰泥斗。 —

Every day a new course rises. Independently of the original and individual contribution of each writer, there are collective contingents. —
每天都会有新的层次升起。除了每位作家的原创和个人贡献之外，还有集体的力量。 —

The eighteenth century gives the Encyclopedia, the revolution gives the Moniteur. —
十八世纪带来了《百科全书》，革命提供了《观察家》。 —

Assuredly, it is a construction which increases and piles up in endless spirals; —
毫无疑问，这是一座不断增高、不断蜿蜒的建筑； —

there also are confusion of tongues, incessant activity, indefatigable labor, eager competition of all humanity, refuge promised to intelligence, a new Flood against an overflow of barbarians. —
在此处还有语言的混乱，不断的活动，不知疲倦的劳动，全人类的激烈竞争，为智慧承诺的避风港，对付野蛮人潮的新洪水。 —

It is the second tower of Babel of the human race.
这是人类的第二座巴别塔。