英国哥特式建筑的辉煌第一章第四章翻译实践报告袁蕾

硕士研究生学位论文致谢硕士研究生学位论文摘要摘要哥特式建筑是一种兴盛于中世纪高峰与末期的建筑风格，是欧洲文艺复兴运动在建筑风格上的独特表现。作为哥特式建筑代表作之一，巴黎圣母院意外起火让世界心痛不已。在建筑风格多样化的时代背景下，了解西方中世纪建筑风格已经成为当前建筑翻译的重要任务之一。《英国哥特式建筑的辉煌》解释并赞美了英国大小教堂的丰富性，教堂在中世纪建筑中占有重要地位。英国哥特风格的发展比法国稍晚，却迅速发展出自己的建筑和装饰风格。作者约翰·香农·亨德里克斯将英国哥特式建筑分为四个主要阶段:早期英国哥特式、装饰哥特式、曲线哥特式和垂直哥特式。无论从感官还是从精神上，英国哥特建筑都是一种富有诗意的建筑形式。笔者阅读了相关的平行文本与专业资料，为后续翻译储备了相关背景知识，深入学习了科技文本的翻译理论与技巧，查阅资料并使用了维基百科等网络资源以求准确翻译原文。在此基础上，抽取最具代表性的英国哥特式教堂的术语等作为个案分析的语料，运用文本类型理论，对哥特式教堂的翻译方法进行分析。本文从词汇、句法、语篇和文化四个层面出发，得出的研究结论如下：建筑翻译术语众多，有一些日常用语表达为较为正式的建筑英语术语，应结合建筑英语的表达习惯，参考平行文本以及相关建筑专业词汇。建筑英语中存在长难句，可采用拆分和增译的方法翻译长难句。本研究对于建筑翻译研究和英国哥特式教堂的翻译研究，以及建筑英语翻译实践具有一定的理论意义和应用价值。关键词：信息型文本；哥特式教堂；文本类型理论 Abstract 硕士研究生学位论文 Abstract Gothic architecture is an architectural style that flourished at the peak and end of the middle ages. As one of the masterpieces of gothic architecture, Notre Dame cathedral in Paris has caused heartache to the world. Under the background of diversified architectural styles, it has become one of the most important tasks to understand the western medieval architectural style. The Splendour of English Gothic Architecture explains and celebrates the richness of English churches and cathedrals, which have a major place in medieval architecture. The English Gothic style developed somewhat later than in France, but rapidly developed its own architectural and ornamental codes. The author, John Shannon Hendrix, classifies English Gothic architecture in four principal stages: the early English Gothic, the decorated, the curvilinear, and the perpendicular Gothic. The English Gothic architecture is a poetic one, speaking both to the senses and spirit. The author has read relevant parallel texts and professional materials, prepared relevant background knowledge for subsequent translation and has deeply learned the translation theories and skills of scientific texts. The author has also looked up various information and network resources like wikipedia to accurately translate the original text. On this basis, the most representative English gothic church terms are selected as the corpus of case analysis, and text type theory is applied to analyze the translation methods of gothic cathedrals. The paper analyzes from four aspects at word, sentence, textual and cultural levels. The research conclusions of this paper are as follows: there are many architectural translation terms, some of which are expressed as formal architectural English terms in everyday terms. Therefore, it is necessary to combine the expression habits of architectural English with reference to parallel texts and relevant architectural vocabulary. There are long and difficult sentences in Architectural English, which can be translated by splitting and additions. This research has certain theoretical significance and application value for architectural translation studies, the translation studies of English gothic cathedrals, and the practice of architectural English translation. Keywords: informative text; gothic cathedral; text type theory III 硕士研究生学位论文目录目录致谢............................................................................................................................................. I 摘要............................................................................................................................................ II ABSTRACT..............................................................................................................................III 1 翻译项目描述.........................................................................................................................1 1.1 背景信息.................................................................................................................... 1 1.1.1 有关源文本............................................................................................................. 1 1.1.2 有关源文本作者..................................................................................................... 2 1.2 翻译目的和意义........................................................................................................ 2 2 翻译过程.................................................................................................................................3 2.1 译前............................................................................................................................ 3 2.2 译中............................................................................................................................ 4 2.3 译后............................................................................................................................ 4 3 文本类型理论.........................................................................................................................5 3.1 文本类型理论简介..................................................................................................... 5 3.2 文本类型理论对翻译项目的指导意义.................................................................... 6 4 翻译技巧分析.........................................................................................................................8 4.1 词汇层面.................................................................................................................... 8 4.1.1 建筑专业术语....................................................................................................8 4.1.2 人名的翻译......................................................................................................10 4.2 句法层面.................................................................................................................. 11 4.2.1 拆分..................................................................................................................11 4.2.2 增译..................................................................................................................12 4.3 语篇层面.................................................................................................................. 13 4.4 文化层面.................................................................................................................. 15 5 翻译实践总结.......................................................................................................................17 5.1 翻译困难.................................................................................................................. 17 5.2 翻译启示.................................................................................................................. 17 5.3 翻译教训.................................................................................................................. 18 5.4 待解决的问题.......................................................................................................... 20 参考文献...................................................................................................................................21 附表...........................................................................................................................................23 Contents 附录硕士研究生学位论文原文与译文...................................................................................................................25 Contents ABSTRACT............................................................................................................................ III ChapterⅠTask Description………….....................………………………………........……1 1.1 Background Information.......................…………………………………………...…1 1.1.1 About the Source Text.............................................................................................1 1.1.2 About the Editor of The Text...................................................................................1 1.2 The Purpose and the Significance of the Translation………………………......……2 ChapterⅡTranslation Process………………………………………………………….……3 2.1 Pre-Translation……….....…………………………………………………………......3 2.2 While-Translation………......……………………………………........................……4 2.3 Post-Translation………......……....................................................................….......…4 Chapter Ⅲ Text Type Theory……………...............................................................…...……5 4.1 Brief Introduction..........………………...............................……………….….………5 4.2 The guiding significance of the translation project.........….................……..…………6 Chapter Ⅳ Translation difficulties and translation skill analysis........................................8 4.1 Lexical level……....……………….........……………………............……..…………8 4.1.1 Terms……………………………………………...………………..……………8 4.1.2 Personal Names………………………………………………..……….….……10 4.2 Syntactic level……......……….....……………………………………………………11 4.2.1 Splitting..........…………………………………................…………......………11 4.2.2 Additions……………………………………...……………………….......……12 4.3 The textual level............................................................................................................13 4.4 The cultural level..........................................................................................................15 ChapterⅤConclusion...........……….....………………….....……........................…………17 5.1 Difficulties....................................................................................................................17 5.1 Enlightenment...............................................................................................................17 5.2 Lesson...........................................................................................................................18 5.3 Problems to be Solved...................................................................................................20 Bibliography............................................................................................................................21 References……………………………………………………………………………………23 Appendix..................................................................................................................................25 1 翻译项目描述硕士研究生学位论文 1 翻译项目描述 1.1 背景信息建筑为人类活动提供了丰富的物质基础，生动地反应了人类在不同历史时期的生活状态。在西方社会，喧嚣于大都市或者漫步在小乡村，我们总会忍不住在哥特式教堂面前驻足。哥特式建筑高大巍峨，震撼人心。仔细品味之后，我们会被哥特式教堂的建筑艺术之美深深折服。研究哥特式教堂的发展之路也可以帮助我们更深层次了解英国乃至欧洲的中世纪历史发展进程。从英国教堂读懂建筑，从建筑读懂欧洲历史。（杨潺，2012： 5） 1.1.1 有关源文本本翻译实践报告选自英文原版书籍 The Splendour of English Gothic Architecture（《英国哥特式建筑的辉煌》），共八章，笔者选择该书的介绍、早期英式、装饰风格和曲线风格共四章内容作为本次翻译实践材料。笔者攻读研究生期间曾学习过建筑英语相关课程，当时笔者曾负责介绍英国坎特伯雷大教堂的相关情况。查阅相关资料之后，笔者发现英国哥特式大教堂壮丽辉煌，风格独特，对宗教和文艺复兴文化影响深厚，因此笔者对哥特式教堂建筑产生了浓厚兴趣，并决定在兴趣的指引下开始本次翻译实践。在对各种渠道搜索和验证之后，笔者均发现暂未有中文译本的出版。《英国哥特式建筑的辉煌》一书于 2012 年 6 月由美国纽约的 Parkstone International 出版社出版。Parkstone International，是一家国际性的艺术类出版社，拥有十六大类出版物，种类丰富完善。Parkstone 的书籍覆盖广泛的主题，从绘画、摄影到建筑、时尚以及宗教艺术。本书的目标读者受众群体广泛，不仅是建筑从业相关人员，还包括文艺爱好者，因此在翻译的实践过程中，译文需要兼顾严谨性与语言美感。哥特式建筑作为一种兴盛于中世纪高峰与末期的建筑风格，是欧洲文艺复兴运动在建筑风格上的独特表现。作为哥特式建筑代表作之一，巴黎圣母院意外起火让世界心痛不已，保护哥特式建筑刻不容缓。源文作者通过介绍、早期英式、装饰风格和曲线风格等四个章节向读者全面介绍了具有代表性的英国哥特式教堂建筑以及相关的历史文化背景。英国哥特式建筑是一种诗意的建筑，它既能表达情感，又能表达精神。通过翻译古典的建筑文献，能够使国内专业人员学习到哥特式建筑的相关知识，从而促进世界哥特式建筑的不断发展。 1 1 翻译项目描述硕士研究生学位论文 1.1.2 有关源文本作者笔者在进行翻译任务之前，对文本及作者和主要内容进行了深入了解，从各个方面对源语文本进行分析，在翻译理论的指导之下进行翻译实践。本书作者约翰·香农·亨德里克斯是美国罗得岛州罗杰·威廉姆斯大学的教授。他还曾担任罗德岛设计学院(Rhode Island School of Design)、英国林肯大学(University of Lincoln) 和罗马约翰•卡伯特大学(John Cabot University)的教授。他写了许多关于建筑、美学、哲学和精神分析的书，并在康奈尔大学获得了博士学位。他的著作包括《哲学和精神分析中的无意识思想》、《建筑与无意识》和《罗伯特·格罗斯泰斯主教与林肯大教堂》等。本书是一本哥特式建筑书籍，也是一本建筑与文学相关研究的书籍，所以在翻译实践过程中，笔者也查阅相关资料，对欧洲中世纪的社会历史进行了相关的了解。 1.2 翻译目的和意义以习近平同志为核心的党中央在经济发展进入新常态的时代背景下，提出了“一带一路”重大战略构想，中国建筑业在借助“一带一路”开放战略的背景下，在走向国际市场的进程中，提高竞争能力，实现传统建筑业向现代建筑业的转型升级，需要传统与现代相融合。“一带一路”战略包含巨大商机，中国建筑行业数十年来一直企盼。（陈翼， 2017：94）哥特式教堂作为欧洲杰出建筑艺术表现形式，中国建筑专业人士需要理解与掌握，因此哥特式教堂的翻译任务显得尤为重要。笔者翻译《英国哥特式教堂的辉煌》一书，希望为国内哥特式建筑研究领域的专家提供国际视角的资料，也希望为建筑爱好者提供新颖、有趣且实用的信息以及为建筑文本翻译提出自己的翻译思路和解决方法，对教堂建筑文本翻译的译者提出一定的参考。 2 2 翻译过程硕士研究生学位论文 2 翻译过程 2.1 译前好的翻译需要充分的准备，在确定翻译文本之后，笔者首先进行了翻译前的准备工作，仔细通读了一遍源文并确定语言特点，文中出现了大量的专业术语，以及建筑专有名词，笔者对建筑知识比较缺乏，然后笔者在图书馆和网站上进行搜索，查阅文本作者以及出版社的相关资料，阅读平行文本诸如《世界建筑艺术史》等建筑和艺术类书籍，最后根据科技文本的特点明确彼得纽马克的文本类型理论，并在相关翻译策略的指导下进行翻译工作。首先，笔者在亚马逊官网上购买这本书籍以及 PDF 版本，并下载到手机里，便于利用碎片时间随时翻看。笔者大约花费两周时间把第一章到第四章中出现的专业术语全部标注，并整理出一个术语表，并把这些词汇当做关键词在百度、谷歌等网站上进行搜索，并收集相关资料，因此笔者找到了王圣林和刘运生主编的《英汉土木建筑工程词汇手册》一书，惊喜万分，但此书大部分是单词的翻译，涉及到词汇的翻译还需再次推敲。如果事先拿到了各个词条的专业定义，可能会少走一些弯路。（李长栓，2019：78）其次，笔者还下载了作者其他作品的电子书版本，了解作者的语言风格。笔者还在网上下载了大量的英国哥特式教堂的图片以及视频资料，比如观看了 BBC 出品的纪录片《如何读懂教堂》，并写出观后感，用以提高笔者的翻译兴趣。笔者对纪录片里的一句话印象深刻：教堂的钟声曾经响彻维多利亚时期的英国，人们随着教堂的钟声生息、祷告、劳作，教堂影响着生活中的每一分钟，贯穿你的生活每一天，每一月。接着，笔者在学校图书馆阅读很多建筑与艺术平行文本，诸如陈文捷的《世界建筑艺术史》、阿萨·布里格斯的《英国社会史》以及李少林的《西方建筑史》等建筑和艺术类书籍，并找到了《英国哥特式教堂的辉煌》一书中的相关建筑专业术语的翻译方法，收获颇丰。平行文本作为一种辅助性文本，能够提供如翻译专家、字典等无法提供的文化和语言信息。（陈紫薇，2011：95）最后，笔者对翻译理论知识进行了大量的知识储备，在知网等网站下载优秀期刊和硕博士论文。好的译文还需要契合的理论作为支撑，采用正确的翻译技巧。在翻译实践过程中，笔者根据科技文本的语法特点确定以彼得·纽马克的文本类型理论指导此次翻译实践。 3 2 翻译过程硕士研究生学位论文 2.2 译中此次翻译任务为英译汉，英文字数共计 19538 字，由笔者独立完成。笔者寻找翻译材料之后，首先和导师探讨了翻译的文本，在征得导师的同意后开始准备。2018 年 10 月开始，笔者把翻译内容打印成纸质版本，在明确文本类型理论后开始进行翻译实践。笔者准备红黄蓝三色笔对翻译内容进行标注，红笔圈出建筑专业术语，黄笔标注长难句的句式结构，蓝笔划出翻译的难点，有待后续改进译文。由于源文不同章节的难易程度不同，有些句式简单，翻译较为简单，有些句式复杂并且专业术语集中，因此笔者本着对翻译质量的把控，每日翻译五百至一千，十二月下旬完成翻译。译文初稿历时两个月，对于难易理解的句子和篇章，笔者反复推敲，对于不确定的词汇表达，笔者搜索网络查阅相关资料并和同学讨论，和导师及时沟通，但翻译的结果仍不满意。 2.3 译后笔者在译文初稿完成之后休息了一个星期，开始了对译文的校对工作，力求消除翻译腔，清晰表达源文含义，并与同学相互校对，以便发现各种未注意到的小问题。笔者检查到了单词错译和句子漏译的情况，对于源文中出现较多的建筑专业术语，笔者请教了建筑专业的朋友，对建筑专业术语进行审阅，保证无建筑学专业知识方面的错误。源文中涉及到欧洲中世纪文化的内容，笔者再次查阅相关历史资料，检查笔者对于历史故事的讲述是否出错。然后，笔者根据纽马克文本类型理论，只看译文，检查译文是否存在翻译腔现象以及译文上下文衔接是否自然，并且笔者在检查校对过程中，发现标点符号的使用不符合规范，加以改正。最后为润色阶段。笔者将校对后译文交由导师以及校外导师进行审核检查，根据修改意见进行润色完善。笔者在翻译校对的过程中深刻认识到翻译切不可粗心大意，不仅需要译前的充分准备，还需要译中的逐字逐句斟酌，以及译后的反复修改。翻译之路，道阻且长。 4 3 文本类型理论硕士研究生学位论文 3 文本类型理论 3.1 文本类型理论简介德国翻译理论家、功能主义学派代表人物凯瑟琳娜·赖斯在《翻译批评——潜力与制约》中创立了一种基于源语语篇和目标语语篇功能关系的翻译批评模式。她认为翻译方法取决于文本类型, 并影响翻译策略的选择。文本不同，文本所显示的交际功能和翻译的目的和方法也不尽相同。赖斯希望通过这个理论去建立一个全面客观的翻译评估模式，她把文本划分为三种主要类型，即信息型 (informative)、表情型 (expressive ) 和感染型（operative）。（丁建江，2003：118）赖斯的文本类型理论具有评价与规范意义。评价意义是指对所处文化情景中翻译功能的鉴定；规范意义是指对培训未来的专业翻译工作者,规范他们能译出满足客户需要的作品的能力, 并且要求译者寻求充分的理据来保护其译作免于委托人和使用者的不合理批评, 因此实践指导意义很强。（张美芳，2009： 53）彼得·纽马克是英国著名的翻译理论家和语言学家，他强调不应过分强调语言社会层面的价值，认为掌握语言就应该学会自我思考和表达。纽马克于 1988 年出版《翻译教程》一书，根据语言的功能将文本分为三大类，分别是表达型、信息型和呼唤型。表达型文本即使用夸张、比喻等修辞方法，以极富美感的语言来表达感情的文本，着重强调作者的思想态度和价值取向，注重文本构建的创造性来突出作者和形式。这类文本主要包括严肃性文学作品、权威性言论、自传和个人信函等。信息型文本即以注重信息真实有效性来反映客观事实的文本，个人色彩较少，注重内容和主题, 目的在于传递信息和知识等。此类文本主要包括学术著作、教材、会议纪要和科技文本等。呼唤型文本即以读者按照预期意图为中心，以呼吁、说服、劝阻读者采取某种行为为目的文本。（孙露，2010：89）纽马克指出大多数文本同时具有不止一种功能，因此文本类型的划分并不武断粗暴，只是其中一种或两种占据主导地位，并主张译者应根据不同的文本类型采用不同的翻译策略。（原虹，2003：2）他根据文本类型提出了语义翻译和交际翻译两种策略，指出语义翻译适用于以作者为中心的表达型文本，交际翻译适用于以读者为中心的信息型文本和呼唤型文本。其中交际翻译尽可能让目的语读者的阅读感受接近源语作者，并更关注他们的反应，注重目标语的思维方式。语义翻译把重点放在源文的语义上，而交际翻译把重点放在读者的反应上。（杨士焯，1989：68）交际翻译应使读者更简单、顺畅地理解源文，译者要充分表达目标语的功能表达思想，以忠实源文为前题，给读者更好的阅读体验感，不像在读译文。 5 3 文本类型理论硕士研究生学位论文交际翻译策略指导下的译文更流畅和简洁，也更符合中文的表达习惯，但容易出现缺译的现象，译文重在传神达念而忽略了译文与源文的词句对等。因此译者必须抓住源文的词句搭配和结构乃从而全面地保持源文的语义及表达形式。纽马克主张不应把交际翻译和语义翻译弧立起来看待，相反，应结合在一起。纽马克认为，运用交际翻译策略时，译者要发挥译文的优势，译文质量会超过源文质量。如果源文出现逻辑不顺以及语义重复的情况，比如重复、岐义或者粗俗语等现象，译者要进行更改和替换。交际翻译强调译者要从读者的角度出发，但并不意味译者可以背离源文自由发挥。交际翻译同样要受源文内容、形式以及结构的制约, 但是交际翻译也更善于发挥译文的语言表达功能，使人读起来不像在读译文。纽马克还认为，大多数的非文学文章需用交际翻译法来译，比如新闻、知识性文章和书籍、教科书、报告、科技文献、公务信函、宣传、广告或者通俗小说等。（曾佩瑜，2019：117）我国香港著名翻译家思果先生翻译实践长达 40 余年，他的翻译原则是从自己的翻译实践出发，以自己的审美标准为基础，考虑汉语的纯洁性和译文的可读性。（卢澄， 2010：127）虽他坚持中文应纯种，警示译者翻译腔严重的情况不能发生，对于作者本次的翻译实践也具有一定的指导意义。 3.2 文本类型理论对翻译项目的指导意义建筑英语词汇繁琐而专业。它作为科技英语的分支，文体正式，所用专业词语表义准确，涉及大量的建筑专业词汇及专业术语，翻译时必须准确翻译其在建筑文本中的特定含义。（彭越聪，2011：257）笔者本次翻译的文本是一本介绍英国哥特式建筑的著作，以不同时期英国哥特式教堂的特点为主，以教堂历史故事为辅，属于信息型文本，文中出现大量的专业术语，又辅之以大量英国哥特式教堂的图片，充分让读者感受到哥特式教堂的美感。笔者对翻译策略的选择有主动权，但在很大程度上受到了读者和接受环境的制约。（李丝贝，2019：52）根据纽马克对文本的归类，它旨在向读者传递信息，因此也属于信息型文本，交际翻译策略注重信息传达，是作者在翻译过程中运用翻译策略的最佳选择。译文在准确译出专业术语的前题下，还要满足读者的阅读习惯和表达方式，让读者充分感受到语言的美丽，作者需高度重视译文的交际目的。因此，本次翻译实践适用于以文本类型为理论，以交际翻译为策略。本书的汉译英目的在于向中文读者传达英国哥特式教堂的构造、历史，从而向读者传达建筑的美感。在翻译的过程中，应兼顾专业性与读者的理解能力。如果忽视读者的理解能力，那就是失败的译文。交际翻译策略坚持专业的文本内容，同时注意作者的理解能力，对建筑翻译中具有文学特点的信息，适当润色，加强感情色彩，有利于目的语读者理解晦涩的专业术语，增加建筑英语的艺术美感。 6 硕士研究生学位论文 3 文本类型理论翻译也是传递信息的过程，以目的语读者能接受的方式把原作者的内容和思想准确的表达出来。在翻译的过程中，译者在兼顾文章专业性的同时，也要照顾到读者的理解能力。注重文章结构，而不注重读者的理解能力，就会使得译文生硬难懂。那么，译文就不成功。同时，译者还要考虑到读者的感情色彩，给文章加以润色，增强译文的感情色彩，从而让读者加深对源文的理解。 7 4 翻译困难和翻译技巧分析硕士研究生学位论文 4 翻译技巧分析 4.1 词汇层面 4.1.1 建筑专业术语在翻译科技类文本时，笔者遇到的主要问题为专业词汇和长难句的翻译，对于笔者来说比较棘手。建筑英语作为科技英语的分支，专业词汇的翻译是首先面临的困难，专有名词的翻译要付出大量精力查找准确的释义。例 1. The east end of Salisbury Cathedral, including the three bays of the choir ,three bays of the retrochoir, and Lady Chapel, dates from 1220 to 1225. 译文：索尔兹伯里大教堂的东端建有唱诗班的三个开间以及唱诗班和圣母堂的三个开间，这可追溯到 1220 年至 1225 年。分析：查阅有道词典，bay 作为名词的意思为“海湾；港湾；月桂树”，笔者查阅资料，在 2019 年发表在《世界建筑》上的一篇名为《福绥境胡同 50 号院,北京,中国》的期刊中发现，图中 bay 的含义为“开间”。（郝石盟,张悦,黄唐子，2019：63）笔者查阅字典得知开间指的是“旧式房屋的宽度单位”，笔者又请教了建筑专业人员 bay 在土木工程中的含义的确为“开间”，综上考虑，笔者确定 bay 的含义为“开间”。（参见图 1）图 1(郝石盟,张悦,黄唐子，2019：63) 8 硕士研究生学位论文 4 翻译困难和翻译技巧分析例 2.The pulpitum at Southwell Minster contains flying ribs, ogee arches and crocketed gables, and fragments of architectural vocabulary elements which produce a literary or poetic architecture. 译文：索斯韦尔大教堂的石屏栏包括了飞肋、葱形拱、嵌有花型浮雕的山墙，以及包含建筑元素的碎片，这些碎片创作出了这一充满文学和诗意的建筑。分析：有道词典显示 ogee 的含义为“n. 弯曲；双弯曲线；S 形 adj. 双弯曲线的； S 形的”，查阅英汉土木建筑工程词汇手册第 537 页，ogee 没有单词的词条释义，但是 ogee doorway 为葱形门道，ogee gable 为“葱形山头墙”，ogee roof 为“葱形屋顶”， ogee roof 为“葱头形窗”。（王圣林，刘运生，2005：537）笔者又咨询了建筑学专业人员，综合考虑得出 ogee arches 应翻译为“葱形拱”。例 3.Because there are only two bosses in each bay, there is only room for three ribs to connect the corbels and bosses, two on one side and one on the other of each bay. 译文：因为每个开间只有两个雕花球，所以只有三根拱柱来连接枕梁和雕花球，两根在开间的一边，一根在开间的另一边。分析：在有道词典中，boss 的名词含义为：老板；首领。笔者查阅陈文捷主编的《世界艺术史》，在第六章的第 5 小节《英国早期哥特建筑》中有明确的记载：“交叉处的雕花球(boss)都是装饰性的，没有结构的作用。”（陈文捷，2004：109）因此，笔者确定 boss 在哥特式建筑的含义为“雕花球”。例 4: Bishop Alcock’s Chapel in Ely Cathedral, designed in 1488 by either Adam Lord, Adam Vertue, or Robert Janyns, features a fan vault influenced by St George’s Chapel, with pendant cusping and an undulating canopy screen filled with crocketed gables, ogee arches, and filigree tracery. 译文：埃利大教堂的阿尔科克主教礼拜堂于 1488 年由亚当·洛德、亚当·维尔图和罗伯特·詹尼斯设计，其特点是扇形拱顶受到圣乔治礼拜堂的影响，有下垂的尖顶和起伏的天幕，天幕上布满了卷叶饰凸雕山墙、葱形拱门和金银丝装饰。分析：笔者查阅了有道词典，最初把 crocket 这个单词最初翻译为“花形的浮雕”，但在推敲的过程中，觉得不够专业，需要修改，于是笔者继续查阅平行文本，以及翻阅《英汉土木建筑工程词汇手册》，最终确定在哥特式建筑中，crocket 为“卷叶饰凸雕”。例 5：Openwork arcading in the presbytery at Norwich recalls the treatments of Geoffrey de Noyers at Lincoln and William the Englishman at Canterbury, in their dematerialisation and experiments in spatial vistas. 9 4 翻译困难和翻译技巧分析硕士研究生学位论文译文：在诺里奇的长老会里，开放式的长廊让人回想起林肯教堂的杰弗里•德•诺耶斯和坎特伯雷的英国人威廉对远景空间的去物化试验。分析：experiment 这个单词在本句中的翻译值得推敲，最开始笔者翻译为“实验”，笔者查阅字典发现，实验和试验两个名词本质上是不同的：实验是为了获取实验答值或者验证某个已经被接受的原理。而试验是为了探索的目的，结果未知，只是进行尝试。在建造教堂的过程中，建造师会开拓新的建筑风格，进行探索，因为“试验”更为贴切。例 6：The architecture is French in that it has a semicircular ambulatory, flying buttresses hidden under the aisle roofs, coupled columns, acanthus capitals, and two-bay sexpartite vaults. 译文：该教堂是法国风格，因为它有一个半圆形可移动、隐藏在过道屋顶下的飞扶壁、连接的柱子、叶形装饰柱头和两湾六分拱顶。分析：capital 一词，在有道英汉字典里的意思为“n. 首都，省会；资金；大写字母；资本家；adj. 首都的；重要的；大写的”。在《英汉土木建筑工程词汇手册》中，capital 一次的含义为“装饰柱头”，并且与“acanthus”叶形的含义符合。 4.1.2 人名的翻译。在英译汉时，需要注意增补一些源文中暗含而没有明言的词语和一些概括性、注释性的词语，以确保译文意思的完整。此次翻译实践出现大量人名，有必要对其进行案例分析。翻译错误出现在外国人名的汉译中，主要原因有二。一是有关各方在翻译原则上没有达成共识，也没有制定具体规则；二是译者对外国人名的实际读音和意思不太清楚。（陈国华,石春让，2014：107）专有名词有特定的翻译原则，通过查阅相关文献资料等平行文本确定专有名词的翻译，以能让读者读懂为前提，对人名采用增译法，帮助读者更好理解源文，使文章通俗易懂。例 7：According to him, the monks of Canterbury summoned masons from England and France, and were impressed by the French mason William of Sens, who decided to demolish the Norman arcades and clerestory which survived the fire. 译文：据他所说，坎特伯雷的僧侣们从英国和法国召集了建筑师，并对法国建筑师威廉留下了深刻的印象，威廉决定拆除在大火中幸存的诺曼拱廊和天窗。分析：笔者首先找到出本句的专业术语，并参考教堂图片。（参见图 2）然后整理句子，笔者查询网络发现 William Of Sens 中，Sens 是法国的一个地址，意为“森斯”。但翻译成“森斯的威廉”又很拗口，不通顺，笔者查阅期刊发现，马月兰的《坎特伯雷大教堂》中提到：“1174 年法国建筑师威廉用哥特式风格设计坎特伯雷大教堂, 使哥特式风 10 硕士研究生学位论文 4 翻译困难和翻译技巧分析格传入英国。但威廉也为自己的建筑形式付出了沉重代价。他在一次脚手架倒塌事故中不幸受伤, 被迫终止了他的艺术实践。此后, 工程由英国建筑师来完成。” （马月兰， 2008：47）William Of Sens 翻译为“法国建筑师威廉”可作参考，笔者继续翻译，发现法国的这个建筑师因受伤退出后，他的继任者也叫威廉，是英国人，因此为了防止读者混淆这两个“威廉”，笔者采用《坎特伯雷大教堂》中的“法国建筑师威廉”，把 William of Sens 翻译为“法国建筑师威廉”。 4.2 句法层面科技英语中，长难句是一个普遍的现象，建筑英语作为科技英语的分支，专业术语多，主句后往往带两个以上的从句，句子较长，加重了翻译负担。长难句的第一步应学会拆分句子，找出句子的主干成分，然后拆分其他成分，最后一一击破。纽马克交际翻译策略认为，译文合乎译语规范，译者就必须完全摆脱源文形式的约束，不给读者造成理解上的困难，不符合读者口味的异样表达法要变成地道的译语表法，因此笔者运用拆分法和增译法，帮助读者理解源文。 4.2.1 拆分例 8：The remodelled south transept of Gloucester, from 1331 to 1336, is seen as the first manifestation of the Perpendicular style, with its vertical panelling and mullions, and tracery, derived from the exterior elevations of St Stephen’s Chapel, but with Curvilinear elements such as ogee arches and cusping. 译文：1331 年到 1336 年，格洛斯特南耳堂被重新改建。它的镶板和竖框垂直，窗饰源自圣斯蒂芬教堂的外部立面。但因为它的葱型拱和尖顶等带由曲线元素，所以人们视它为第一个垂直风格的体现。这句话是个长难句，由一个主句和五个介词短语构成。先查找教堂建筑专业术语，其次理解整句话。解决长难句首先在于拆分句子结构，“is seen”是这句话的谓语， “remodelled”修饰主语“south transept”，“as the first manifestation”为第一个介词短语， “from 1331 to 1336” 为第二个介词短语， “with its vertical panelling and mullions, and tracery, derived from the exterior elevations of St Stephen’s Chapel”为第三个介词短语， “derived from the exterior elevations of St Stephen’s Chapel” 为第四个介词短语， “with Curvilinear elements such as ogee arches and cusping”为第五个介词短语。先翻译主要成分 “The remodelled south transept of Gloucester,is seen as the first manifestation of the Perpendicular style。”纽马克的交际翻译策略强调让读者理解源语作者的写作意图，因此在对五个介词短语进行梳理之后发现如何按照顺序翻译，读者并不能看懂这句话的含义，因此笔者按照中文的逻辑习惯，先翻译时间，再按照因果逻辑关系，得出它是垂直 11 4 翻译困难和翻译技巧分析硕士研究生学位论文风格的原因，方便目的语读者快速理解建筑特色的由来。例 9 ： It is divided in half by a tall arcade with pointed arches of multiple archivolts supported by bundled piers, with the arches reaching the cornice, as at Lincoln, or Beverley, York, or Worcester, and a tall clerestory level, with tall, slender piers set in front of Compartmental windows, in an openwork composition recalling Winchester retrochoir aisles and Lincoln east transepts. 译文：它被一个高耸的拱廊一分为二，这个拱廊由捆绑在一起的支墩支撑，它的拱桥锋利，拱门饰繁琐。正如林肯、贝弗利、约克或者伍斯特这些教堂，其天窗开阔，窗户分割开来，支墩高耸细长，矗立在前，镂空细雕，与温切斯特大教堂的后部过道和林肯大教堂的东部耳堂遥相呼应。分析：本句修饰语众多，首先查找专业术语，其次整体理解整句话。划分句子结构，拆分一层层修饰语为四字结构，更符合汉语的习惯，让目的语读者最大理解原作者的意图。首先拆分“It is divided in half by a tall arcade with pointed arches of multiple archivolts supported by bundled piers”，首先翻译主句 It is divided in half by a tall arcade，它被一个高耸的拱廊一分为二，再进一步解释其具体的内容 with pointed arches of multiple archivolts supported by bundled piers，切分为短句“这个拱廊由捆绑在一起的支墩支撑”。 a tall clerestory level 译为“天窗开阔”，with tall, slender piers 译为“支墩高耸细长”，set in front of Compartmental windows 译为“矗立在前，镂空细雕”，分别把这些短语译为四字结构，在准确翻译源文的前提下，四字结构也符合目的语读者的审美情趣，增加翻译的美感。最后翻译 in an openwork composition recalling Winchester retrochoir aisles and Lincoln east transepts 为“与温切斯特大教堂的后部过道和林肯大教堂的东部耳堂遥相呼应”。“遥相呼应”四字成语恰好也与上文中提到过的温切斯特大教堂和林肯大教堂相互照应。英语长难句不符合目的语读者的阅读习惯，并且建筑英语中专业术语较多，势必会加重读者的阅读困难，因此拆分长难句，转换为目的语读者能接受的四字成语，既能为读者所接受，也能增加翻译的美感。 4.2.2 增译由于英汉两种语言的思维模式不同，译者应尽最大可能准确表达，为保证译文完整通顺，上下文可适当增加成分，帮助读者理解作者表达所缺失的部分。增译法相当于重写，在理清语意的情况下，按照汉语逻辑，增加成分，缩小英汉文化差异。 12 硕士研究生学位论文 4 翻译困难和翻译技巧分析例 10：The remodelling of the crossing of Gloucester Cathedral between 1450 and 1475 by Robert Tully, features mid-air stone ogee arches set on flat four-centred arches, supporting pendant conoid springers of a lierne net vault. The vaulting in the crossing tower of Lincoln Cathedral synthesises the Lincoln vocabulary elements 译文：1450 年至 1475 年，罗伯特·塔利对格洛斯特大教堂的中殿和耳堂相交处进行了改造。它的特色是在半空中设置了以四中心为平面的石制葱形拱门，用来支撑一个枝肋网顶的圆锥形起拱石。林肯大教堂中殿和耳堂相交处塔楼的拱顶综合了林肯的词汇元素——圆锥形起拱石、居间肋、枝肋和屋脊拱柱——形成了可以被解读为天界等级或宇宙拱顶的教义问答。分析：笔者首先圈出 crossing 一词，笔者首先翻译为交叉处。后来笔者在翻译的过程中发现，此处的翻译不够具体，笔者查阅了《英汉土木建筑工程词汇手册》第 259 页， crossing arch 意为“交叉拱”、crossing of walls 意为“墙交叉”。（王圣林，刘运生，2005： 259）crossing 一词并没有直接的翻译，而是以短语的形式出现。笔者又请教建筑专业的老师，结合词汇手册得出以下结论，在建筑英语中，crossing 这个单词为“相交处”，笔者对比上下文确定这里的相交处应指“中殿和耳堂的相交处”，规范了具体的结构位置，也有助于读者在研究教堂建筑的构造时，对教堂结构的掌握更加清晰。 4.3 语篇层面语篇是句子以上层面，相互联系的文本组织,也是在语法以上层面起作用的所有语言组织。（张美芳,潘韩婷,陈曦,罗天，2015：25）在实际翻译中，译者是源文的接受者也是译文的生产者。他在接受源文的过程要进行语篇分析，在生产译文时同样要进行语篇分析，而且要将两次分析的结果进行比较，才能较好地完成翻译任务。（张美芳，2001： 84）语篇是交际的一种形式，语篇读者群发生变化，交际参与者和媒介也会发生变化。例 11：The shrine of Thomas Becket, who was murdered in the cathedral in 1170 and canonised as St Thomas of Canterbury in 1173, was added to the short Norman choir built under Bishop Lanfranc (1070-1077), after the Norman Conquest, which consisted of two bays and an apse, and was extended in the 12th century under Bishop Anselm (Saint Anselm, Archbishop of Canterbury, 1093-1109) and Bishop Conrad (Prior Conrad, d. 1127) to include a pair of eastern transepts and the chapels of St Anselm and St Andrew. The body of Thomas Becket, which was originally buried in the crypt, was placed in the new shrine, Trinity Chapel, built by William the Englishman, in 1220. For the Trinity Chapel, William the Englishman followed the main lines of the choir. Becket was murdered after he returned from exile in Sens, which resulted from his 13 4 翻译困难和翻译技巧分析硕士研究生学位论文 arguments with King Henry II. In the north transept of the crossing, four knights, acting in support of the king, stabbed Becket to death. Afterwards, a hair shirt swarming with lice was found under his robe. He was recognised as a saint, and Henry II performed penance at his tomb, being flagellated by monks. The tomb of Thomas Becket became the most important pilgrimage destination in medieval England, as Becket became a symbol of resistance to tyrannical authority. The Canterbury Tales of Chaucer were inspired by the journey along the Pilgrim’s Way from London to Canterbury to see the shrine. So many offerings accumulated at the shrine that by 1538, when it was destroyed by Henry VIII, who was determined to destroy the symbol of resistance to the king, twenty-six wagons were required to cart all the offerings away. 译文：托马斯·贝克特于 1170 年在大教堂被杀,1173 年被信徒尊奉为“殉教者”圣托马斯。他的圣祠在诺曼征服后，被供奉在蓝符克朗主教（1070-1077）的唱诗班里，包括两个开间和一个半圆形后殿，并在 12 世纪由安塞姆主教(圣安塞伦，坎特伯雷大主教，1093-1109)和康拉德主教加大力度改造，改造包括一对东部支点以及圣安塞伦和圣安德鲁的小礼拜堂。托马斯·贝克特的遗体最初埋在地窖里，后来被安放在 1220 年由英国人威廉建造的新圣堂三一教堂里。对于三一教堂，英国人威廉遵循唱诗班的主要路线。贝克特与国王亨利二世争吵后，被流放到塞恩斯，而后被杀害。在十字路口的北耳堂，四名骑士支持国王，将贝克特刺死。后来，在他的长袍下发现了一件长满虱子的汗衫。他被认为是圣人，亨利二世在他的墓前忏悔，被僧侣鞭打。托马斯•贝克特的坟墓成为中世纪英国最重要的朝圣地，因为贝克特成为反抗暴政权威的象征。乔叟的《坎特伯雷故事集》的灵感来源于朝圣者从伦敦到坎特伯雷参观神殿的旅程。到 1538 年，神殿被亨利八世摧毁，亨利八世决心摧毁反抗国王的象征，他派遣 26 辆马车运走了所有的祭品。分析：这两段作者介绍了与坎特伯雷大教堂的建造有关的宗教和历史故事，这其中的关系词是坎特伯雷大教堂以及托马斯·贝克特。托马斯·贝克特的去世，亨利二世的服软，令英格兰王权与教权紧张的关系出现了缓和的契机。（韩克秀，2016：84）笔者在平行文本中查找有关信息，找到《中世纪英国哥特建筑探析》第 19 页中有关文字描述：“1170 年，坎特伯雷大主教贝克特因政教之争被英王亨利二世的手下在教堂中刺杀。这一事件震惊全国，英国人讲贝克特视为殉教的圣徒而顶礼膜拜，使这座大教堂成为当时西欧最重要的朝圣地。”（杨潺，2010：19）此论文中的故事介绍与文中大致相似，笔者又在网页上查阅英文资料，自己翻译对比，对于理解整段话也有一定的辅助作用，帮助笔者准确的将上下文衔接到一起。英文语篇衔接重形合，汉语重意合，笔者在翻译时通过反复阅读理清源文各句之间的逻辑关系，理解主要内容，按照汉语的语义表达出 14 硕士研究生学位论文 4 翻译困难和翻译技巧分析来。 4.4 文化层面语言是文化的一部分，没有语言就没有文化，两者密切相关，相互依存。语言记录着一个国家和一个民族的历史文化，蕴含了不同民族的思维方式和宗教礼仪。语言和文化相辅相成，共同服务人类社会。而翻译作为一种文化交流行为，必然会受到文化的影响。译者在特定的意识形态中进行翻译，会出现两种情形，一种是在译文中得以保留，另一种是进行删减，源语和译入语的社会文化相融合。（胡作友，邓英，2003：189）例 12：Becket was murdered after he returned from exile in Sens, which resulted from his arguments with King Henry II. In the north transept of the crossing, four knights, acting in support of the king, stabbed Becket to death. Afterwards, a hair shirt swarming with lice was found under his robe. He was recognised as a saint, and Henry II performed penance at his tomb, being flagellated by monks. The tomb of Thomas Becket became the most important pilgrimage destination in medieval England, as Becket became a symbol of resistance to tyrannical authority. The Canterbury Tales of Chaucer were inspired by the journey along the Pilgrim’s Way from London to Canterbury to see the shrine. So many offerings accumulated at the shrine that by 1538, when it was destroyed by Henry VIII, who was determined to destroy the symbol of resistance to the king, twenty-six wagons were required to cart all the offerings away. 译文：贝克特与国王亨利二世争吵后，被流放到塞恩斯，而后被杀害。在十字路口的北耳堂，四名骑士支持国王，将贝克特刺死。后来，在他的长袍下发现了一件长满虱子的汗衫，像他这样位高权重的人，透过苦行生活向所有人证明了自己的信仰坚不可摧，经得起任何考验，因此他被认为是圣人，亨利二世在他的墓前忏悔，被僧侣鞭打。托马斯·贝克特的坟墓成为中世纪英国最重要的朝圣地，因为贝克特成为反抗暴政权威的象征。乔叟的《坎特伯雷故事集》的灵感来源于朝圣者从伦敦到坎特伯雷参观神殿的旅程。到 1538 年，神殿被亨利八世摧毁，亨利八世决心摧毁反抗国王的象征，他派遣 26 辆马车运走了所有的祭品。本段讲述了贝克特被亨利二世谋杀的过程，笔者在翻译的过程中发现，在贝克特死后发现长满虱子的汗衫，而被认为是圣人，虽然翻译没有什么问题，但会让目的语读者产生疑问，虱子和圣人之间又有什么关系呢。笔者通过使用网络查阅相关资料发现，中世纪的欧洲是一个因为不洗澡而被寄生虫折磨的年代，英国子民几乎不洗澡，他们的个人卫生状况可谓糟糕透顶，而托马斯·贝克特位高权重，显然不用忍受普通人的痛苦，但他依然穿上爬满虱子的衣服，他也因为坚不可摧的信仰获得了英国民众的尊重。因此，笔者在“后来，在他的长袍下发现了一件长满虱子的汗衫”和“因此他被认为是圣人，亨 15 4 翻译困难和翻译技巧分析硕士研究生学位论文利二世在他的墓前忏悔，被僧侣鞭打”中间增加了“像他这样位高权重的人，透过苦行生活向所有人证明了自己的信仰坚不可摧，经得起任何考验”，解释了他被认为是圣人的原因，理清语义衔接上下文，符合汉语的逻辑，减少读者的疑惑。为保证所译文本准确通顺的表达原作者的意图，要把握文章的整体衔接要借助平行文本的帮助。首先确定篇章关键词，然后根据关键词查阅相关资料和平行文本，了解译文文化层面的信息，对译文进行适当修改以符合其文化的独特性。 16 5 翻译实践总结硕士研究生学位论文 5 翻译实践总结 5.1 翻译困难笔者选取《英国哥特式建筑的辉煌》第 1 章至第 4 章进行翻译时碰到了一些困难，具体如下：第一，本文属于科技问题，建筑术语众多，如译文反复出现的词汇 bay, boss，ogee arches 等，如何将专业性较强的建筑术语以通俗易懂的方式翻译、如何拆分文中出现的长难句，理清句意，让读者能明白教堂建筑的建造结构和特征，领略英国哥特式建筑的艺术之美是笔者当务之急需要解决的问题。本文建筑专业术语多以短语的形式出现，术语表大多都是单词的英汉互译，所以笔者还需要查阅大量平行文本，综合考虑以后才能确定术语的选择。第二，文中涉及到很多建筑专业相关知识，作者除了介绍英国哥特式教堂的结构之外，还用大量笔墨介绍了教堂相关的文化因素，因此，要在理清背景故事的前提下才能保证翻译的顺利进行，这无疑会影响翻译的进度，笔者查阅资料如图 1 和图 2，试图了解哥特式教堂的建造方法，但笔者缺乏相关知识的储备，所以译文的表达不够专业。第三，笔者最初的译文晦涩难懂，对于上下文语境的衔接处理得不够自然，需要向建筑专业学者请教哥特式教堂建造风格的异同点，耗费时间较多且信息获取较难。 5.2 翻译启示笔者在此次翻译实践中受益匪浅，翻译永无止境，需要不断地打磨和练习，才会有更好的译文出现。笔者在此次翻译中的感悟如下：首先，笔者在通读和翻译《英国哥特式建筑的辉煌》时，学习到了相关的建筑专业术语和中世纪欧洲的历史知识，潜移默化之中也领略到教堂这一独特建筑风格的结构之美，笔者查阅大量资料，积累了浓厚的学习兴趣。其次，笔者领悟到翻译不只是词义的对等，也不只是两种语言的交换。翻译是文化交流的媒介，要求译者进行大量的译文准备工作，译文的质量与相关只是的掌握有关。背景知识的掌握一方面考验译者基本的扎实程度，也在某种程度上考验译者对于信息的搜索和筛选能力。笔者在攻读研究生期间，学校老师所教授的几门课让笔者对于翻译有了一个新的感悟，而此次翻译实践让笔者意识到了翻译不是纸上谈兵，在翻译之前一定要进行长期而充足的准备工作。最后，源语和译入语的差别较大，翻译也会碰到各种各样的困难，因此要充分了解 17 5 翻译实践总结硕士研究生学位论文两种语言的差异，对源语的文体、段落、句子和词语进行深入分析，确定译入语的读者群体，才能更好地进行翻译工作。建筑英语翻译有技术性，也有艺术性。（彭越聪，2011：258）在建筑英语汉译时，要兼顾译文的严谨性和艺术性，文本翻译理论是不二的选择。笔者在文本类型理论“交际翻译策略”的指导下，从词汇、句法、语篇和文化四个方面，将理论与实践相结合，希望通过翻译实践为今后建筑英语汉译实践起到参考和指导的意义。 5.3 翻译教训回顾整个翻译过程，笔者发现自己对于建筑、历史和文艺方面的知识面太过狭窄，以至于笔者在翻译过程中需要大量查阅相关资料，翻译进度被耽误。笔者还深刻感受到网络时代获取及时性信息的重要性，掌握一手信息资料能帮助读者获得语料库信息，从而更好地指导翻译。进行翻译工作时，还需要注意劳逸结合，碰到难懂的句子不要钻牛角尖，可以休息一会儿重新翻译，会有意想不到的效果。笔者在翻译 “The remodelled south transept of Gloucester, from 1331 to 1336, is seen as the first manifestation of the Perpendicular style, with its vertical panelling and mullions,and tracery,derived from the exterior elevations of St Stephen’s Chapel, but with Curvilinear elements such as ogee arches and cusping.The vault in the Gloucester transept is a lierne net vault,taking on the form of an organic structure based on underlying geometrical and mathematical proportions.”时，已经连续工作了 4 个小时，句中出现了大量的建筑专业术语，笔者作为非建筑专业学生，空间理解能力跟不上，因此只能靠想象，但荒废了很长时间，因为笔者上网查阅大量教堂建筑设计图，从而帮助笔者了解建筑结构，指导翻译工作。 18 5 翻译实践总结硕士研究生学位论文图2 (来源：https://www.vsszan.com/thread-160650-1-1.html) 19 5 翻译实践总结硕士研究生学位论文 5.4 待解决的问题由于笔者自身翻译水平有限，因此翻译过程中不免存在着一定的翻译问题。翻译需要长期的积累以及不断的完善。建筑文本译文，笔者在学术性和严谨性方面还存在很大的不足，所以在句子和篇章的处理上难免出现偏差。笔者在以后的翻译实践中一定本着严谨的态度，扩大知识面，不断提高翻译质量。首先，《英国哥特式建筑的辉煌》目前还没有英译汉的译本，笔者无法与前人的翻译作对比。笔者在查阅平行文本时无法有效确定平行文本的权威性，相对于翻译本身，译者在确定平行文本权威性上花的时间甚至比翻译本身还要多，难免顾此失彼。其次，笔者虽然查阅了《英汉土木建筑工程词汇手册》等术语表作为参考，但笔者翻译的建筑文本中出现不少合成词，而术语表中大多是一个单词的意思，因此在翻译过程中翻译的效率难以提高。最后，笔者在长难句的处理上较为粗糙，句子结构复杂，并且建筑文本专业性较强，翻译过程比较吃力，这也体现了笔者实践和专业知识的不足。翻译的过程并不是一帆风顺的，但坚持到最后译稿完成，笔者的译稿受到翻译公司的认可时，还是获得了极大的幸福感。翻译不是一件易事，需要付出大量的实践，踏实走好每一步，相信未来的翻译之路崎岖却定会收获满满。 20 硕士研究生学位论文参考文献参考文献 [1] Hatim,B,Mason I. 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[32] 张美芳 , 潘韩婷 , 陈曦 , 罗天 . 语篇分析途径的翻译研究 : 回顾与展望 [J]. 中国翻译,2015,36(05):25-32+127. 22 硕士研究生学位论文附表附表 crossing vault 交叉拱顶 transverse rib 横肋 diagonal rib 对角拱柱 crossing 中殿和耳堂相交处 fan vault 扇形拱顶 pier 窗间壁 chapter house 牧师会礼堂 purbeck shafts 普贝克竖井 boss 雕花球 corbel 枕梁 vault 拱顶 tierceron 居间肋 rib 拱肋 lierne 枝肋 nave 殿堂 springing 拱底石 lancet 柳叶窗 Transept 耳堂 apse 拱点 crocket 卷叶饰凸雕 crocketed gables 花型浮雕墙 Bishop’s eye 主教之眼 Dean’s eye 牧师之眼 bay 开间 pointed arch 尖拱 groin vault 交叉拱 norman arch 诺曼式拱券 molding 线脚装饰线 rib 拱肋 facade 正面外墙 23 附表硕士研究生学位论文 ambulatory 半圆回廊 apse 教堂半圆形的后殿 chapel 礼拜堂 cathedral 大教堂 altar 圣坛祭坛 capital 柱头 arcade 联拱 abacus (圆柱)顶板 24 硕士研究生学位论文附录附录原文与译文原文与译文 </E-C> Introduction 第一章介绍 <E-C\> </E-C> The purpose of this book is to examine and celebrate the richness of English Gothic architecture, in its use of materials, light, space, pattern, texture, and colour. Cathedrals and churches in England are among the most beautiful buildings in the world; they display less material splendour, but a more spiritual or experiential splendour. The experience of many of the buildings is unparalleled: being in the buildings, it is possible to find a sense of fulfillment through pleasure in the senses, intellectual stimulation in the complex structures and patterns, and the spirituality to which the spaces are devoted. The buildings make possible an architectural experience which is unique, and have a richness beyond most buildings, especially modern buildings. Architecture is closer to reaching its potential in these buildings than in most others; its potential to create a fulfilling experience in which human identity is understood in relation to nature and the divine. The architecture speaks, through its materials, spaces, structures, textures, and patterns, to both the senses and intellect; it is among the most poetic of all architecture, and is among the closest of all buildings which form art while still fulfilling the aspirations of architecture. The hope of this book is for the details of the buildings to be seen together as a whole, as a myriad of variations on a theme, which, taken together, represent an extraordinary architectural experience. 这本书的目的是研究英国哥特式建筑在使用的材料，光线，空间，图案，纹理和色彩上的丰富内涵，并大加赞赏。英格兰的大小教堂是世界上最美丽的建筑之一;他们展示的物质财富虽少，精神或经验方面的财富很多。许多建筑的体验是无与伦比的:置身于建筑之中，可通过感官上的愉悦、复杂结构和模式中对智力的冲击，以及空间所奉献的灵性，找到一种成就感。这些建筑带给我们一种独特的建筑体验，其丰富多样性超过大多数建筑，尤其是现代建筑。建筑物在这个建筑风格中比在其他大多数建筑更易发挥潜力;它有潜力创造一种令人满足的体验，在这种体验中，人类的身份被理解为与自然和神的关系。建筑通过其材料、空间、结构、纹理和图案向感官和智力传达信息;英国哥特式建筑是最富有诗意的建筑风格之一，也是离我们最近的建筑之一，这些建筑在形成艺术的同时，仍 25 附录原文与译文硕士研究生学位论文然满足着建筑的愿望。作者希望你们把建筑的细节作为一个整体来看待，就像一个主题的无数变化，综合起来，代表了一种非凡的建筑体验一样。 <E-C\> </E-C> The development of English Gothic architecture throughout the Middle Ages, from 1180 to 1540, is relatively homogeneous and consistent, contributing to the same campaign, the same particular use of vocabulary elements, with surprising and innovative variations, and the same expressive intentions. Consistently throughout the development of English Gothic architecture, there is an intention in the architecture to express a poetic idea through the juxtaposition of non-structural geometries with the structural geometries of the architecture. Its characteristic “handwriting”, the linear networks, surface patterns, geometrical articulations, and spatial interpenetrations contribute to the creation of an architecture in which form contradicts function, resulting in a poetic expression. In order for architecture to be art, its form must contradict its function, as architecture, unlike other arts, can never be free and independent from its function. 从 1180 年到 1540 年，英国哥特式建筑在整个中世纪的发展是相对同质和一致的，这促成了同一运动，相同词汇元素的特殊使用，令人惊讶和创新的变化，以及相同的表达意图。在英国哥特式建筑的发展过程中，始终有一个意图，即通过将非结构几何与建筑结构几何并置，来表达一种诗意的想法。其独特的“笔迹”、线性网络、表面图案、几何连接和空间渗透，创造了这种建筑风格，其形式与功能相矛盾，因而产生了诗意的表达。为了使建筑成为艺术，它的形式必须与功能相矛盾，因为建筑不像其他艺术，它永远不能从功能中获得自由和独立。 <E-C\> </E-C> The cathedrals and churches of English Gothic architecture contribute to aexpression of a coherent idea, representing the theology, philosophy, and epistemology (Scholasticism) of medieval England.The buildings are intended as catechisms,as threedimensional models for didactic purposes, to represent and communicate basic ideas about man, God, and being to everyone. Such concepts of the structure of the universe, being, and intellect permeated the culture of medieval England, and from 1180 to 1540 contributed to a homogeneous cultural expression, particularly in the architecture of the cathedral. Cathedral architecture developed as a response to the zeitgeist of the era; there was little concept of individual artistic expression or creativity. The result is a lasting representation, in built form, of the theology,philosophy,and epistemology of a civilisation in the Middle Ages in 26 硕士研究生学位论文附录原文与译文 England. 英国哥特式大小教堂有助于思想连贯的表达，它代表了中世纪英格兰的神学、哲学和认识论(经院哲学)。这些建筑被设计成教理问答，作为教学目的的三维模型，代表关于人、上帝和存在的基本思想并传达给每个人。这种关于宇宙结构、存在和智力的概念从 1180 年到 1540 年渗透到了中世纪英国文化中，形成了一种同质的文化表达，尤其在大教堂的建筑风格中。大教堂建筑是对时代精神的回应;没有个人艺术表现或创造力的概念。其结果是对中世纪英格兰文明的神学、哲学和认识论的一种持久建构形式的再现。 <E-C\> <E-C\> The architecture is presented chronologically, beginning at the end of the 12th century and culminating at the beginning of the 16th century. The chronological development is divided into periods, periods which were established by Thomas Rickman in the Attempt to Discriminate the Style of Architecture in England in 1815. The periods are Early English (1180-1250), Early Decorated (1250-1290), Decorated or Curvilinear (1290-1380), and Perpendicular (1380-1540). The names given to the periods by Rickman are not exhaustive or completely accurate in relation to the architecture of the periods, but they suffice to provide the simplest and most accepted way of naming the periods. 哥特式建筑按年代顺序呈现，开始于 12 世纪末，结束于 16 世纪初。时间的发展被划分为几个时期，这些时期由托马斯·瑞克曼在 1815 年区分英国建筑风格时建立。这些时期分别为早期英式(1180-1250)、早期装饰(1250-1290)、装饰、曲线(1290-1380)和垂线(1380-1540)。瑞克曼给这些时期起的名字与其体系结构有关，并不详尽或完全准确，但它们足以作为最简单和最被接受的方式去命名这些时期。 <E-C\> The chapter“Early English”presents architectural developments at Canterbury, Wells,Lincoln,Winchester,Ely,Beverley,Chester,York,Salisbury,Worcester, Southwell, and Gloucester. Canterbury Cathedral is the first English Gothic cathedral, where the work of William of Sens and William the Englishman marks a departure from Norman or Romanesque precedents, where forms and approaches are invented which would be influential throughout the development of English Gothic architecture. The first phase of building at Wells, including the nave, was contemporary with the first phase of building at Lincoln, and the two buildings represent different departures from the architecture at Canterbury, but each equally and distinctively defining English Gothic architecture,Wells more in its homogeneity and Lincoln more in its 27 附录原文与译文硕士研究生学位论文 syncretism. The east and west transepts at Lincoln show the influence of Canterbury in an experimental approach to spatial relationships and a variety of materials. The rose windows in the west transept, along with the Dean’s Eye and Bishop’s Eye, are the first great examples of stained glass in an English Gothic cathedral.Ely Cathedral was the first to exhibit the influence of Lincoln, visible in the detailing of the west front and the Galilee Porch, in particular the overlapping double arcading. The eastern part of Winchester Cathedral, the Lady Chapel, shows the influence of Lincoln in the early 13th century. The overlapping double arcade occurs at Beverley Minster, along with Purbeck shafts and openwork arcading, in a purification of the intentions at Lincoln. The elevations of the south transept of York Minster, begun around 1220, are similar to Lincoln and Beverley, as are the elevations of the retrochoir of Worcester Cathedral, built in the 1220s; the vault of Worcester retrochoir is a tierceron vault derived from Lincoln.The motifs of the retrochoir elevations are continued into the choir at Worcester. “早期英式”一章介绍坎特伯雷、威尔斯、林肯、温彻斯特、伊利、贝弗利、切斯特、约克、索尔兹伯里、伍斯特、索思韦尔和格洛斯特的建筑发展。坎特伯雷大教堂是英国第一座哥特式大教堂，在那里，森斯的威廉和英国人威廉的作品标志着不同于诺曼或罗马式的先例，形式和方法的发明将影响整个英国哥特式建筑的发展。在威尔斯的第一阶段建设,包括中央广场,都是当代建筑在林肯的第一阶段,和这两个建筑代表不同的离职架构在坎特伯雷,但是每一个同样和独特定义英语哥特式建筑,井更多的同质性和林肯的融合。林肯的东、西跨接展示了坎特伯雷对空间关系和各种材料的实验方法的影响。顺着牧师之眼和主教之眼望去，西耳堂的玫瑰窗是英国哥特式大教堂中第一个彩色玻璃，这意义非凡。伊利大教堂是第一个展示林肯风格的教堂，可以从西部前线和加利利走廊的细节中看到，尤其是重叠的双拱廊。温彻斯特大教堂东部的圣母教堂(Lady Chapel)论证了 13 世纪初林肯教堂对其的影响。重叠的双拱廊出现在贝弗利明斯特，沿着普贝克竖井和开放的工作拱廊，都表明了净化意图。约克大教堂南耳堂的海拔高度始于 1220 米左右，与林肯和贝弗利相似，伍斯特大教堂唱诗班的海拔高度也类似，建于 1220 年;伍斯特复古合唱团的拱顶是居间肋拱顶，来自林肯。复古唱诗班立面的主题被延续到伍斯特唱诗班。 <E-C\> <E-C\> The architects of Salisbury Cathedral, Elias of Dereham and Nicholas of Ely, incorporated Lincoln motifs into the new design in the 13th century, combining them with themes from Wells. The choir of Southwell Minster is based on the Lincoln, or Early English, vocabulary.The presbytery of Ely Cathedral was built under Bishop Hugh of Northwold,a friend of Robert Grosseteste,Bishop of Lincoln. The presbytery 28 硕士研究生学位论文附录原文与译文 is seen as an intermediary in the development from the Lincoln nave, by Alexander the Mason,to the Lincoln Angel Choir, by Simon Thirsk.The vault of the Ely presbytery is a copy of the Lincoln nave vault. It is possible that the vault of Saint Hugh’s Choir at Lincoln, the “crazy vault”, as it is called, was rebuilt in the 1240s, after the collapse of the tower in 1237 or 1239. The vaulting, probably from an earlier design, perhaps by Geoffrey de Noyers, introduced the ridge pole, tierceron (“third rib”, or non-structural rib), and triradial vault (three ribs converging at a boss on the ridge pole), in the only major asymmetrical vaulting in a Gothic cathedral. The vaulting of the nave at Lincoln and the chapter house introduce new elements into the vocabulary of English Gothic architecture. The nave vault of Gloucester Cathedral, completed around 1242, is a Lincoln-style tierceron vault built on a Norman arcade. 索尔兹伯里大教堂的建筑师伊莱亚斯和尼古拉斯，在 13 世纪将林肯的主题融入到新的设计中，并将它们与威尔斯大教堂的主题结合起来。南威尔明斯特唱诗班是基于林肯，或早期英语词汇。伊利大教堂的长老会由诺斯沃尔德的休主教主持修建，他是林肯主教罗伯特·格罗斯泰斯的朋友。从亚历山大·梅森的林肯中堂到西蒙·瑟斯克的林肯天使唱诗班，长老会一直被视为发展的中间媒介。伊利长老会的拱顶是林肯殿堂拱顶的复制品。在林肯的圣休歌坛的地下室，被称为 “疯狂的地下室”，有可能是在 1240 年代重建的，在 1237 年或 1239 年的塔倒塌之后。拱顶可能来自于更早的设计，也许是杰弗里·德·诺耶斯设计的，运用了中间肋和三射体拱顶(三根拱肋汇聚在脊柱上的一个凸点上)，它是哥特式大教堂中唯一一个不对称拱顶。林肯中殿的拱顶和牧师会礼堂为英国哥特式建筑引入了新的元素。格洛斯特大教堂的中殿拱顶建于 1242 年左右，是一座建于诺曼拱廊上的林肯风格的提尔瑟隆拱顶。 <E-C\> <E-C\> The chapter on the Decorated period includes details of the archi-tecture at Wells, Lincoln,Salisbury,York,and Southwell. The Decorated period introduces variations to the Early English motifs. In the mid-13th century,similar diapering or reticulation appears at Lincoln,Westminster Abbey,and Hereford Cathedral,displaying the “ handwriting ” of linear patterns. The nave of Westminster Abbey,begun in 1253, combines Lincoln and French influences, with a Lincoln-style tierceron vault. The stairwell to the chapter house at Wells,begun in 1255,contains elements of the Lincoln vocabulary–Purbeck shafts, ridge pole, transverse ribs.The Angel Choir of Lincoln, begun in 1256 by Simon Thirsk or Richard of Stowe,combines the Lincoln nave with the Ely presbytery, with an increased amount of architectural and sculptural detailing, as well as arcading and bar tracery which creates a transparency that can be seen as 29 附录原文与译文硕士研究生学位论文 both a physical transparency and a conceptual or phenomenal transparency, between human intellect and divine intellect.The nave of Salisbury Cathedral contrasts a simple vault with highly-articulated arcades.The chapter house of Salisbury Cathedral, constructed between 1263 and 1279,is based on the model of the Lincoln chapter house, with sixteen ribs forming a cone at the centre blooming into the vault. 约克大教堂的礼堂建于 1275 年至 1290 年间，其建筑风格与早期的英国风格大相径庭。它包括悬挑的檐篷和叶状的小柱，可以看作是“垂饰”，这是后来在垂直时期发展起来的主题。约克礼堂大楼的拱顶是一个中央的蒂尔瑟隆和利尔内拱顶(利尔内是一段非结构肋)。在埃克塞特大教堂，圣母堂的拱顶显示了林肯风格的影响。当时埃克塞特的基维尔主教于 1280 年在林肯大教堂出席了天使唱诗班的祝圣仪式。埃克塞特拱顶上大量的居间肋，预示着扇形拱顶的到来。在埃克塞特的唱诗班走廊的拱顶呈现了一个切分音的组成，这涉及到坎特伯雷和林肯的拱顶。埃克塞特的泥瓦匠可能也在林肯工作过。尼古劳斯·佩夫斯纳把索思韦尔大教堂的牧师会礼堂称为“索思韦尔的叶子”，这里的雕刻是人类与自然，几何与有机形式在建筑中最完整的融合之一。礼堂的拱顶是一个集中式的支肋拱顶。 <E-C\> <E-C\> The architecture of the chapter house at York Minster, between 1275 and 1290, represents significant departures from the Early English style. It includes overhanging canopies and foliate corbels which can be seen as“pendants”, a motif developed later in the Perpendicular period. The vault of the chapter house at York is a centralised tierceron and lierne vault (the lierne is a segment of a non-structural rib). At Exeter Cathedral, the vault of the Lady Chapel shows the influence of Lincoln. The Bishop of Exeter at the time, Bishop Quivil, was present at Lincoln Cathedral in 1280 for the consecration of the Angel Choir. The profusion of tiercerons in the vaulting at Exeter suggest the fan vault to come. Vaulting in the retrochoir aisle at Exeter presents a syncopated composition which refers back to vaulting at Canterbury and Lincoln. It is possible that masons at Exeter also worked at Lincoln. The carvings in the chapter house at Southwell Minster, celebrated by Nikolaus Pevsner as the “ leaves of Southwell”, present one of the most complete fusions of the human being and nature, or geometry and organic forms, to be found in architecture. The vault of the chapter house is a centralised lierne star vault. 约克敏斯特教堂在 1275 年到 1290 年间的建筑风格与早期的英国风格有很大的不同。它包括悬挑的檐篷和叶状的木棒，可以看作是“垂饰”，这是在垂直时期后期发展起来的一个主题。约克郡分会大楼的拱顶是一个集中的层状拱顶和肋状拱顶(肋状拱顶是非结构肋的一部分)。在埃克塞特大教堂，圣母教堂的穹顶显 30 硕士研究生学位论文附录原文与译文示了林肯的影响。当时的埃克塞特主教，奎维尔主教，于 1280 年出席了林肯大教堂的天使唱诗班的祝圣仪式。埃克塞特的拱顶上有大量的拱形标志，预示着扇形拱顶的到来。在埃克塞特的反唱诗班走道上的拱顶呈现出切分音的作品，这是指坎特伯雷和林肯的拱顶。埃克塞特的梅森可能也在林肯工作过。索思韦尔寺的章屋被尼古拉·佩夫斯纳誉为“索思韦尔之叶”，这里的雕刻是建筑中最完整的人与自然的融合，或者说几何与有机形式的融合。牧师会礼堂的拱顶是一个中央的枝肋星拱顶。 <E-C\> <E-C\> The next chapter, “Curvilinear”, examines architectural details at Southwell, Exeter,York,Wells,Norwich, Bristol, Gloucester, Tewkesbury Abbey, Ely, St Mary Redcliffe, Beverley,Ottery St Mary, Chester and Worcester. The Curvilinear period begins in the last decade of the 13th century.The vault of St Mary Undercroft of St Stephen’s Chapel in Westminster Palace, designed by Michael or Thomas of Canterbury,established an important precedent for the development of lierne vaulting, a defining motif of the Curvilinear and Perpendicular.A lierne vault in the transept of St Mary Redcliffe in Bristol represents a new level of detachment of the vault pattern from the vault structure. Vaulting in the Lady Chapel and retrochoir aisles of Exeter introduce new variations, as do the elevations of the York nave.The chapter house at Wells combines the Early English model with Curvilinear tracery,combining geometrical and organic forms. At the turn of the century, flying ribs which appear in Bristol Cathedral can be related to the tiny flying ribs in the Easter Sepulcher at Lincoln, and to the experiments in spatial vistas at Lincoln and Canterbury.The vault in the choir at Bristol is a lierne vault with conoid or cone-shaped bundles of springer ribs, tiercerons and transverse ridge ribs,as developed from Lincoln. The elevations of the Exeter choir, between 1300 and 1310,can be seen as Decorated variations of Lincoln nave arcades, with stonework grilles. 下一章“曲线”检验了索斯维尔、埃克塞特、约克、威尔斯、诺维奇、布里斯托尔、格洛斯特、图克斯伯里庄园、伊利、圣玛丽教堂、贝弗利、奥特利圣玛丽、切斯特和伍斯特的建筑细节。曲线时期始于 13 世纪的最后十年。威斯敏斯特宫圣斯蒂芬教堂的圣玛丽小教堂由坎特伯雷的迈克尔或托马斯设计，为枝肋拱顶的发展开创了一个重要的先例。布里斯托尔圣玛丽·雷德克里夫耳堂的枝肋拱顶代表了拱顶结构与拱顶模式分离的新层次。圣母教堂的拱顶和埃克塞特的唱诗班后走廊引入了新的变化，约克中殿的立面也是如此。威尔士的牧师会礼堂结合了早期的英国模式和曲线窗饰，结合了几何和有机形式。在世纪之交，出现在布里斯托尔大教堂的飞肋可能与林肯复活节墓中的小飞肋有关，也与林肯和坎特伯 31 附录原文与译文硕士研究生学位论文雷的空间景观实验有关。布里斯托尔唱诗班的拱顶是一个由起拱石肋、和居间肋或横脊线组成的锥形枝肋拱顶，这些都是由林肯发展而来的。埃克塞特唱诗班的海拔高度在 1300 米到 1310 米之间，可以看出有别于林肯中殿拱廊的装饰变化，并带有石工格栅。 <E-C\> The nave vault at Bristol, reconstructed in the 19th century, is a tierceron vault. The flying rib appears again in the antechamber of the Berkeley Chapel in Bristol Cathedral, designed by William Joy in 1310. The nave elevations at Worcester are based on the nave elevations of Lincoln. The pulpitum of Lincoln represents an early example of the use of the ogee arch and carved decoration associated with the Curvilinear style. The pulpitum at Exeter, designed by Thomas Witney,incorporates ogee arches, cusping (decoration on the edge of the tracery) and crocketing (foliate decoration on the vertical edge), and a lierne vault. The nave vault of Tewkesbury Abbey combines the lierne patterns of St Mary Redcliffe with the thick ribs of Exeter to create a catechism of the vault of the cosmos, as an architectonic texture in the form of a “net” vault. The pulpitum at Southwell Minster contains flying ribs, ogee arches and crocketed gables, and fragments of architectural vocabulary elements which produce a literary or poetic architecture.（例 2）布里斯托尔的中殿拱顶建于 19 世纪，是一个居间肋拱顶。飞肋再次出现在布里斯托尔大教堂伯克利教堂的前厅，由威廉乔伊于 1310 年设计。伍斯特的中殿高度是以林肯的中殿高度为基础设计的。林肯的演讲讲坛代表了早期使用葱形拱门和与曲线风格相关的雕刻装饰典型。埃克塞特的讲坛由托马斯·威特尼设计，包括葱形拱门、尖顶(窗饰边缘的装饰)和花型浮雕(垂直边缘的叶状装饰)，以及一个枝肋拱顶。图克斯伯里修道院的中殿拱顶结合了圣玛丽·雷德克里夫的枝肋图案和埃克塞特的厚肋柱，作为一个“网状”拱顶形式的建筑纹理，创造了和谐的拱顶的教理问答。索斯韦尔大教堂的石屏栏包括了飞肋、葱形拱、嵌有花型浮雕的山墙，以及包含建筑元素的碎片，这些碎片创作出了这一充满文学和诗意的建筑。 <E-C\> <E-C\> The Lady Chapel at Wells, by Thomas Witney, is a composition based on the Early English vocabulary (umbrella column, ridge rib, tierceron, lierne),with a domed vault with liernes forming an eight-pointed star pattern, similar to patterns found in contemporary illuminations,as a representation of the celestial vault.The adjoining retrochoir, by William Joy,contains clusters of Purbeck piers.The arcade of the Lady 32 硕士研究生学位论文附录原文与译文 Chapel of Ely is composed of nodding, cusped ogee arches and crocketed gables in the Curvilinear style. The vault of the Ely Lady Chapel is a tierceron vault with lierne star patterns,resulting in a crystalline organic form. The vault of the Ely choir is a lierne star vault,based on vaulting at Lincoln and St Mary Undercroft.The octagonal crossing at Ely, designed by Alan of Walsingham and topped by a timber lantern designed by William Hurley, is the most elaborate composition of the Curvilinear style, creating a geometrical and material progression from the material world to the spiritual world. The vault of the North Porch of St Mary Redcliffe is a centralised tierceron vault taking on the appearance of a crystalline organic form. The remodelled south transept of Gloucester, from 1331 to 1336, is seen as the first manifestation of the Perpendicular style, with its vertical panelling and mullions,and tracery,derived from the exterior elevations of St Stephen’s Chapel, but with Curvilinear elements such as ogee arches and cusping.（例 8）The vault in the Gloucester transept is a lierne net vault,taking on the form of an organic structure based on underlying geometrical and mathematical proportions. 威尔斯的圣母教堂由托马斯·威特尼创作，基于早期英式词汇(伞柱、脊肋、居间肋、枝肋)，由一个圆顶拱顶与枝肋一起构成八角星状图案，类似于现代照明中发现的图案，它是天穹的代表。旁边是威廉乔伊的逆行合唱团，里面有一簇簇的珀贝克窗间壁。伊利夫人礼拜堂的拱廊是由摆动的尖顶葱型拱门和弯弯曲曲的山墙组成。伊利夫人礼拜堂的拱顶是一个带有枝肋星型图案的居间肋拱顶，形成了一个水晶般的有机形体。伊利合唱团的拱顶是一个枝肋星拱顶，根据林肯和圣玛丽地下室的拱顶设计而成。伊利的八角形十字路口由沃尔辛厄姆的艾伦设计，顶部悬挂的木质灯笼由威廉赫尔利设计，是曲线风格最精致的部分，创造了从物质世界到精神世界的几何和物质进程。圣玛丽教堂北门廊的拱顶是一个中央式居间肋拱顶，呈现出水晶般有机形式。1331 年到 1336 年，格洛斯特南耳堂被重新改建，它的镶板和竖框垂直，窗饰源自圣斯蒂芬教堂的外部立面，如但它的葱型拱和尖顶等带由曲线元素，人们视它为第一个垂直风格的体现。格洛斯特耳堂的拱顶是一个枝肋网状拱顶，它采用基础几何和数学比例的有机结构形式。 <E-C\> The choir vault of Wells, built by William Joy between 1333 and 1340, introduces a geometrical net pattern which displays a dematerialisation through surface texture. The lierne star patterns in the choir aisle vaults suggest a crystalline form or cosmic diagram. The Percy Tomb at Beverley Minster is a masterpiece of the Curvilinear style, with nodding ogee arches, cusping and crocketing. The nave vault 33 附录原文与译文硕士研究生学位论文 of St Mary Redcliffe is a development of the transept vault there, with liernes zigzagging, folding and undulating across an uneven vault surface. Between 1337 and 1367 the elevations of the choir and presbytery of Gloucester were covered with Perpendicular panelling,and densely textured lierne net vaulting was designed by William Ramsey, taking to an extreme the vault as surface texture. The choir and nave vaults of Ottery St Mary were designed by William Joy, showing the influence of the Wells choir vault. William Joy’s nave vault at Exeter is a Lincoln-style vault with the tiercerons increased in size and density, suggesting organic form.The vault of the south transept of Chester, from around 1350 (restored) is a Lincoln-style vault, as is the nave vault at Worcester. 1333 年至 1340 年间，威廉乔伊建造的威尔斯唱诗班拱顶引入了一个几何网状图案，通过表面纹理显示出非物质化。唱诗班走廊拱顶上的枝肋星图案暗示着一种水晶形态或宇宙图。贝弗利明斯特的珀西墓是一件曲线风格的杰作，有摇摆的葱形拱门、尖顶和花形浮雕。圣玛丽·雷德克里夫的中殿拱顶由由那里的耳堂拱顶发展而来，莱尔斯在一个不平整的拱顶表面曲折、折叠和起伏。1337 年至 1367 年间，格洛斯特唱诗班和长老教会的立面由威廉·拉姆齐设计的枝肋网状拱顶纹理密集,被垂直的镶板覆盖，他将拱顶的表面纹理运用到了极致。圣玛丽教堂的唱诗班和中殿拱顶由威廉·乔伊设计，他受到了威尔斯唱诗班拱顶的影响。威廉·乔伊的中殿拱顶位于埃克塞特，它是一个林肯风格的拱顶，居间肋的体积和密度都有所增加，暗示了有机形式。切斯特南耳堂的拱顶，在 1350 年左右修复，它是伍斯特的中殿拱顶，具有林肯风格。 <E-C\> <E-C\> The first full fan vault in English Gothic architecture was constructed in the Gloucester cloister between 1351 and 1364, attributed to Thomas of Cambridge.The fan vaulting can be seen as a logical consequence of the development from the tierceron vault, as it consists of conoid bundles of tiercerons with liernes applied to the surface. The fan vaulting merges the geometrical and organic, the human mind and nature, or the human mind and the divine mind, with underlying geometrical matrixes. The original nave vault of York Minster, replaced by a timber reproduction in the 19th century, is a simplified version of the tierceron vault. Tierceron and lierne patterns fluctuate, as do the concave surfaces of the vault.The vault was painted to symbolise the vault of the cosmos. A more complex version of the vaulting appeared in the choir and retrochoir of York, continuing the fluctuating patterns.Openwork 34 硕士研究生学位论文附录原文与译文 arcading in the presbytery at Norwich recalls the treatments of Geoffrey de Noyers at Lincoln and William the Englishman at Canterbury, in their dematerialisation and experiments in spatial vistas. （例 5 ） Vaults in the transepts at Worcester also appropriate the Lincoln or Early English vocabulary. 英国哥特式建筑中第一个完整的扇形拱顶建于 1351 年至 1364 年间的格洛斯特修道院，它位于剑桥的托马斯。扇状拱顶是居间肋拱顶发展的必然结果，因为它是由居间肋的圆锥束和施加在表面的力组成。扇形拱顶融合了几何与有机、人心与自然、人心与神灵，以及潜在的几何矩阵。约克大教堂原来的中殿拱顶，在 19 世纪被木材品所取代，是居间肋拱顶的简化版本。居间肋和葱形图案起伏不定，拱顶的凹面也是如此。这个拱顶用来比作宇宙拱顶。更复杂的拱形出现在约克唱诗班及其后部，延续了其起伏不定的图案。在诺里奇的长老会里，开放式的长廊让人回想起林肯教堂的杰弗里•德•诺耶斯和坎特伯雷的英国人威廉对远景空间的去物化试验。伍斯特的耳堂拱顶也出现在林肯或早期英语词汇里。 <E-C\> <E-C\> The Perpendicular, the subject of the final chapter, is the last period or style in the continuous development of English Gothic architecture from the precedents at Canterbury and Lincoln. The chapter on the Perpendicular style includes details at Tewkesbury Abbey, Lincoln, Gloucester, Beverley, Winchester, Worcester, Sherborne Abbey, Norwich, Peterborough, Bristol, Chester, York, Oxford Divinity School, Oxford Christ Church, Salisbury, Wells, Ely, Bath Abbey, and Cambridge King’s College Chapel. The Curvilinear and Perpendicular overlap, as elements of the Perpendicular appear in the early 14th century. The Perpendicular style is dominated by vertical lines, linear patterns, repeated cusped panels, the lierne rib, and overlapping ogee curves forming reticulated patterns. 垂直风格是最后一章的主题，是英国哥特式建筑从坎特伯雷和林肯开始不断发展的最后一个时期和风格。垂直风格的章节包括特克斯伯里修道院、林肯、格洛斯特、贝弗利、温彻斯特、伍斯特、舍尔伯尼修道院、诺维奇、彼得伯勒、布里斯托尔、切斯特、约克、牛津神学院、牛津基督教堂、索尔兹伯里、威尔斯、伊利、巴斯特修道院和剑桥国王学院礼拜堂这些建筑的细节。曲线和垂直重叠是垂直风格的要素，出现在 14 世纪早期。垂直样式主要由垂直线、线形图案、重复的尖顶板、枝肋和重叠的葱形曲线构成网状图案。 <E-C\> 35 附录原文与译文硕士研究生学位论文 <E-C\> The choir vault at Tewkesbury Abbey, from between 1375 and 1390, is a tierceron vault with lierne star patterns composed of curved liernes, which are segments of ogee arches, blurring the distinction between organic and inorganic, structure and pattern. The vault in the crossing at Tewkesbury is a centralised lierne vault in the form of a mandala, a cosmological catechism with octagons and squares and a figure of the sun in the centre, symbolising emanation and creation, and synthesising Christian theology and classical philosophy. The vaulting in the crossing tower of Lincoln Cathedral synthesises the Lincoln vocabulary elements – conoid springers, tiercerons, liernes, and ridge ribs – to form what could be read as a catechism of the celestial hierarchies, or the vaulting of the cosmos. 图克斯伯里修道院的唱诗班拱顶建于 1375 年至 1390 年之间，是一个居间肋拱顶，由弯曲的葱形星星图案组成，这些枝肋星星图案是葱形拱门的一部分，有机和无机、结构和图案之间的区别甚微。图克斯伯里中殿和耳堂相交处的拱顶是一个曼荼罗形状的中央枝肋拱顶。曼荼罗是一种宇宙教义问答，有八角形和正方形，中心有一个太阳的形象，象征着发散和创造，并综合了基督教神学和古典哲学。林肯大教堂中殿和耳堂相交处塔楼的拱顶综合了林肯的词汇元素——圆锥形起拱石、居间肋、枝肋和屋脊拱柱——形成了可以被解读为天界等级或宇宙拱顶的教义问答。 <E-C\> <E-C\> The Founder’s Chantry at Tewkesbury Abbey contains an early model of the fan vault, with vaulting ribs as applied decoration, and Perpendicular grillwork. The Beauchamp Chantry at Tewkesbury Abbey features fan vaults with pendants in its lower and upper levels. The pendant becomes a defining vocabulary element of the Perpendicular style, as in the vaults at Oxford Divinity School and Oxford Christ Church, Cambridge King’s College Chapel, St George’s Chapel at Windsor Castle, and the Henry VII Chapel at Westminster Abbey. The pendant can be seen as a development of hanging corbels, as in the York chapter house,the gradual minimalisation of responds in elevations, or the removal of the umbrella column from the umbrella vault. The pendant is a hanging vaulting corbel with no support, and can be related to experiments at Canterbury and Lincoln. The west cloister walk of Worcester Cathedral, built by John Chapman between 1435 and 1438, contains 36 硕士研究生学位论文 vaulting composed 附录原文与译文 of conoid tierceron springers, the ridge pole, transverse ribs, and lierne octagons. The choir vault of Sherborne Abbey is the first full-span fan vault. The vault of the Norwich nave contains zigzagging liernes and lierne star patterns. The vaulting of the presbytery of Peterborough is a lierne net vault similar to the St Mary Redcliffe choir vault, with the emphasis on surface texture. The nave vault of Winchester Cathedral, designed by Robert Hulle, is a stellar lierne vault with zigzagging liernes, as in St Mary Redcliffe nave or Norwich nave. 图克斯伯里庄园的建造者在礼拜堂里制作了一个早期扇形拱顶模型，拱顶的拱肋用作装饰，还有垂直的格子型图案。图克斯伯里庄园的波尚教堂的特色是上下两层都有垂直的扇形拱顶。垂饰成为垂直风格的标志性词汇元素，如牛津神学院和牛津基督教堂、剑桥国王学院教堂、温莎城堡的圣乔治教堂和威斯敏斯特教堂的拱顶。垂饰可以被看作是一种吊杆的发展，就像在约克分会住宅中，在立面上的响应逐渐最小化，或从伞顶移除伞柱。垂饰是一种没有支撑的悬挂式拱顶枕梁，与坎特伯雷大教堂和林肯大教堂的试验有关。伍斯特大教堂的西回廊步道，约翰·查普曼于 1435 年至 1438 年间建造，包含由圆锥形的居间肋拱底石、脊杆、横肋和八角形枝肋组成的拱顶。舍尔伯尼修道院的唱诗班拱顶是第一个全跨度的扇形拱顶。诺维奇中殿的拱顶上有弯弯曲曲的枝肋星形图案。彼得伯勒长老会的拱顶是一个类于圣玛丽雷德克里夫合唱团拱顶的枝肋拱顶，强调表面纹理。温彻斯特大教堂的中殿拱顶由罗伯特·赫勒设计，和圣玛丽·雷德克里夫中殿以及诺里奇中殿一样，是一个有锯齿形枝肋拱顶的中殿。 <E-C\> <E-C\> The remodelling of the crossing of Gloucester Cathedral between 1450 and 1475 by Robert Tully, features mid-air stone ogee arches set on flat four-centred arches, supporting pendant conoid springers of a lierne net vault. The vaulting in the crossing tower of Lincoln Cathedral synthesises the Lincoln vocabulary elements.（例 10）The arches appear to be a development of the flying rib, continuing experiments in spatial juxtapositions which began at Canterbury and Lincoln, but with a Perpendicular vocabulary. The crossing vault at Bristol Cathedral is a centralised lierne star vault, the pattern of which is continued in the transepts, with tiercerons and lierne diamonds. The crossing vault at York Minster is also a centralised lierne vault. The choir vault at Norwich consists of lierne star patterns and tiercerons which spring from the peaks of window heads in the clerestory, or hang from the vault like pendants, creating the effect that the elevations are suspended from the vault. The nave vault of Sherborne Abbey, designed by William Smyth, interweaves tiercerons, lierne patterns and fans, in a summation of the vocabulary in the development of 37 附录原文与译文硕士研究生学位论文 English Gothic vaulting. 1450 年至 1475 年，罗伯特·塔利对格洛斯特大教堂的中殿和耳堂相交处进行了改造。它的特色是在半空中设置了以四中心为平面的石制葱形拱门，用来支撑一个枝肋网顶的圆锥形起拱石。林肯大教堂中殿和耳堂相交处塔楼的拱顶综合了林肯的词汇元素——圆锥形起拱石、居间肋、枝肋和屋脊拱柱——形成了可以被解读为天界等级或宇宙拱顶的教义问答。拱门似乎由飞扶拱肋发展而来，延续了从坎特伯雷和林肯开始的空间并置，但使用了垂直元素。布里斯托尔大教堂的交叉拱顶是一个中央的枝肋拱顶，它的图案在横断面上延续，上面有居间肋和枝肋钻石。约克大教堂的交叉拱顶也是一个中央的枝肋拱顶。诺维奇的唱诗班拱顶由枝肋星形图案和居间肋组成，居间肋从天窗顶部伸出，像吊坠一样悬挂在拱顶上，营造出从拱顶悬垂下来的效果。舍尔伯尼庄园的中殿拱顶是由威廉·史密斯设计，它将居间肋、枝肋拱顶和扇形拱顶交织在一起，在发展过程中形成了英国哥特式拱顶元素。 <E-C\> <E-C\> The vault of the Divinity School of the Bodleian Library at Oxford University is a pendant lierne vault designed by William Orchard in 1478. The vault is divided by bundled transverse ribs which appear to be almost flying ribs; spandrels between are decorated with openwork tracery. William Orchard also designed the vault of Christ Church choir at Oxford University, a pendant lierne net vault, with similar transverse ribs suggesting flying ribs, and pendants attached to the transverse ribs as secondary corbels. The crossing vault at Salisbury is a centralised cusped lierne net vault;the crossing vault at Wells,designed by William Smyth, is a centralised fan vault. Bishop Alcock’s Chapel in Ely Cathedral, designed in 1488 by either Adam Lord, Adam Vertue, or Robert Janyns, features a fan vault influenced by St George’s Chapel, with pendant cusping and an undulating canopy screen filled with crocketed gables,ogee arches, and filigree tracery.（例 4）The composition combines recognisable vocabulary elements into an unprecedented form filled with overlappings and spatial juxtapositions. The vault of Bishop Langton’s Chapel at Winchester features tiercerons, zigzagging liernes, and cusped tracery. The vaulting in the retrochoir or “ New Building” of Peterborough was designed by John Wastell, designer of the vaulting of King ’ s College Chapel at Cambridge University.The vault at Peterborough is composed of steep conoid sections of fans decorated with tiercerons and reticulated tracery in the Perpendicular style. 38 硕士研究生学位论文附录原文与译文威廉·奥查德在 1478 年设计了牛津大学图书馆神学院的拱顶，它是一个悬挂式枝肋拱顶。拱顶被附带的横肋分开，横肋几乎是飞行肋;铁锹之间装饰着镂空的花饰。威廉·奥查德还设计了牛津大学基督教堂唱诗班的拱顶，这是一个吊坠式的枝肋拱顶，类似的横肋让人联想到飞肋，而横肋上的吊坠则是次要的横梁。索尔兹伯里的交叉拱顶是一个中央式斜顶枝肋网拱顶;威尔斯十字拱顶由威廉·史密斯设计，是一个中央扇形拱顶。埃利大教堂的阿尔科克主教礼拜堂于 1488 年由亚当·洛德、亚当·维尔图和罗伯特·詹尼斯设计，其特点是扇形拱顶受到圣乔治礼拜堂的影响，有下垂的尖顶和起伏的天幕，天幕上布满了卷叶饰凸雕山墙、葱形拱和金银丝装饰。该组合将可识别的元素组合成一种前所未有的形式，充满了重叠和空间并置。位于温彻斯特的朗顿主教礼拜堂的拱顶以铁蒺藜、弯弯曲曲的枝肋和尖尖的花饰为特色。彼得堡“新建筑”的拱顶是由剑桥大学国王学院礼拜堂拱顶的设计者约翰·沃森设计的。彼得伯勒的拱顶是由陡峭的扇形锥形部分组成的，扇面上装饰着垂直样式的居间肋和网状花饰。 <E-C\> <E-C\> The vaulting at Bath Abbey was designed by Robert and William Vertue and constructed between 1504 and 1508, and restored by Sir George Gilbert Scott in the 1860s.The vaulting consists of steep conoid tierceron springer vaults or fans, transverse ribs, cusped tracery, and pendants. The fan vault of King’s College Chapel, the largest fan vault in the world, was designed by John Wastell in 1508. Fans are intersected by transverse arches and segmented by thin transverse ridge lines, and are covered by a tracery of cusped arches and reticulation. The final fan vault in English Gothic architecture is the vault of the Dorset Aisle of Ottery St Mary, featuring thick tiercerons and cusped ogee arch tracery. The upper parts of the fans can also be read as canted spandrels alongside the ridge ribs. The fan vaults at Bath, Cambridge, and Ottery bring English Gothic architecture to a close, in the wake of the Renaissance, and a cultural shift in ideas and outlooks, as well as approaches to architecture. The consistent cultural approach to knowledge and built forms, which produced a homogeneous development throughout the late Middle Ages in England, resulted in what is among the most extraordinary architecture in the history of the world. 巴斯修道院的拱顶由罗伯特和威廉·维尔图设计，建造于 1504 年至 1508 年间，并在 19 世纪 60 年代由乔治·吉尔伯特·斯科特爵士修复。拱顶由陡峭的圆锥形施普林格拱顶或扇子、横肋、尖窗和吊坠组成。国王学院礼拜堂的扇形拱顶是世界上最大的扇形拱顶，由约翰·沃森特尔于 1508 年设计。扇体以横向拱交，以细细的横向脊线分割，并覆盖有尖拱和网状的示踪。英国哥特式建筑的最 39 附录原文与译文硕士研究生学位论文后一个扇形拱顶是奥特瑞圣玛丽教堂的多塞特走廊拱顶，其特点是有厚厚的铁栅栏和尖尖的拱形窗饰。扇子的上部也可以被解读为沿着脊肋的倾斜的扇子。在文艺复兴之后，位于巴斯、剑桥和奥特瑞的扇形拱顶为英国哥特式建筑画上了句号，也为建筑理念、观点和方法的文化转变画上了句号。对知识和建筑形式的一致的文化方法，在英格兰中世纪后期产生了一种同质的发展，产生了世界历史上最非凡的建筑之一。 <E-C\> <E-C\> Early English 早期英式 <E-C\> <E-C\> The eastern part of Canterbury Cathedral was destroyed by fire in September of 1174, as documented by Gervase of Canterbury, one of the monks. That part of the cathedral was rebuilt between 1175 and 1185, which was also documented by Gervase. According to him, the monks of Canterbury summoned masons from England and France, and were impressed by the French mason William of Sens, who decided to demolish the Norman arcades and clerestory which survived the fire.（例 7）Gervase chronicled the construction year by year. In 1175, two piers on each side of the west end of the choir were constructed. In the next year an additional pier was added on each side, with arches and supporting aisle vaults for the first three bays. Two more bays were added the following year, along with a gallery, clerestory and vault for the first five bays of the choir. In 1178, the sixth bay of the choir and the transept were constructed. The building project went smoothly for the entire ten years, except for the accident of William of Sens in 1178, when he fell from scaffolding while supervising work on the vault over the high altar, after having completed the sixth bay of the choir and the transepts, which forced him to retire to France, and to be replaced by William the Englishman. The new architect completed a new crypt by 1181, and began construction of the outer walls of the Trinity Chapel. The piers for the chapel were completed by the next year, and the walls of the Corona behind it, Becket’s Crown (p. 27). 坎特伯雷大教堂的东部在 1174 年 9 月被大火烧毁，坎特伯雷的一名僧侣杰维斯记录了这一事件。大教堂的东部在 1175 年到 1185 年间重建，杰维斯也记录 40 硕士研究生学位论文附录原文与译文了这段历史。据他所说，坎特伯雷的僧侣们从英国和法国召集了建筑师，并对法国建筑师威廉留下了深刻的印象，威廉决定拆除在大火中幸存的诺曼拱廊和天窗。格维斯年复一年地记录着教堂的修复工作。1175 年，唱诗班西区的两边各建了两个码头。在接下来的一年里，每边都增加了一个窗间壁，前三个开间都有拱门和支撑过道的拱顶。第二年又增加了两个凹进处，以及一个画廊，天窗和拱顶为合唱团的前五个窗间壁。1178 年，唱诗班第六个窗间壁和耳堂建成。除了 1178 年法国建筑师威廉出的事故，整个十年建设项目进展顺利。当他在监管祭坛上拱顶施工情况时，从脚手架上跌下来，而这时已经唱诗班第六个窗间壁已经完工，因此迫使他退休至法国，取而代之的是英国建筑师威廉。新建筑师在 1181 年完成了一个新的地下墓室，并开始建造三一教堂的外墙。教堂的桥墩在第二年完工，教堂后面的日冕墙是贝克特的王冠。 <E-C\> <E-C\> The shrine of Thomas Becket, who was murdered in the cathedral in 1170 and canonised as St Thomas of Canterbury in 1173, was added to the short Norman choir built under Bishop Lanfranc (1070-1077), after the Norman Conquest, which consisted of two bays and an apse, and was extended in the 12th century under Bishop Anselm (Saint Anselm, Archbishop of Canterbury, 1093-1109) Conrad (Prior Conrad, d. 1127) to include a pair of and Bishop eastern transepts and the chapels of St Anselm and St Andrew. The body of Thomas Becket, which was originally buried in the crypt, was placed in the new shrine, Trinity Chapel, built by William the Englishman, in 1220. For the Trinity Chapel, William the Englishman followed the main lines of the choir.（例 11）托马斯·贝克特于 1170 年在大教堂被杀,1173 年被信徒尊奉为“殉教者”圣托马斯。他的圣祠在诺曼征服后，被供奉在蓝符克朗主教（1070-1077）的唱诗班里，包括两个开间和一个半圆形后殿，并在 12 世纪由安塞姆主教(圣安塞伦，坎特伯雷大主教，1093-1109)和康拉德主教加大力度改造，改造包括一对东部支点以及圣安塞伦和圣安德鲁的小礼拜堂。托马斯·贝克特的遗体最初埋在地窖里，后来被安放在 1220 年由英国人威廉建造的新圣堂三一教堂里。对于三一教堂，英国建筑师威廉遵循唱诗班的主要路线。 <E-C\> <E-C\> Becket was murdered after he returned from exile in Sens, which resulted from 41 附录原文与译文硕士研究生学位论文 his arguments with King Henry II. In the north transept of the crossing, four knights, acting in support of the king, stabbed Becket to death. Afterwards, a hair shirt swarming with lice was found under his robe. He was recognised as a saint, and Henry II performed penance at his tomb, being flagellated by monks. The tomb of Thomas Becket became the most important pilgrimage destination in medieval England, as Becket became a symbol of resistance to tyrannical authority. The Canterbury Tales of Chaucer were inspired by the journey along the Pilgrim’s Way from London to Canterbury to see the shrine. So many offerings accumulated at the shrine that by 1538, when it was destroyed by Henry VIII, who was determined to destroy the symbol of resistance to the king, twenty-six wagons were required to cart all the offerings away.（例 12）贝克特与国王亨利二世争吵后，被流放到塞恩斯，而后被杀害。在十字路口的北耳堂，四名骑士支持国王，将贝克特刺死。后来，在他的长袍下发现了一件长满虱子的汗衫。他被认为是圣人，亨利二世在他的墓前忏悔，被僧侣鞭打。托马斯·贝克特的坟墓成为中世纪英国最重要的朝圣地，因为贝克特成为反抗暴政权威的象征。乔叟的《坎特伯雷故事集》的灵感来源于朝圣者从伦敦到坎特伯雷参观神殿的旅程。到 1538 年，神殿被亨利八世摧毁，亨利八世决心摧毁反抗国王的象征，他派遣 26 辆马车运走了所有的祭品。 <E-C\> <E-C\> Stained glass windows, called the Becket Miracle Windows, were installed around Trinity Chapel. Completed by 1220, the windows portray images of pilgrimage and miracles associated with Becket. A Becket Window was also installed in Chartres Cathedral in France in the early 13th century, illustrating the exploits and death of the saint in 1170. Earlier stained glass windows at Chartres include the Blue Virgin Window, the Jesse Window, and the Life of Christ Window, all installed around 1150. 彩色玻璃窗被称为贝克特奇迹窗，安装在三一教堂周围。到 1220 年完成，窗户描绘了朝圣和与贝克特有关的奇迹的图像。13 世纪初，法国的沙特尔大教堂也安装了贝克特窗，用以描述这位圣人在 1170 年的功绩以及死亡的过程。沙特尔早期的彩色玻璃窗包括蓝色圣母窗、耶西窗和基督的生命窗，都安装在 1150 年左右。 <E-C\> 42 硕士研究生学位论文附录原文与译文 <E-C\> The importance of Canterbury was established long before the murder of Becket. In 597, the missionary Saint Augustine was sent by Pope Gregory from Rome to Canterbury to convert England to Christianity. He gave a sermon to the Anglo-Saxon King of Kent, Ethelbert, and later that year Ethelbert was baptised, according to Saint Bede the Venerable’s history of England. Augustine became the first Archbishop of Canterbury, and Canterbury became the see of the primate of England. Following the Norman Conquest, the Archbishops Lanfranc and Anselm, who initiated the building of the great cathedral, would also come to be considered the fathers of English Scholasticism, based on their writings and sermons. Archbishop Lanfanc built the largest monastery in England, with a complex of Benedictine buildings,including a cloister, chapter house, dormitory, refectory, and cellarer’s lodgings on the north side of the cathedral. 坎特伯雷的重要性早在贝克特被谋杀之前就已确立。公元 597 年，教皇格里高利将传教士圣奥古斯丁从罗马派往坎特伯雷，使英国皈依基督教。他向英国肯特郡的盎格鲁撒克逊国王埃塞尔伯特布道，同年晚些时候，埃塞尔伯特接受了洗礼。奥古斯丁成为坎特伯雷的第一任大主教，坎特伯雷成为英格兰的大主教。诺曼征服后，开始建造大教堂的兰夫朗和安瑟尔姆大主教，根据他们的著作和布道，也被认为是英国经院哲学之父。兰芬大主教建造了英格兰最大的修道院，包括本笃会的建筑群，修道院、教堂、宿舍、食堂和位于大教堂北侧的酒窖。 <E-C\> <E-C\> The rebuilding of the eastern end of Canterbury was directed by William of Sens, a French architect who imported stone from Caen in Normandy for the project, from 1174 to 1179. William of Sens’work consists of the choir (pp. 24-25), which contains stalls for the monks across five bays between the central tower and the eastern crossing; the presbytery or retrochoir (pp. 18-19), across three bays east of the crossing, with a high altar raised on a few steps; and a final bay of the presbytery, containing the throne of St Augustine, the first Archbishop of Canterbury in the 6th century. William of Sens was able to replace the piers in the new French Gothic style, but he was limited to the original Norman plan. The resulting new building was much higher, with thinner proportions, pointed arches, and a ribbed vault. While Gothic elements appeared at Durham (p. 11), and at Ripon and Roche Abbey, Yorkshire, around 1170, the choir of William of Sens is considered to be the earliest surviving 43 附录原文与译文硕士研究生学位论文 Gothic building in England. 坎特伯雷东端在法国森斯的建筑师威廉·森斯指导下重建，他在 1174 年至 1179 年间从诺曼底的卡昂进口石材用于建造教堂。圣威廉的作品包括唱诗班(第 24-25 页)，其中包含了僧侣的前排座位，塔中央和十字架东部之间的五个开间; 长老派或后唱诗班(18-19 页)，横跨十字路口东面的三个开间，在几级台阶上有一个高高的祭坛;还有长老会的最后一个开间，里面有 6 世纪坎特伯雷大主教圣奥古斯丁的宝座。法国建筑师威廉能够以新的法国哥特式风格取代桥墩，但他被限制在原来的诺曼风格。由此产生的新建筑更高，比例更薄，有尖拱和肋拱。虽然哥特式元素出现在达勒姆(第 11 页)，在里彭和罗奇修道院，约克郡，1170 年左右，法国建筑师威廉设计的唱诗班被认为是英国现存最早的哥特式建筑。 <E-C\> <E-C\> The architecture is a compromise between the desire to build a new cathedral in a French style, and existing local requirements. The architecture is French in that it has a semicircular ambulatory, flying buttresses hidden under the aisle roofs, coupled columns, acanthus capitals, and two-bay sexpartite vaults.（例 6）While the walls along the plan are thick Norman walls, with thick piers alternating between cylindrical and octagonal, a combination repeated in the sculpted capitals, the height of the arcade suggests the French cathedral; it comprises about sixty percent of the elevation, and the gallery and clerestory above look diminished in relation to it. Responds rising from the cylindrical columns support transverse ribs which transform a quadripartite vault into a sexpartite vault in the French style, but the continuity of the French system is interrupted by the alternating piers. A single shaft supports the extra transverse ribs, while tripartite bundled shafts support the diagonal ribs and the main transverse ribs, creating an alternation which expresses the hierarchy of supports, as at Notre Dame in Paris or Laon. 坎特伯雷大教堂是法国风格的新教堂和当地现有需求之间的妥协。该教堂是法国风格，因为它有一个半圆形可移动、隐藏在过道屋顶下的飞扶壁、连接的柱子、叶形装饰柱头和两湾六分拱顶。虽然沿着平面图的墙壁是厚重的诺曼式墙壁，厚实的桥墩在圆柱形和八角形之间交替，这种组合在雕塑首都中反复出现，但拱廊的高度让人想起法国大教堂;它包含了大约 60%的立面，上面的长廊和天窗与之相比显得缩小了。响应由圆柱柱支撑的横肋上升，横肋将四边形拱顶转换成法国风格的六部分拱顶，但法国体系的连续性被交替的桥墩打断。一个单独的轴支撑额外的横向肋，而三部分捆绑的轴支撑对角线肋和主要的横向肋，创造了一种 44 硕士研究生学位论文附录原文与译文表达支撑层次的交替，如巴黎圣母院或里昂。 <E-C\> <E-C\> The ribs of the vault rise from corbels with alternating square and canted abaci, corresponding to the alternating circular and octagonal piers at the bottom of the respective responds. The square abaci are placed on top of the single slender shafts,which support the extra transverse ribs which intersect with the diagonal ribs at a boss along the ridge line of the vault, while the canted abaci are placed on the tripartite bundled shafts, which support the diagonal ribs and the main transverse ribs which delimit the bays of the vault. The corbels are placed at the bottom of the round arches of the gallery, at the same level of the abaci of the arches and sub-arches, so the springing of the vault is carried to below the base of the clerestory, in contradiction to French standards. The diagonal ribs receive the most well-articulated support. The responds rest on top of the abaci of the piers, propped up on their projecting ledges, as in contemporary French cathedrals, such as Notre Dame in Paris (similar arrangements can also be found at Ripon, Reims, Laon, Senlis, Sens,and Vézelay).While the arcade is extended and the gallery is well-articulated with arches set in arches and doubled Purbeck columns, the clerestory is pushed back behind Purbeck columns and almost hidden under the severies of the vault. 拱顶的肋从具有交替方形和倾斜的柱状结构中升起，对应于各自底部的交替圆形和八角形桥墩。广场算盘被放置在单一细长轴之上,支持额外的横向拱肋与对角线交叉肋拱顶的老板沿着山脊线,而倾斜的算盘放在三方捆绑轴,支持对角线拱肋和划定的主要横肋拱顶的开间。木柱被放置在拱廊的圆形拱门的底部，与拱门和副拱门的拱顶高度相同，因此拱顶的弹力被移到天窗的底部，这与法国的标准是相反的。对角线拱肋得到了最好的铰接支持。响应位于码头的顶部，支撑在突出的壁架上，就像当代法国的大教堂，如巴黎的圣母院。拱廊被扩展，画廊用拱形和双层的珀贝克柱巧妙地连接起来，天窗则被推到珀贝克柱后面，几乎隐藏在拱顶的几处裂缝之下。 <E-C\> <E-C\> The sexpartite vault was the first in England, and its use was short-lived, as variations developed by the end of the 12th century, beginning with the ridge rib at Lincoln. The sexpartite vault was used at St Denis in France in the 1140s, and at 45 附录原文与译文硕士研究生学位论文 Senlis and Noyon, though those vaults have not survived. The best example of the sexpartite vault in France can be found at Sens, though it was partially reconstructed in the 13th century. As at Canterbury, the diagonal ribs at Sens are semicircular arcs, and the transverse ribs are pointed and all the same pitch, reducing the thrust of the vault. Unlike Canterbury, the shafts in the elevation are designed to correspond to the static forces from the ribs; they rise from the ground, and continue in front of the clerestory, forming a complete skeletal structure, as opposed to the variety of subdivisions to which the shafts are subjected in the elevation of the Canterbury choir. This is made possible in part at Sens by the use of the flying buttress, which allowed the vault to be supported without a heavily articulated clerestory level, like the one at Canterbury, and allowed for greater expanse of glass in the clerestory, thus more light. The profiles of the ribs at Sens were excessive and inconsistent, and this problem was corrected at Notre Dame in Paris, begun in 1163. The culmination of the development of the sexpartite vault in France occurred at Bourges, begun 1172, and soon thereafter it was replaced by the quadripartite vault, as the additional thrusts were no longer needed in the development of the flying buttress. 六分拱顶是英格兰的第一个拱顶，它的使用是短暂的，作为变体发展到 12 世纪末，从林肯的脊肋开始。在 1140 年代，法国圣丹尼斯和桑利斯、诺永使用了六方金库，但这些金库都没有保存下来。法国六分拱顶最好的例子可以在森斯找到，尽管它在 13 世纪被部分重建。和坎特伯雷的情况一样，法国森斯的对角线肋是半圆形的圆弧，横肋是尖的，间距相同，减少了拱顶的推力。与坎特伯雷不同的是，竖井在立面上的设计与肋部的静力相对应;它们从地面升起，一直延伸到天窗前面，形成一个完整的骨架结构，而不是像坎特伯雷唱诗班那样，竖井被划分成不同的部分。在森斯，部分原因是由于使用了飞扶壁，使得拱顶不需要像坎特伯雷那样采用铰接式的天窗来支撑，天窗内的玻璃更大，因此光线更强。森斯的肋拱轮廓过多且不一致，巴黎圣母院纠正了这个问题。法国六方拱顶发展在布尔热斯达到高潮，开始于 1172 年，不久之后被四方拱顶所取代，因为飞行扶壁的发展过程中不再需要它。 <E-C\> <E-C\> Along with the sexpartite vault, the proportions of the elevations in the choir, the profiles of the bases and archivolts, and paired columns with attached shafts, have been cited as derived from the cathedral at Sens, the home town of the architect in France. The cathedral at Sens had an important symbolic connection to Canterbury, as 46 硕士研究生学位论文附录原文与译文 it was where Thomas Becket spent his years in exile, and it contained the only important relics of Becket outside of Canterbury, namely his mass vestments. The necessity to build in relation to the original Norman church at Canterbury prevented the result from being French Gothic architecture, so the architecture consists of elements of pure French Gothic architecture, distorted French Gothic architecture, and local Norman traditions. The upper walls of the elevations at Canterbury are much thicker than in France; they are supported by transverse arches in the galleries and aisles, and an internal passage above in the clerestory. This combination has some precedent in Norman churches,and in French churches like Laon, so, as in other details,the architecture is a compromise between French and Norman traditions. Many of the decorative motifs used by William of Sens, including chevron and roll mouldings on the vault ribs,dogtooth in the stringcourses, waterleaf capitals, and polished Purbeck marble shafts, are derived from previous work at the cathedral under Prior Wilbert (1153-1174), which is classified as Romanesque. Wilbert supervised several changes to the Norman cathedral, and the construction of the Infirmary Chapel and the Treasury. French influences were already present in the work under Wilbert, and many of the masons and sculptors continued on with William of Sens, perhaps further inspired by his origins. 六部分拱顶，唱诗班的立面比例，底座和档案的轮廓，以及带有附属竖井的成对柱子，都被认为是来自于森斯的大教堂，森斯是建筑师威廉在法国的家乡。森斯的大教堂与坎特伯雷有着重要的象征意义，因为托马斯·贝克特就是在这里流亡多年，教堂里有贝克特在坎特伯雷以外唯一重要的遗物，也就是他的法衣。由于需要与坎特伯雷原有的诺曼式教堂相联系，使得建筑不能成为法国哥特式建筑，所以建筑由纯粹的法国哥特式建筑、扭曲的法国哥特式建筑和当地的诺曼传统构成。坎特伯雷高地的上墙比法国的厚得多;它们由走廊和过道上的横向拱门和天窗上方的内部通道支撑。这种结合在诺曼教堂和像拉昂这样的法国教堂都有先例，所以，和其他细节一样，建筑是对法国和诺曼传统的妥协。法国建筑师威廉所使用的许多装饰图案，包括拱顶肋上的 v 字形和滚轴造型，弦上的犬牙形，水叶柱顶，以及抛光的珀贝克大理石轴，都来自于之前的威尔伯特长老在大教堂的作品，它们属于罗马风格。威尔伯特对诺曼大教堂进行了几次改造，还修建了医务室、礼拜堂和金库。在威尔伯特的作品中已经出现了法国的影响，许多石匠和雕塑家继续与法国建筑师威廉合作，也许是受到了他的出身的进一步启发。 <E-C\> 47 附录原文与译文硕士研究生学位论文 <E-C\> William of Sens’ choir aisles are two-storied, because he preserved the original windows and arcading from the choir built under Anselm. The responds in the first level are the original, while the responds in the second level were designed by William. In the triforium, trefoil windows replace the original tribune windows. William inserted an arcaded interior wall passage above the aisles and behind the clerestory,a motif which did not exist in France. The wall passage provides additional support for the vault, independent of the buttressing. The presbytery of William of Sens was complete by 1178, including ten piers for the three bays and altar, aisle vaults, gallery, and clerestory. 法国建筑师威廉设计的唱诗班走廊有两层楼，因为他保留了原来的窗户和在安塞姆下建造的唱诗班拱廊。第一层的响应是原始的，而第二层的响应是由威廉设计。在三拱式拱廊里，三叶窗取代了原来的看台窗。威廉在走廊上方和天窗后面插入了一个拱形的内墙通道，这一主题在法国并不存在。墙通道为拱顶提供了额外的支撑，独立于支撑。圣威廉长老会于 1178 年建成，包括三个开间、祭坛、走廊拱顶、走廊和天窗的十个窗间壁。 <E-C\> <E-C\> From the eastern crossing, the first piers are encased in a number of thin Purbeck marble shafts with acanthus capitals, which continue through the arcade level, similar to Notre Dame in Paris. The second pier is a simple thick cylindrical pier with a Byzantine version of a composite Roman capital. The third pier is octagonal with widely spaced thin attached Purbeck shafts, then a pier consisting of coupled columns with attached marble shafts, then finally a pier which is octagonal at the floor but becomes circular halfway up. The design of the aisle vaults of the presbytery is experimental as well, with lopsided five-part vaults (p.38) on the north side, connecting the original Norman aisle wall with a new arcade, and distorted quadripartite vaults on the south side. This experimental vaulting can be seen as a precedent for the “crazy vault”of Saint Hugh’s Choir (p.28) at Lincoln Cathedral, believed to have been designed by Geoffrey de Noyers, who was trained at Canterbury. The vaults in the north presbytery aisle at Canterbury connect two bays of the Norman aisle with one bay of the new arcade, so William set additional responds in the aisle wall and created a ribbed groin vault, as at Durham, with transverse ribs which are not parallel, and a fifth rib in each bay which is a transverse rib in the 48 硕士研究生学位论文附录原文与译文 severy on the aisle wall side. According to Gervase of Canterbury, this was necessitated by the preservation of the eastern towers above the chapels of St Anselm and St Andrew, which formed part of the Norman ambulatory. 从东部的十字路口开始，第一个桥墩被包裹在一些薄的带有叶形柱头的波贝克大理石竖井中，这些柱头继续穿过拱廊层，类似于巴黎的圣母院。第二个码头是一个简单的厚圆柱形码头，带有拜占庭式的罗马复合风格。第三个桥墩为八角形，由宽间距的薄连接的波贝克竖井组成，然后是由耦合柱和连接的大理石竖井组成的窗间壁，最后是一个桥墩，该桥墩在地面为八角形，但在半空中变为圆形。长老会过道拱顶的设计也是实验性的，北侧是倾斜的五部分拱顶(第 38 页)，将原来的诺曼走道墙与新的拱廊连接起来，南侧是扭曲的四部分拱顶。这个实验性的拱顶可以被看作是林肯大教堂圣休歌坛“疯狂拱顶”的一个先例(第 28 页)，据说是由杰弗里·德·诺耶斯设计，他在坎特伯雷大教堂受过训练。北方的金库在坎特伯雷长老通道连接两个开间诺曼过道的一湾新商场,所以法国建筑师威廉附加响应在过道上墙,创建了一个腹股沟肋拱顶,达勒姆,与横向拱肋不平行,五分之一在每个开间是一个横肋肋的穹顶的分隔间走廊墙上的一面。根据坎特伯雷的热维斯的说法，这是为了保护圣安瑟尔姆和圣安德鲁礼拜堂上的东方塔楼而必须建造的，圣安瑟尔姆和圣安德鲁礼拜堂是诺曼人流动教堂的一部分。 <E-C\> <E-C\> In the design of the Trinity Chapel, William the Englishman did not have to conform to any pre-existing Norman conditions. A shrine was necessary for the martyred Saint Thomas, who had already become a popular cult figure, and the shrine was placed directly above the tomb in the crypt where Thomas was previously buried. The floor level was raised above the high altar to create a procession through the choir and presbytery, culminating in the Trinity Chapel and Corona. For an unknown reason, the aisles of the chapel are not parallel, and the arcades bow outwards from the presbytery arcade walls of William of Sens. The chapel is supported by the massive walls of the crypt below, which is spacious because of the raised floor level. 在三一教堂的设计中，英国设计师威廉不需要符合任何已经存在的诺曼条件。殉道者圣托马斯已经成为一个受欢迎的邪教人物，因此必须有一个神龛，神龛直接放在坟墓的正上方，在托马斯以前埋葬的墓穴中。地板被抬高到高高的祭坛上方，形成了一个穿过唱诗班和长老会的游行队伍，最终到达三一教堂和日冕。不知什么原因，教堂的过道并不平行，拱廊从法国建筑师威廉设计的长老会拱廊 49 附录原文与译文硕士研究生学位论文墙向外弯曲。教堂由下方地窖的厚重墙壁支撑，由于地板的抬高，地窖显得很宽敞。 <E-C\> <E-C\> The Trinity Chapel above is filled with richly coloured marbles, sculpture and sparkling stained glass, creating a luxuriant opulence, an opulence that could originally be found in many English Gothic cathedrals, as walls and furnishings were often originally painted to create a colourful fantasia in combination with the stained glass windows. The clerestory and gallery of the chapel are the same as in the presbytery, with the minimal amount of masonry in the clerestory, just twin slender piers modelled on the clerestory of Sens, to maximise the light in the chapel. The vault behind the arcade is not supported by the outer aisle wall; instead its ribs terminate on freestanding bundles of shafts, and a passage, wide enough to walk through, is inserted between them and the exterior wall, which is filled with tall lancet stained glass windows. William the Englishman rejected the thick wall arcade of William of Sens, and dematerialised the architecture to allow the chapel to be flooded with light. The vaults are separated from the wall to create a skeletal structure, which was made possible by one of the earliest uses of the flying buttress. 上面的三一教堂充满了丰富的彩色玻璃球,雕塑和闪闪发光的彩色玻璃,创建一个华丽的富裕,富裕,可能最初被发现在许多英国哥特式教堂,墙壁和家具往往是最初画创造一个丰富多彩的幻想曲结合彩色玻璃窗。教堂的天窗和长廊与长老会相同，天窗的砌体最少，只是模仿法国森斯天窗的细长双墩，最大化了教堂的采光。拱廊后面的拱顶没有靠外走道墙支撑;相反，它的拱肋终止在独立的轴束上，在它们和外墙之间插入了一条足够宽的通道，这条通道充满了高高的尖刺彩色玻璃窗。英国建筑师威廉推翻了建筑师威廉的厚墙拱廊，并取消了建筑的体量，让教堂充满阳光。拱顶与墙体分离，形成了骨骼结构，这是最早使用飞扶壁的方法之一。 <E-C\> <E-C\> The dematerialisation is reminiscent of the ambulatory of Abbot Suger at St Denis north of Paris, where arcade walls are replaced by thin arcade shafts. The Abbot Suger is believed to have been inspired by the light mysticism of Pseudo-Dionysus, to allow the worshipper to enjoy the presence of light as much as possible, to signify the 50 硕士研究生学位论文附录原文与译文 presence of God, but the most important thing that St Denis and the Trinity Chapel have in common is their function as national shrines, so the light would play an important role in the illumination of ritual nationalistic ceremony. The same would be true later in the Sainte Chapelle in Paris, and at Westminster Abbey. The skeletal structure of the chapel aisles, considered to be William the Englishman’s most important innovation as an architect, establishes an important precedent for experiments in later English Gothic architecture, at Bristol and Gloucester, for example, where the vaulting arrangement becomes independent of the structure it is supporting, and independent of a structural system altogether, as in the pendant vault. 这种非实体化让人想起巴黎北部圣丹尼斯的修道院院长苏格(Abbot Suger) 的回廊，那里的拱廊墙被细长的拱廊竖井所取代。苏格被认为是受伪酒神的光学神秘主义,让崇拜者尽可能享受光的存在,表示上帝的存在,但最重要的是,圣丹尼斯和三一教堂的共同点是他们作为国家圣地,所以光照明发挥重要作用的民族主义的典礼仪式。后来在巴黎的圣礼拜堂和威斯敏斯特大教堂，情况也是如此。教堂过道的骨架结构,被认为是英国建筑师威廉作为一个建筑师最重要的创新,这种骨架结构成为了后英国哥特式建筑最重要的先例,比如，布里斯托尔和格洛斯特的垂饰拱顶就独立于其支撑和建造体系。 <E-C\> <E-C\> Above the arcade in the Trinity Chapel at Canterbury, the gallery of the presbytery is transformed into a triforium with a wall passage, and William of Sens’ system of paired arches each with paired sub-arches is replaced by a series of thin lancets with pointed arches, archivolts, and sub-arches with their own supporting shafts on either side of the main shaft, as opposed to a shaft in the centre in William of Sens’ scheme. The effect, based on the triforium of Laon Cathedral, continues the effect of the arcade vaulting: it is a more skeletal, attenuated, dematerialised system, more rigorous mathematically, and less decorative. The Corona, or Becket’s Crown, continues the themes of the chapel: dematerialisation and light, with tiers of arcaded galleries and extra light through the clerestory. William of Sens was the last important French architect to work in England (except perhaps Henry of Reyns at Westminster Abbey and Windsor in the 13th century), and the immediate influence of French architecture in the development of English Gothic architecture ends at Canterbury, until at least it is taken up again at Westminster in the Decorated style. To the extent that French motifs would be employed at Lincoln Cathedral, such as the 51 附录原文与译文硕士研究生学位论文 sexpartite vault, they are subject to extreme revision, and rendered unrecognisable. Nevertheless, the sexpartite vault, elevation scheme, bundled shafts, and experimental spatial relationships of Canterbury are continued at Lincoln. 三一在坎特伯雷教堂拱廊,上面的画廊的宅邸转化为一个教堂拱廊墙段,和法国建筑师威廉的配对系统拱门每成对 sub-arches 取而代之的是一系列的薄刺血与尖拱门,拱门饰,和 sub-arches 自己支持轴主轴的两侧,而不是在中心轴法国建筑师威廉的计划。这一效果基于拉翁大教堂的三穹窿，延续了拱廊拱顶的效果:它是一个更加骨骼化、弱化、非物化的系统，在数学上更加严谨，装饰性更少。科罗娜，或贝克特的王冠，延续了教堂的主题:非物质化和光线，有几层拱形走廊和通过天窗的额外光线。威廉·森斯是最重要的法国建筑师，他在英格兰工作(除了也许亨利·雷恩在威斯敏斯特大教堂和温莎在 13 世纪),和法国的直接影响建筑发展的英国哥特式建筑在坎特伯雷结束,直到至少都是又在威斯敏斯特的装饰风格。如果林肯大教堂使用的是法式图案，比如六部拱顶，那么它们就会经过极端的修改，变得面目惊心。尽管如此，六部分拱顶，立面方案，捆绑轴，和实验空间关系的坎特伯雷继续在林肯。 <E-C\> <E-C\> Lincoln Cathedral is the Cathedral Church of Saint Mary in Lincoln. It was a Roman colony, Lindum Colonia, and William the Conqueror built a castle there following the Norman Conquest,in 1068. Bishop Remigius, a Norman monk appointed by William the Conqueror,began building a Norman cathedral in 1072; it was consecrated in 1092 by Robert Bloet, the second bishop. The cathedral provided a chapel for canons, and the nave served as a parish church for Saint Mary Magdalene. By 1235 nothing is believed to have remained of the original Norman structure of Lincoln Cathedral except for the central portion of the west façade built by Remigius. The original roof was destroyed by fire in 1141, and much of the original structure was destroyed by an earthquake on 15 April 1185. Alexander, the third bishop, made repairs after the fire. He is credited by Giraldus Cambrensis with building the first masonry vaults at Lincoln. 林肯大教堂是林肯的圣玛丽大教堂。它是罗马的殖民地，林达姆·科洛尼亚， 1068 年诺曼征服后征服者威廉在那里建了一座城堡。主教雷米吉斯，一个由征服者威廉任命的诺曼修道士，在 1072 年开始建造一座诺曼大教堂;它于 1092 年由第二任主教罗伯特·布洛埃祝圣。大教堂提供了一个教堂的真经，和中殿作为教区教堂为圣玛丽抹大拉。到 1235 年，除了雷明思建造的西立面的中心部分， 52 硕士研究生学位论文附录原文与译文人们认为林肯大教堂原来的诺曼式结构已经不复存在。原来的屋顶在 1141 年被大火烧毁，1185 年 4 月 15 日的地震摧毁了大部分原来的结构。第三任主教亚历山大在大火后进行了修缮。吉拉尔德斯·坎布伦西斯认为他建造了林肯第一个砖石拱顶。 <E-C\> <E-C\> Rebuilding after the earthquake was begun by Saint Hugh of Avalon, the seventh bishop, who became bishop in 1186, and continued under Hugh for eight years, from 1192 to 1200. Hugh was a French Carthusian monk who was invited to England by Henry II, and was the only bishop of Lincoln to be canonised by the Catholic Church, although great efforts were made to canonise Robert Grosseteste as well. Hugh was the only person to supervise the building of a Gothic cathedral to become a saint. Bishop Hugh of Avalon employed Geoffrey de Noyers, who had worked at Canterbury. Geoffrey worked under William of Sens at Canterbury, and the influence can be seen in certain places at Lincoln. Geoffrey may also have worked under William’s successor at Canterbury, William the Englishman. 地震后重建工作由阿瓦隆的圣休开始，他是第七任主教，1186 年成为主教，并在休的领导下从 1192 年持续了八年，直到 1200 年。休是一位法国迦太基修道士，亨利二世邀请他到英国，他是林肯唯一一位被天主教堂册封为圣徒的主教，尽管人们为册封罗伯特·格罗斯泰斯特也付出了巨大的努力。修是唯一一个监督哥特式大教堂建成并成为圣徒的人。阿瓦隆主教雇佣了曾在坎特伯雷工作过的杰弗里·德·诺耶斯。杰弗里在建造坎特伯雷大教堂的英国建筑师威廉手下工作过，这种影响在林肯大教堂的某些地方也可以看到。杰弗里也可能在法国建筑师威廉的继任者，英国建筑师威廉的手下工作过。 <E-C\> <E-C\> The plan of Lincoln Cathedral, with two pairs of transepts, follows the plan for the rebuilding of Canterbury between 1175 and 1184. The east end of Lincoln, which was built during the time of Saint Hugh, and only the footprint of which remains in the Angel Choir of the cathedral, was very similar to the choir at Canterbury. A footprint of the original apse of Remigius can be seen in Saint Hugh’s Choir. From excavations, there were a hexagonal chapel at the east end of the choir for the relics of Bishop Remigius, and eastern transepts, based on the architecture at 53 附录原文与译文硕士研究生学位论文 Canterbury. These were destroyed in 1255 to make room for the new Angel Choir. In general, details of the architecture at Lincoln can be seen as elaborations of the details at Canterbury: plain piers are surrounded by shafts, crockets are allowed to run down the piers; multiple-layered triforia, multiple clerestory windows per bay, sexpartite vaulting, the paired apses in the transepts, and an abundance of Purbeck marble. Purbeck marble was from the beginning one of the most distinguishing features of the cathedral. It is referred to in the Metrical Life of Saint Hugh as lapidum preciosa nigrorum materies, and was seen to evoke the most spiritual qualities of light and material. Purbeck marble is not actually a marble, but a fossiliferous limestone polished to simulate marble, from the Isle of Purbeck. The Metrical Life of Saint Hugh, “How Saint Hugh built the cathedral church of Lincoln, 1192-1200, was the second biography of Bishop Hugh of Avalon, written by Henry of Avranches, a friend of Robert Grosseteste,between 1220 and 1235, when Grosseteste became Bishop of Lincoln. 林肯大教堂的包括两对横梁，都遵循了 1175 年至 1184 年间坎特伯雷的重建计划。林肯的东端，是在圣休时期建造的，只在大教堂的天使唱诗班留下了足迹，和坎特伯雷大教堂的唱诗班非常相似。在圣休的唱诗班里可以看到一个雷米吉斯原拱点的脚印。在发掘过程中，唱诗班东端有一座六角形的小教堂，用来存放雷米吉斯主教的遗物，还有一座东侧的教堂，以坎特伯雷大教堂的建筑为基础。这些在 1255 年被摧毁，为新的天使唱诗班腾出空间。一般来说，林肯建筑的细节可以被看作是坎特伯雷大教堂建筑细节的精雕细琢:普通的桥墩被竖井环绕，桥墩上允许有弯头;多层三层，每个开间都有多个高窗，六部分拱顶，横梁上成对的拱点，以及丰富的珀贝克大理石。普贝克大理石从一开始就是大教堂最显著的特征之一。在圣休的韵律生活中，它被称为珍贵的宝石，被认为唤起了光和物质的精神品质。珀贝克大理石实际上并不是大理石，而是一种含化石的石灰岩，经过抛光以模仿珀贝克岛的大理石。圣休的韵律生活， “圣休如何建造林肯大教堂， 1192-1200 年”，是阿瓦隆主教休的第二本传记，由阿夫兰契的亨利，罗伯特格罗斯泰斯的朋友，在 1220 年至 1235 年之间，当格罗斯泰斯成为林肯主教。 <E-C\> <E-C\> The vaulting throughout the aisles at Lincoln is based on the vaulting of one bay at Canterbury. The freestanding responds and multiple clerestory windows at Lincoln can be found in the Trinity Chapel at Canterbury. The building of Canterbury Cathedral, especially the reconstruction of the choir beginning in 1174,inspired a 54 硕士研究生学位论文附录原文与译文 proliferation of cathedral building in England. Minsters around England were inspired by the activities of Thomas Becket, in fighting for the liberties of the church against the king, to build new buildings and reliquaries for patron saints. Communities also became increasingly nationalistic in response to the expansion of French power, especially after the Norman Conquest and the invasion of England in 1216. After 1214, French influences were almost nonexistent in English architecture. 在林肯的整个过道的拱顶是基于坎特伯雷的一个开间的拱顶。在坎特伯雷的三一教堂可以找到独立的回应和林肯的多扇高窗。坎特伯雷大教堂的建造，尤其是 1174 年开始的唱诗班的重建，激发了英国大教堂建筑的蓬勃发展。英国各地的唱诗班受到托马斯·贝克特活动的启发，贝克特为教会的自由与国王作斗争，为守护神修建新建筑和圣物龛。随着法国势力的扩张，特别是在诺曼征服和 1216 年英国入侵之后，社区也变得越来越民族主义。1214 年后，英国建筑几乎不受法国的影响。 <E-C\> <E-C\> Lincoln is seen as the first significant departure from the French Gothic style, and the first instance of pure English Gothic architecture. There is a geometrical elaboration beyond any precedent at Lincoln. While many, in particular Nikolaus Pevsner, have created a romantic view of the architecture in the succeeding years as being a product of the visionary genius of Geoffrey de Noyers, it is uncertain what exactly his role was in the design of the architecture. His involvement is certain, as reported in the Magna Vita, the first biography of Saint Hugh, written by Adam of Eynsham in 1210. There he is called nobilis fabrice constructor, which means he would have been either the architect or the Clerk of Works. Constructor or construxit could mean the person for whom the work is built, such as the bishop or other members of the clergy, or a canon acting as custos fabricae, keeper of the fabric. In the Metrical Life of Saint Hugh, Geoffrey was instructed by Saint Hugh on his deathbed to finish the work quickly for the council of the king and bishops. The nave and chapter house, and even the present choir vault, may have been built by the “third master”, Alexander the Mason, who held property in Lincoln at the time. The rebuilding of the cathedral began with the transepts and Saint Hugh’s Choir. 林肯大教堂被认为是法国哥特式风格的第一次重大背离，也是纯正英国哥特式建筑的第一个实例。有一个几何的阐述超越了林肯的任何先例。尽管许多人，尤其是尼古劳斯·佩夫斯纳，在接下来的几年里创造了一个浪漫的建筑观点，认 55 附录原文与译文硕士研究生学位论文为这是杰弗里·德·诺耶斯(Geoffrey de Noyers)的远见卓识，但不确定他在建筑设计中究竟扮演了什么角色。正如 1210 年埃因沙姆的亚当所写的圣休的第一部传记《大宪章》所报道的那样，他的参与是肯定的。在那里，他被称为贵族法布里斯建造者，这意味着他要么是建筑师，要么是工作人员。建造者可以指为其建造作品的人，如主教或其他神职人员，或作为卡斯特·法布里科斯(custos fabricae) 的正典，即织物的保管人。在圣休的韵律生活中，杰弗里在弥留之际，圣休指示他尽快完成国王和主教会议的工作。中殿和章屋，甚至现在的唱诗班地下室，都可能是由“第三位大师”，石匠亚历山大建造的，他当时在林肯拥有房产。大教堂的重建始于修女会和圣休唱诗班。 <E-C\> The architecture of the east transept of Lincoln Cathedral (northeast transept: pp. 44-45, 49; southeast transept: pp. 37,46), from between 1190 and 1240, represented a significant departure from precedent, and had a decisive influence on the development of the Decorated style. To the north, there is an open, two-storey room between the openwork arcading and the exterior wall, the purpose of which is not known. It is possible that a ceiling was intended between the gallery and clerestory levels. Each vertical plane, the exterior wall with just two tiers of tall lancet windows, and the elaborate openwork screen façade set inside it, can be taken as the north façade of the transept, the interior façade providing a clear view of the exterior façade behind it. The two façades seem to fit into the general program of the architecture at Lincoln Cathedral at the end of the 12th century, attributed to Geoffrey de Noyers, working for Bishop Hugh of Avalon, of a series of experiments in vistas and visual experiences, and experimental spatial configurations, as in the asymmetrical vault and the syncopated double arcading of Saint Hugh’s Choir, but there is no indication that the coexistence of the two north façades in the transept had any functional purpose in terms of the organisation of the space. 林肯大教堂东耳堂建筑，从 1190 年到 1240 年，代表了一个重大的背离先例，并对装饰风格的发展具有决定性的影响。在北面，开放的拱廊和外墙之间有一个开放的两层楼的房间，其用途尚不清楚。有可能在画廊和上层之间设计了一个天花板。每一个垂直平面，只有两层高高的刺针窗的外墙，以及里面设置的精致的开放式幕墙，都可以作为耳堂的北立面，内部立面提供了它后面的外部立面的清晰视野。两个门面似乎适应的一般程序架构在林肯大教堂在 12 世纪的结束,归因于杰弗里·德·诺亚为主教休·阿瓦隆的工作,一系列的景观和视觉体验,实验和实验空间配置,在不对称的拱顶和切分双连拱饰圣休的唱诗班,但没有迹象表明， 56 硕士研究生学位论文附录原文与译文耳堂两个北立面的共存在空间组织方面有任何功能目的。 <E-C\> <E-C\> Across from the arcaded screens of Saint Hugh’s Choir in the north aisle is the double arcade. The double arcade also appears in the four semicircular chapels attached to the east side of the eastern transept, two in the north bay and two in the south bay. The eastern transept was built before the collapse of the crossing tower in 1237 or 1239, but the semi-circular chapels, though part of the original design, were probably not built until after the collapse. The vaulting of the eastern transept is the earliest surviving at Lincoln, and departs from the French model in that it is a sexpartite vault over a single bay rather than over two bays. This required an additional springer for the intermediate transverse rib. The springers rising from below the clerestory recalls Canterbury Cathedral. The triforium of the east transept is similar to that of Saint Hugh’s Choir, with two arches in each bay divided into two sub-arches, and trefoils and quatrefoils in the tympana, except in the northernmost bay, which is the earliest. The clerestory of the east transept only contains single lancet windows in each bay. The transept is not very well lit, as the clerestory windows are obscured by the curved web of the sexpartite vaulting condensed into one bay. The design of the vault of Saint Hugh’s Choir may have resulted in part from a desire to correct this problem. The pointed arches of the arcade in the lower walls of the transepts are similar to those in Saint Hughs Choir, as is the exterior buttressing. 在圣休歌坛(Saint Hugh 's Choir)的弧形屏幕对面，北面的过道上是双拱廊。双拱廊也出现在东耳堂东侧的四个半圆形小教堂中，两个在北开间，两个在南开间。东耳堂建于 1237 年或 1239 年的十字塔倒塌前，但半圆形的小教堂，虽然是原设计的一部分，可能是在倒塌后才建成的。东耳堂的拱顶是现存最早的林肯拱顶，与法国的拱顶不同，它是一个六部分拱顶，横跨一个开间，而不是两个开间。这需要额外的施普林格作为中间横肋。从克莱斯托里教堂下面升起的喷泉让人想起了坎特伯雷大教堂。东耳堂的三穹窿与圣休歌坛的三穹窿相似，每个开间有两个拱门，分为两个副拱门，鼓室除最北端的开间是最早的外，其余均为三叶和四叶。东耳堂的高窗在每个腔中只有一个刺状窗。耳堂光线不是很好，因为高窗被压缩成一个开间的六部分拱顶的弧形网遮住了。圣休歌坛拱顶的设计可能在一定程度上是为了纠正这个问题。拱廊的下墙上的尖拱与圣休歌坛的类似，外部的支柱也是如此。 <E-C\> 57 附录原文与译文硕士研究生学位论文 <E-C\> The vaulting of the chapels of the transept is quadripartite. A chamber on the western side of the northern arm, called the Dean’s Chapel, contains a column with an octagonal pier, surrounded by four circular Purbeck shafts alternating with hexagonal, concave fluted stone shafts, with crockets running up the side of the pier in between them. The column is repeated in the same location on both sides of the north and south bays. These are referred to as“ Trondheim Piers ” , as it is believed that Lincoln masons worked at Trondheim Cathedral.One of the piers is without the crockets. Nikolaus Pevsner considers this to be the original, an invention of Geoffrey de Noyers, while the rest of the columns are ruined by the excessive crockets. The original pier is exactly like piers found at Canterbury, which was completed in 1184, six years prior to the start of Geoffrey de Noyer’s work at Lincoln. Other columns in the eastern transepts display clustered marble piers and stone shafts, stiff-leaf foliage capitals, and the circular Gothic abacus at the top of the column, replacing the square Norman abacus. The columns have a cruciform core with hollowed-out, chamfered angles forming diagonal shafts, which is repeated in Saint Hugh’s Choir, except with only four detached shafts. 耳堂的拱顶是四方的。北臂西侧的一个房间叫做院长礼拜堂 (Dean 's Chapel)，里面有一根柱子，柱子上有一个八角形的码头，四周环绕着四个圆形的普贝克井与六角形的凹槽石井交替，在它们之间的码头一侧有几颗小石子。在北湾和南湾的两侧，柱子在相同的位置重复。这些被称为“特隆赫姆码头”，因为人们相信林肯石匠在特隆赫姆大教堂工作。其中一个桥墩没有桥头。尼古劳斯·佩夫斯纳(Nikolaus Pevsner)认为这是原创，是杰弗里·德·诺耶斯(Geoffrey de Noyers)的发明，而其余的柱子则被过多的花形浮雕破坏了。原来的码头和坎特伯雷的码头一模一样，坎特伯雷的码头建于 1184 年，比杰弗里·德·诺亚在林肯的工作早了六年。东横梁上的其他柱子上，则是一簇簇的大理石桥墩和石柱，枝叶挺拔的柱顶，以及柱顶的圆形哥特式算盘，取代了诺曼式的方形算盘。这些柱子有一个十字形的核心，镂空、倒角形成斜轴，圣休歌坛(Saint Hugh 's Choir) 也是如此，只有四个分离的轴。 <E-C\> <E-C\> The main, western transept (southwest: pp. 34-35), which contains the Dean’s Eye (p. 39) and the Bishop’s Eye (p. 43), was more or less completed by the time of 58 硕士研究生学位论文附录原文与译文 the collapse of the tower. Only the innermost bays had been completed by 1200, and the subsequent bays were built between 1200 and 1235. Bishop Hugh of Wells, bishop from 1209 to 1235, is believed to have contributed to the construction of the transepts and later the nave (pp. 12-13) by donating all of the timber from his land upon his death. The western transept is believed to have been started by Geoffrey de Noyers, and continued by the“second master”, Michael, or Master Michael the Mason, referred to as magister operis, “master of the works of the Church of Lincoln”, and “master of the Fabric of the Church of Lincoln”, active from around 1210 to 1234. Michael held land in the parish of Saint Michael on the Mount of Newhouse Abbey. He was succeeded by Gilbert de Burgo, who was active from about 1230 to 1235. The architect who completed the western transept is considered to be a different architect than that of Saint Hugh’s Choir, in its original form, and the architect of the nave still a third architect. The“third master”, Alexander, active from around 1240 to 1257, is also credited by John Harvey with the crossing tower, chapter house, Galilee Porch, and the upper part of the west front. Alexander was referred to in various places as cementarius (mason), magister operis (master of the works), and magister fabricae (master of the fabric). 主西耳堂，包括牧师之眼和主教之眼，或多或少是在塔倒塌时完成的。只有最里面的开间在 1200 年之前完工，随后的凹进处在 1200 年到 1235 年间建成。威尔斯的修主教，从 1209 年到 1235 年担任主教，据信在他死后捐出了他土地上的所有木材，为教堂的横梁和后来的中殿的建造做出了贡献。西方婚礼被认为是由杰弗里·德·诺亚和持续的“第二次大师”,迈克尔,或大师迈克尔•梅森,被称为 “林肯教堂建筑大师”。迈克尔在纽豪斯修道院的圣迈克尔教区拥有土地。吉尔伯特·德·伯戈接替了他的职位，他在 1230 年到 1235 年间一直很活跃。完成西耳堂的建筑师被认为是一个不同于圣休歌坛的建筑师，在其最初的形式，和中殿的建筑师仍然是第三个建筑师。“第三位大师”亚历山大活跃于 1240 年至 1257 年之间，约翰·哈维也将十字塔、章屋、加利利门廊和西线的上部归功于他。亚历山大在很多地方被称为“水泥匠”、“歌剧大师”和“建筑大师”。 <E-C\> <E-C\> The western transept features piers composed of eight stone shafts and eight marble shafts, reiterating the number eight as symbolic of creation. The bays of the transept are similar to the bays of Saint Hugh’s Choir. The architecture changes above the capitals of the piers, though, seeming to be the work of a different 59 附录原文与译文硕士研究生学位论文 architect. The vaulting of the main transept is sexpartite, and is the same height as Saint Hugh’s Choir, seventy-four feet. Each bay is divided into six cells by a transverse and two diagonal ribs, a simpler, conventional variation of the vaulting of Saint Hugh’s Choir, and, as a result, far more influential to subsequent architecture. The vaulting of the western transept was not built high enough, and the bay at the north end above the Dean’s Eye is higher than the others. 西耳堂的桥墩由 8 根石柱和 8 根大理石柱组成，重申数字 8 是创造的象征。耳堂的凹进处与圣休歌坛的凹进处相似。不过，桥墩顶部的建筑结构发生了变化，似乎是另一位建筑师的作品。主耳堂的拱顶是六部分的，和圣休歌坛一样高，74 英尺。每个开间被一个反诗体和两条对角拱肋分成六个单元，这是圣休歌坛拱顶的一个更简单、更传统的变体，因此对后来的建筑影响更大。西耳堂的拱顶建得不够高，牧师之眼的凹进处比其他的都要高。 <E-C\> <E-C\> The main sources of light in the cathedral are the Dean’s Eye and Bishop’s Eye. The windows are the best example of stained glass in early 13th century in England, preceding the stained glass at Canterbury (p. 16). Both windows in the transept are twenty-four feet in diameter. The Dean’s Eye retains its original tracery, while the tracery of the Bishop’s Eye is from the Decorated period in the 14th century, inserted around 1320 in honor of John of Dalderby. Both windows are described in the Metrical Life of Saint Hugh. The windows would have been completed during the bishopric of Robert Grosseteste. It is probable that the windows were not part of the original design of the transept. The Dean’s Eye is too big for its position, resulting in an alteration in the vaulting. The Bishop’s Eye interrupts a buttress shaft between the lancet windows, intended for a springer rib for the vault; the buttress as built serves no purpose. The Dean’s Eye faces the deanery to the north, while the Bishop’s Eye faces the bishop’s palace to the south, next to the Galilee Porch, the ceremonial entrance to the cathedral for the bishop. As described in the Metrical Life of Saint Hugh, the Dean’s Eye protects the cathedral from the spirit of the Devil to the north, while the Bishop’s Eye invites the Holy Spirit from the south into the cathedral. 大教堂的主要光源是牧师之眼和主教之眼。窗户是 13 世纪早期英国彩色玻璃最好的例子，在坎特伯雷大教堂彩色玻璃之前。耳堂的两扇窗户的直径都是 24 英尺。牧师之眼保留了它原来的花饰，而主教之眼的花饰则来自 14 世纪的装饰时期，在 1320 年左右，以纪念达尔德比的约翰。这两扇窗户都被描述为圣休的韵律生活。这些窗户本应在罗伯特·格罗斯泰斯担任主教期间完工。很可能这 60 硕士研究生学位论文附录原文与译文些窗户并不是耳堂最初设计的一部分。牧师之眼这扇窗户太大，不适合它的位置，导致了拱顶的变化。主教之眼打断了两扇尖刀窗之间的一根扶壁轴，这支扶壁轴是用来做拱顶的一根拱肋的;这个扶壁建起来没有任何用处。牧师之眼朝北对着教堂，而牧师之眼朝南对着主教的宫殿，紧挨着加利利门廊，这是主教进入教堂的仪式入口。正如《圣休的韵律生活》中所描述的那样，牧师之眼保护着教堂，使其免受北面恶魔之灵的侵扰，而主教之眼则吸引着南面的圣灵进入教堂。 <E-C\> <E-C\> The Dean’s Eye is considered to be the culminating example of a rose window with plate tracery in Gothic architecture, along with earlier examples in Chartres Cathedral from the 12th century.Plate tracery was the earliest form of tracery in the Gothic stained glass window,with lights or glazed openings inserted into openings in a sheet of masonry. Plate tracery was replaced by bar tracery, with thin individual stone mullions, after the Dean’s Eye, around 1225. Bar tracery windows allow much more light through the window into the interior of the cathedral,so the plate tracery of the Dean’s Eye and the windows at Chartres are seen as limiting the amount of light allowed to enter into the cathedral. The later bar tracery windows in the Angel Choir at Lincoln, for example, allow in much more light. 牧师之眼被认为是哥特式建筑中带有板窗的玫瑰色窗户的终极例子，以及 12 世纪沙特尔大教堂的早期例子。板窗是哥特式彩色玻璃窗中最早的窗饰形式，在一块砖石上的开口中插入灯光或玻璃开口。在 1225 年左右，板窗饰被条形窗饰所取代，用单薄的石竖框代替。酒吧的窗窗允许更多的光线通过窗户进入大教堂内部，所以牧师之眼和沙特尔的窗户被认为限制了进入大教堂的光线量。例如，林肯天使合唱团后来的铁楞窗就能让更多的光线进来。 <E-C\> <E-C\> The subject of the images in the glass of the Dean’s Eye is the Church on Earth, the Church Militant, paired with the Church in Heaven, the Church Triumphant, in sixteen circular openings surrounding a quatrefoil.Christ is seated in the centre surrounded by the blessed in Heaven. Four compartments surrounding the central image, which are probably not in their original positions, forming the quatrefoil, show various subjects, including the relics of Saint Hugh. Subjects in the sixteen outer circles of the window include angels with the instruments of the Passions, Saint Peter 61 附录原文与译文硕士研究生学位论文 conducting people to Heaven, the Resurrection,and bishops and archbishops. Below the window, five lancet windows can be seen through an arcade of seven lancet arches. Large lancet windows on either side of the Dean ’s doorway, dating from the 14th century, contain images of angels playing musical instruments and geometrical patterns. The musical instruments of the angels are a reference to the musica cosmica in contrast to the musica mundana, that there corresponds to all music created by human beings a celestial music. 牧师之眼镜子里的人物形象是地球上的教会，好战的教会，与天堂里的教会配对，胜利的教会，在 16 个圆形开口周围环绕着一个四重奏。基督坐在中间，被天上的祝福者所围绕。围绕中心图像的四个隔间，可能不在原来的位置，形成了四翼图，展示了不同的主题，包括圣休的遗迹。在窗户外面的 16 个圆圈里，有带着激情乐器的天使，带着人们去天堂的圣彼得，复活，主教和大主教。在窗户下方，可以看到五个柳叶刀窗口通过一个由七个柳叶刀拱门组成的拱廊。院长门两侧的大柳叶刀窗可以追溯到 14 世纪，里面有天使演奏乐器和几何图案的图像。天使的乐器是指宇宙音乐与蒙丹那音乐的对比，那里对应着人类创造的所有音乐一种天上的音乐。 <E-C\> <E-C\> In the Metrical Life, the Dean ’ s Eye and Bishop ’ s Eye are compared to heavenly bodies. While the two windows in the transept can be seen as the sun and the moon, the rest of the windows are seen as the stars. Inscriptions above the windows describe “dwellers in the Heavenly City and the weapons with which they overcame the Stygian Tyrant”, so that the windows represent the heavenly cities, as in the De Civitate Dei of St Augustine. The windows allow the architecture to play the role of reinforcing standards of Christian justice in medieval society. The Bishop’s Eye is the greater of the two windows, because it faces south to receive the Holy Spirit, while the Dean’s Eye faces north to protect the church against the devil. The two windows illuminate the cathedral from the“lantern of heaven”, the great transept, which “ with these eyes surveys the gloom of Lethe” ,the oblivion of the river of forgetfulness in Hades.While the two great windows symbolise the Bishop and Dean, the clerestory windows below symbolise the canons, and in the aisles,the vicars, in a descending hierarchy from spiritual to more material and mundane affairs. 在韵律生活中，牧师之眼和主教之眼被比作天体。耳堂的两扇窗户可以看到太阳和月亮，其余的窗户可以看到星星。窗户上方的铭文描述了“天堂之城的居 62 硕士研究生学位论文附录原文与译文民和他们战胜黑暗暴君的武器”，因此窗户代表了天堂之城，就像圣奥古斯丁的《文明之神》中描述的那样。窗户使建筑在中世纪社会中发挥了加强基督教正义标准的作用。主教之眼是两扇窗户中较大的一扇，因为它朝南是为了接受圣灵，而牧师之眼朝北是为了保护教堂不受魔鬼的侵袭。两扇窗户从“天灯”上照亮了大教堂，那是一座大耳堂，“用这双眼睛望着地狱里遗忘之河的幽暗”。两扇大窗户象征着主教和教务长，下面的高窗象征着教规，过道里的窗户象征着牧师，从精神层面到物质层面和世俗层面的层级不断下降。 <E-C\> <E-C\> Saint Hugh’s Choir (p. 28) consists of four bays, and is eighty- two feet wide between outer walls. There are two arches in each bay of the triforium, each divided into two sub-arches, with trefoils and quatrefoils in the tympanum above. It is believed that the original triforium had a continuous row of lancet windows. There are three clerestory windows instead of two in three of the four bays, corresponding to the Trinity, with an arcade of Purbeck shafts in front of them, and five arches, which may contribute to an explanation of the asymmetrical vaulting. There are two clerestory windows in the westernmost bay, which has regular sexpartite vaulting, as in the transepts. The first bay to the east of the choir, which crosses the lesser or eastern transept, and connects Saint Hugh’s Choir to the Angel Choir, begun later around 1250, also has asymmetrical vaulting. 圣休歌坛(第 28 页)由四个开间组成，外墙之间有 82 英尺宽。三叠纪的每一开间有两个拱，每一个拱又分为两个副拱，鼓室上有三叶和四叶。我们认为，原来的三叶草有一排连续的刺状窗。与三位一体相对应，四个开间中的三个有三个高窗，而不是两个，前面有一个由珀贝克竖井组成的拱廊，还有五个拱门，这可能有助于解释不对称拱顶。最西侧的开间有两扇高窗，像横梁一样，有规则的六分拱顶。唱诗班东面的第一个开间，穿过小耳堂或东耳堂，连接圣休唱诗班和天使唱诗班，后者于 1250 年前后开始，也有不对称的拱顶。 <E-C\> <E-C\> A major debate among historians is whether the present form of the vault of Saint Hugh’s Choir was conceived prior to the collapse of the tower, or supporting walls, in 1237 or 1239, or whether it was invented after the collapse, during the bishopric of Robert Gosseteste. It is possible that the original structure built during the 63 附录原文与译文硕士研究生学位论文 bishopric of Saint Hugh of Avalon, possibly designed by Geoffrey de Noyers, had a timber roof and a flat wooden ceiling, supported by thin walls, including the outermost arcade in the aisles, with flat buttresses on the aisle walls. The flat buttresses may have been for a planned sexpartite vault, which was abandoned during the process of construction for the present asymmetrical vault. This would explain the alternating circular and hexagonal vaulting shafts, which would accommodate alternating patterns of ribs in a sexpartite vault, between the single transverse rib and the trans-verse rib and two diagonals, while the patterns of ribs from the springers are consistent in the asymmetrical vault. 历史学家之间的一个主要争论是，圣休歌坛的拱顶是在 1237 年或 1239 年钟楼倒塌前构思出来的，还是在倒塌后罗伯特·戈斯泰斯特担任主教期间发明的。阿瓦隆的圣休主教统治时期建造的原始结构可能是由杰弗里·德·诺耶斯设计的，它有一个木质屋顶和一个扁平的木质天花板，由薄墙支撑，包括过道最外面的拱廊，过道墙壁上有扁平的扶壁。这些平扶壁可能是一个计划中的六部分拱顶，在不对称拱顶的建造过程中被放弃。这就解释了交替的圆形和六角形拱顶，它可以容纳六部拱顶中拱肋的交替图案，在单横肋和反宇宙拱肋以及两个对角线之间，而在不对称拱顶中，纵梁的拱肋图案是一致的。 <E-C\> <E-C\> When the present vaulting was added later, perhaps after the collapse, the walls needed to be shored to support the extra weight. Part of the shoring involved building a second arcade over the first to support the increased wall thickness above,but the builders did not want to conceal the original arcade, so the piers and arches of the second arcade were made to alternate with the piers and arches of the original arcade, resulting in the present syncopated double arcade. The apexes of the arches of the first arcade are also visible through pierced openings in the second arcade. The first arcade is of limestone; the second overlapping arcade is built with Purbeck marble in the south aisle and Alwalton marble in the north aisle. The builders also added additional vaulting shafts to the wall to support the new vault, resulting in the present shafts one on top of the other. The bays of the arcading do not correspond to the bays of the vault as established by the vaulting shafts. Flying buttresses were added to the exterior existing buttresses, and transverse arches were built in the triforium chamber, a method of shoring which was repeated in the nave and Angel Choir, or retrochoir, of the cathedral. 64 硕士研究生学位论文附录原文与译文也许是在倒塌之后，当拱顶数量被增加时，墙壁需要被支撑额外的重量。但建造者并不想隐藏原有的拱廊，所以将第二个拱廊的墩和拱与原有拱廊的墩和拱交替使用，形成了现在的切分双拱廊。第一个拱廊的拱顶也可以通过第二个拱廊的穿孔开口看到。第一个拱廊是石灰石的;第二个重叠的拱廊由南走道的大理石和北走道的大理石建成。建筑工人们还在墙壁上增加了额外的竖井来支撑新的拱顶，使得现在的竖井一个在另一个之上。拱廊的凸台与拱顶的凸台不相对应。飞拱被添加到现有的外部扶壁上，横拱在三穹窿室中建造，这种支撑方法在教堂的中殿和天使唱诗班中重复使用。 <E-C\> <E-C\> The western bay of Saint Hugh ’ s Choir, with the sexpartite vaulting, was perhaps built later, due to the collapse of the supporting walls of the crossing tower, and the loss of the original piers there. The details of the western bay are considered to be more poorly designed than the rest of the bays in the choir, though more structurally sound, for example, columns without capitals, and eight-lobed pillars of Lincoln stone in the triforium, compared by Edmund Venables to“pounds of candles”. The trefoils and quatrefoils in the tympana of the west bay are crooked. The first piers of the arcade after the two westernmost bays perhaps remain from the original choir, as they have Purbeck shafts and concave sides. Pevsner considers these to have been designed by Geoffrey de Noyers, and to be his“most elegant”piers. They have square cores, chamfered angles, and Lincoln stone capitals. Above the piers the vaulting shafts of the choir rise from cone-shaped brackets. 圣休唱诗班的西隔间，有六部分拱顶可能是后来修建的，因为十字塔的支撑墙倒塌了，原有的桥墩也不见了。西隔间的细节被人们认为比唱诗班的其他隔间设计得更糟糕，尽管在结构上更合理，比如，没有大写字母的圆柱，以及在三棱柱台上由林肯石砌成的八叶柱子，埃德蒙·维纳布尔斯将其比作“几磅蜡烛”。西隔间鼓室的三叶和四叶弯弯曲曲。在两个最西端的隔间之后，拱廊的第一个桥墩可能保留了原来的唱诗班，因为它们有普贝克井和凹边。佩夫斯纳认为这些桥墩是由 Geoffrey de Noyers 设计而成，是他设计的“最优雅”的桥墩。他们有方形的芯部，倒角，和林肯石。在桥墩之上，唱诗班的拱桥从锥形托架上升起。 <E-C\> <E-C\> The vaulting of the choir, the present state resulting perhaps from the reconstruction after the collapse of the crossing tower, is the subject of more 65 附录原文与译文硕士研究生学位论文 attention and debate than any other part of the cathedral. The vault began as a variation of a normal quadripartite vault. In each bay, two bosses were placed on the ridge pole, perhaps because of the short width of the bays, dividing it into three sections, perhaps to accommodate the three clerestory windows, and making a symmetrical vault impossible, if it has diagonal ribs springing from the corners of the bays. The continuous ridge pole, the first of its kind in a Gothic cathedral, supposedly provides bracing for the bosses or keystones of the vaulting.The ridge pole is slightly arched between the bosses, in an attempt to stabilise the vault longitudinally. Between the bays, four ribs spring towards the ridge pole from corbels placed between the arches of the triforium; the corbels are supported by shafts which run down the wall to a corbel between the main arches of the aisles. The shafts alternate between circular and hexagonal, making no sense in relation to the vault. They originally ran down to the bottom of the main arches, but were moved up to make room for new timber choir stalls below for the canons, installed after 1350 by Treasurer Welbourn. 唱诗班的拱顶，目前的状态可能是由于十字塔倒塌后的重建，是比大教堂任何其他部分更受关注和辩论的主题。拱顶开始是一个正常的四方拱顶的变种。在每一个开间里，脊柱上都有两个凸台，这也许是由于开间的宽度较短，把开间分成三段，也许是为了容纳三扇高窗，如果开间的角上有斜肋，就不可能有对称的拱顶。这是哥特式大教堂中第一个连续的山脊柱，据推测，它为拱顶的柱顶或基石提供了支撑。为了在纵向上稳定拱顶，脊杆在凸台之间略微拱起。在开间之间，四根拱肋从位于三穹窿拱门之间的小柱向山脊杆方向弹起;立柱由沿墙向下的立柱支撑，立柱位于过道的主要拱门之间。竖井在圆形和六角形之间交替，与拱顶毫无关系。他们最初一直跑到主拱门的底部，但后来被搬了上去，为下面新的木制唱诗班座位腾出了空间。1350 年后，财务主管威尔伯恩安装了这些唱诗班座位。 <E-C\> <E-C\> Because there are only two bosses in each bay, there is only room for three ribs to connect the corbels and bosses, two on one side and one on the other of each bay. （例 3）The asymmetrical vaulting follows from the even number of bosses in each bay. The cone-shaped clusters of ribs springing from the corbels are asymmetrical: two on one side of the rib separating the bays, one on the other. As the asymmetrical staggering is repeated on the other side, this causes the vault to be asymmetrical, with two ribs connecting at a boss with one rib on the other side, and one rib with two, on both sides of the ridge rib. This is called a triradial vault, with three ribs emanating from each of the two bosses in each bay. According to Nikolaus Pevsner, the vault is 66 硕士研究生学位论文附录原文与译文 an invention of Geoffrey de Noyers. 因为每个开间只有两个雕花球，所以只有三根拱柱来连接枕梁和雕花球，两根在开间的一边，一根在开间的另一边。圆锥形的拱肋簇从小柱上伸出来是不对称的:在分隔隔间的拱肋的一侧有两根，另一侧有一根。由于这种错开不对称且不断重复，这导致拱顶也不对称，有两根拱肋连接轴套与一根拱肋在另一边，一根拱肋与两根拱肋，在脊肋的两侧。这被称为三放射状穹顶，在每个隔间的两个轴套各有三根拱肋。据尼古劳斯·佩夫斯纳说，穹顶是杰弗里·德·诺耶斯的发明。 <E-C\> <E-C\> The single rib connecting the corbel with the boss on each side is called a tierceron rib, or“third” rib, and it is the first appearance of such a type of rib in the history of architecture. It has no structural function in the vault; it is just placed on top of the severy, and could easily have not been placed there, structurally, though it can be seen how it might strengthen the vault, by increasing the mass of the skeleton and reducing the size of the cells between the ribs. But such potential structural function is minimal in relation to the presence of the rib. The third rib reinforces the triune grouping of elements in the vault, introduced by the three lancet windows in each bay of the clerestory. The vaulting may have been designed as such to make each bay large enough to accommodate three clerestory windows, to allow for the symbolism of the Trinity, and to allow an adequate amount of light to filter into the choir from the clerestory windows, which is not the case in the transept. In the transept, the clerestory windows are enveloped by the sexpartite vaulting.The vaulting in the choir may also have been designed as such to decrease the area of the severies on either side of the latitudinal ribs that separate the bays, to give the vault greater strength, given the structural concerns following the collapse of the piers.The vault was further strengthened by arcaded screens,inserted between the piers which divide the choir from the aisles on both sides,built during Grosseteste’s bishopric. 连接枕梁和轴套两侧的单根拱肋被称为居间肋，或“第三”根拱肋，这是建筑史上第一次出现这种类型的拱肋。拱顶内无结构功能;它只是被放置在穹顶分隔间的顶部，尽管可以看到它是如何通过增加骨架的质量和减小拱肋之间单元格的大小来加强穹窿，但从结构上看似乎显示没有被放置在枕梁和轴套里。但这种潜在的结构功能相对于拱肋的存在是最小的。第三根拱肋加强了穹窿中元素的三位一体组合，由天窗每个隔间的三个柳叶窗引入。却可能被设计成这样让每个隔 67 附录原文与译文硕士研究生学位论文间大到足以容纳三个天窗窗口,它表明了三位一体的象征意义,并允许足够的光线从天窗过滤到唱诗班的窗户,耳堂除外。在耳堂，高窗被六部分的拱顶所包围。唱诗班的拱顶也可能是这样设计，以减少分隔室的纬度肋两侧的割裂面积，给予拱顶更大的强度，考虑到桥墩倒塌后的结构问题。在格罗斯泰斯特主教统治期间，唱诗班与两侧过道之间的桥墩之间插入了拱形屏风，进一步加强了拱顶的作用。 <E-C\> <E-C\> The vault of the nave (pp. 12-13) is almost ten feet higher than the vault of Saint Hugh’s Choir, at eighty-two feet. The height of the nave is equal to the width of the nave and aisles, that is, it was designed“on the square”. It was probably built between 1235 and 1245. The nave is two hundred and five feet long. The bays of the nave, at twenty-seven feet east to west, are longer than Saint Hugh’s Choir, allowing for more openings and shafts in the elevations, and allowing for three bosses per bay along the ridge pole instead of two, and a symmetrical vault. The two western bays of the nave behind the screen façade are five feet shorter, east to west, and they are two feet below the other bays, in order to accommodate the two western towers. The nave is also not centralised between the towers. 中殿的拱顶(12-13 页)几乎比圣休唱诗班的拱顶高十英尺，高八十二英尺。中殿的高度等于中殿和过道的宽度，即设计为“在广场上”。它可能建于 1235 年至 1245 年之间。中殿有二百五英尺长。中殿的开间从东到西长 27 英尺，比圣休歌坛(Saint Hugh 's Choir)的开间还长，允许在高地上有更多的开口和竖井，允许山脊上的每个开间有三个顶头，而不是两个，还有一个对称的拱顶。屏风正面后的中殿的两个西面开间，东向西短了 5 英尺，比其他开间低了 2 英尺，以便容纳两个西面塔楼。中殿也没有集中在两塔之间。 <E-C\> <E-C\> The bays of the vaulting alternate with the bays of the elevations, thus the rhythm of the rib patterns does not correspond to the rhythm of the arcades, contradicting the French model. From each springpoint dividing the bays of the elevations, seven ribs rise from a corbel to the ridge pole. The rib perpendicular to the wall elevations on both sides of the ridge pole marks the bays of the elevations, and three additional ribs rise on either side of it in each bay to the ridge pole. The perpendicular rib and the ribs on either side of it connect to the three bosses in each 68 硕士研究生学位论文附录原文与译文 bay of the vault. The ribs to the outside of the central three in each bay connect to the bosses which divide the bays of the vault. The ribs to the outside of the central five in each bay connect to bosses placed between the ridge pole and the walls, about one third of the way towards the wall. The visual effect is that from below, the ribs of each bay of the vault look like four-pointed stars, and from an angle, because of concave surfaces between the ribs, the vaulting looks like a series of “palm fronds”, as described by Nikolaus Pevsner and Christopher Wilson. 拱顶的凹进处与立面的凹进处交替，因此，拱肋图案的节奏与拱廊的节奏不相对应，与法国的建筑模式相矛盾。从每一个划分高地分隔间的弹跳点起，七根拱肋从一个珊瑚柱上升到山脊柱。脊杆两侧垂直于壁面标高的肋标志着标高的凹进处，在每一个分隔间中，脊杆两侧的另外三根肋上升到脊杆。垂直的拱肋和两侧的拱肋连接到每个拱顶的三个凸台。在每个隔间的中心三个外侧的拱肋与分隔拱顶隔间的凸台相连。在每个开间的中央五根外侧的拱肋与位于山脊杆和墙之间的凸台相连，凸台距墙约三分之一的距离。视觉效果是，从下往上看，拱顶每个分隔处的棱看起来都像四角星，从一个角度看，由于棱之间有凹面，尼古劳斯·佩夫斯纳和克里斯托弗·威尔逊描述，这些拱顶看起来像一系列“棕榈叶”。 <E-C\> <E-C\> The extra bosses in the nave vault at Lincoln are connected to the ridge pole by lierne ribs,non-structural ribs that do not reach the bottom of the vault.The severy bordered by the outside ribs forming the perimeter of each bay of the vault forms an indented concave surface which allows the light from the three clerestory windows in each bay of the wall to enter into the nave.The clusters of ribs between each concave severy are in the form of cones, spreading to the ridge pole. Each bay of the vault thus has seven ribs; four of which would be considered tiercerons,having no structural function. In each bay, there is a pair of tiercerons in each transverse cell, and a pair of tiercerons in each longitudinal cell,creating the visual effect of the elongated star in plan. 林肯中堂拱顶的额外凸台是通过枝肋连接到山脊杆上，这是非结构性的拱肋，不能到达拱顶底部。由外部肋包围的穹顶分隔间形成了拱顶每个开间的周长，形成了一个凹进去的表面，允许光线从墙壁每个开间的三个高窗进入中殿。每一个穹顶分隔间之间的肋簇呈锥状，向脊极扩散。拱顶的每一间都有七根拱肋;其中四个被认为是居间肋，没有结构功能。在每个凹进处中，每个横向小室中都有一对居间肋，每个纵向小室中也有一对居间肋，在平面上创造出拉长的星星视觉 69 附录原文与译文硕士研究生学位论文效果。 <E-C\> <E-C\> Between the bays of the clerestory and triforium, the springer ribs in the nave vaulting form the shape of a cone and rest on clusters of three long vaulting shafts,on top of a corbel which is three-quarters up the triforium,just above the abacus of the clustered pier. The vaulting shafts demarcate a clear division between the bays. The triforium is divided in half vertically by the arches in the top half, with the three minor arches inside, and columns supporting the arches in the bottom half.The corbels for the springers are at the midpoint of the top half of the triforium. The three long vaulting shafts which support the corbel for the springer vaults stretch down to foliated corbels placed just above the octagonal bundle piers of the nave,at the bottom of the spandrels of each bay which the long vaulting shafts separate and divide. The springers begin below the clerestory,as in the transepts, and rise above the clerestory to the top of the vault, allowing the maximum amount of light through the clerestory windows and into the nave. 在高拱顶和三穹窿之间，中殿拱顶的施普林格肋形成一个圆锥体的形状，位于三根长拱顶轴的簇上，在三穹窿上方四分之三的柱上，就在群墩的算盘上方。拱桥把开间划分得很清楚。三穹窿被上半部分的拱门垂直地分成两半，里面有三个小拱门，下半部分是支撑拱门的柱子。弹簧片位于三穹窿上半部分的中点。支撑施普林格拱顶横梁的三根长拱桥向下延伸至叶状横梁，叶状横梁位于中殿八角形束状墩的正上方，位于每个开间横梁的底部，长拱桥将每个开间分隔开来。起拱石从天窗下面开始，就像在横梁上一样，从天窗上面上升到拱顶，允许最大限度的光线通过天窗进入中殿。 <E-C\> <E-C\> In the aisles of the nave of Lincoln Cathedral there are two lancet windows in each bay. The bays are divided by Purbeck shafts which support the vaulting of the aisles. Below the lancet windows is a continuous arcade of trefoil arches, five per bay. In the north aisle the ridge pole in the vault is continuous.Purbeck shafts are placed at the centre of a trefoil arch in the arcade,contradicting the logic of compartmentalisation; the subdivisions do not correspond directly with the larger components. In the south aisle of the nave, the arcade is not actually continuous;the 70 硕士研究生学位论文附录原文与译文 vaulting shafts are placed in front of blank spaces of wall which divide the groups of five arches.The ridge pole in the vault of the south aisle is not continuous either.The wall in the south aisle is also more elaborately articulated, with a stringcourse above the capitals, tooth ornament, foliaged bosses in the spandrels, and an additional vaulting shaft in each bay between the two lancet windows,on a corbel above the arcade. 在林肯大教堂中殿的走廊里，每个凹进处都有两扇柳叶窗。开间由支撑过道拱顶的波贝克竖井分隔。在柳叶窗下是一个连续的拱廊三叶拱门，每个凹进处有五个。在北通道，拱顶中的脊杆连续不断。普贝克竖井位于拱廊三叶拱廊的中心，与分隔的逻辑相矛盾;这些细分并不与较大的组件直接对应。在中殿的南走道，拱廊实际上并不是连续的;拱桥被放置在墙的空白区域前面，这些空白区域划分为五个拱门。南通道拱顶的脊杆也不是连续的。南侧过道的墙壁也更加精巧地连接起来，柱顶上方有一根细绳，饰有牙齿，横梁上有叶面凸缘，拱廊上方的一个枕梁上，两扇柳叶窗之间的每个凹进处都有一个额外的拱顶轴。 <E-C\> <E-C\> The vaulting of the chapter house at Lincoln (pp. 40-41) can perhaps be seen as the culmination of the experiments which define the beginning of the Early English period. There is evidence, in the Metrical Life of Saint Hugh, written between 1220 and 1230, that the chapter house was begun before 1220,but, although the Metrical Life states that it was completed by Bishop Hugh of Wells before his death in 1235, there is no evidence that it was vaulted by then, and was most likely vaulted later, around the time of the nave construction, during the bishopric of Grosseteste. This would make sense, as the vaulting of the chapter house shows knowledge of the vaulting of the choir and nave.The centralised plan of the chapter house, adopted from examples such as at Worcester, features a central column and ten walls elaborately articulated with shafts, blind arcades with pointed arches, and lancet windows with pointed arches, all emphasising the vertical orientation of the otherwise horizontal building. 林肯牧师会礼堂的拱顶结构也许可以被看作是早期英式风格时期开始的创新，并且把这种创新推向了高潮。有证据表明,在《圣休的韵律的生活》写在 1220 年至 1230 年之间,这个礼堂是开始在 1220 年之前,但是,虽然有韵律的生活状态, 这是在休主教完成井在 1235 年去世前,没有证据表明这是拱形的,很可能拱形后, 在中央广场建设,在格罗斯泰特的主教。这是有道理的，因为分会大厅的拱顶体 71 附录原文与译文硕士研究生学位论文现了合唱团和中殿拱顶。会馆的中央平面，借鉴了伍斯特的例子，以一个中心柱和十面墙为特色，这些墙壁由竖井精心连接，带有尖拱的盲人拱廊，以及带有尖拱的尖刺窗，所有这些都强调了水平建筑垂直方向的重要性。 <E-C\> <E-C\> The decagonal chapter house at Lincoln is the first prominent polygonal chapter house in England, soon followed by Beverley and Westminster Abbey. The bundle column in the centre, surrounded by ten Purbeck shafts, blooms into a cone of twenty ribs. The twenty ribs blooming from the column alternate as transverse springer ribs going to corbels on Purbeck shafts in between and halfway down the lancet windows, and “lierne” ribs which go to the edge of the severies above the windows, as in the nave vault.The ribs are crossed by a kind of segmented ridge rib, which creates triangular severies, as in the vault of the choir, on the springers between the windows. It is debated as to whether the segments of this “ridge rib” can be called liernes as well.There are two lancet windows in each of the ten bays,which were later filled with stained glass,designed by Clayton and Bell, illustrating the history of Lincoln Minster. Below the windows is a continuous arcade with pointed arches, Purbeck shafts, foliage capitals, and tooth ornament decoration. Below the arcade is a projecting stone seat. As it is generally agreed that the vaulting was later than the rest of the chapter house, perhaps during the bishopric of Grosseteste, flying buttresses on the exterior were much later, built to shore the vaulting following the experimental use of the umbrella column. 林肯的十宫会馆是英国第一个著名的多边形会馆，贝弗利和威斯敏斯特大教堂紧随其后。中心的束柱，被十个柏贝克轴环绕，绽放成一个由二十根拱肋组成的圆锥体。从柱子上长出的二十根拱肋交替出现，作为横向的施普林格拱肋，连接着位于刺状窗中间和中间下方的珀贝克轴上的横梁，以及连接窗户上方几根切边的枝肋，就像中殿的拱顶一样。拱肋由一种分割的脊拱肋交叉，形成三角形的分隔，就像唱诗班的穹顶，在窗户之间的弹簧上。关于这个“脊肋”的节段是否也可以称为“肋”，人们一直争论不休。在这十个凹进处中，每个凹进处都有两个柳叶窗，后来都被彩色玻璃填充，由克莱顿和贝尔设计，这也说明了林肯大教堂的历史。窗户下方是一个连续的拱廊，带有尖拱、珀贝克竖井、叶顶和牙齿装饰。拱廊下面是一个突出的石头座位。人们普遍认为，拱顶的建造要晚于会馆的其他部分，也许是在格罗斯泰斯特主教统治时期，外部的飞拱要晚得多，是在伞柱的试验使用之后为支撑拱顶而建造的。 72 硕士研究生学位论文附录原文与译文 <E-C\> <E-C\> At Wells Cathedral (pp. 124, 144, Cathedral Church of St Andrew in Somerset, begun by Bishop Reginald Fitz Jocelin, or Lombardus, in 1176), the nave, choir, transepts, and west front are roughly contemporary with the major building period of Lincoln Cathedral, between 1176 and 1240. The rest of the cathedral dates from second building the period, between 1285 and 1345. The style of the early parts of Wells is completely different from Lincoln; the two cathedrals represent two styles of English Gothic architecture, two simultaneous divergences from the French style at Canterbury, which have no relation to each other. While the nave and transepts at Lincoln, for example, can be characterised by the variety of materials, bundles of Purbeck shafts, multiple archivolts, and spacious pointed arcades; overlapping structural vocabulary elements such as corbels, responds, shafts, and springer vaults which articulate a false structure; small triforia and clerestories articulated by Purbeck shafts and corbels of different materials;and skeletal vaulting articulated with the ridge pole and lierne and tierceron ribs,much of which can be seen as a development from or deviation from the articulation at Canterbury Cathedral,Wells Cathedral presents much the opposite: a unity of material throughout,few overlapping elements, the appearance of a simple and rational structural system; unadorned spandrels; a homogeneous and unarticulated triforium, with a band of pointed arches; a taller and more luminous, but unarticulated clerestory; and a simple and elegant tierceron vaulting system. Huge piers are ribbed with delicate shafts, and capitals are carved with elaborate stiff-leaf foliage. Wells is the first English Gothic cathedral in which pointed arches are used exclusively, contributing to its homogeneity. 在威尔斯大教堂和萨默塞特郡圣安德鲁大教堂，由雷金纳德·菲茨·乔斯林主教和伦巴第斯主教于 1176 年创建)，中殿、唱诗班、横切和西线与林肯大教堂的主要建筑时期(1176 年至 1240 年)大致是相同的。大教堂的其余部分可以追溯到 1285 年至 1345 年的第二建筑时期。威尔斯早期作品的风格与林肯完全不同; 这两座大教堂代表了英国哥特式建筑的两种风格，是坎特伯雷与法国风格的两种同时存在的分歧，两者之间没有任何联系。而在林肯的中殿和横梁，例如，可以通过各种各样的材料，束波贝克轴，多重阿基米德，和宽敞的尖拱廊;重叠的结构词汇元素，如枕梁，竖井，和施普林格拱顶，表达了一个错误的结构;由不同材料制成的珀贝克轴和圆柱连接的小三角和高拱;与脊和骨骼跳跃的铰接杆、枝肋和居间肋,其中大部分可以被看作是一个开发或偏离坎特伯雷大教堂的清晰度, 73 附录原文与译文硕士研究生学位论文井大教堂礼物相反:一个统一的材料,一些重叠元素,一个简单的外观和合理的结构体系;朴素的能;一种均匀的、不铰接的三棱，有一带尖拱;一种更高、更明亮、但没有铰接的天窗;和一个简单而优雅的蒂尔瑟隆拱顶系统。巨大的桥墩上有精致的立柱，柱顶上雕刻着精致的硬叶叶子。威尔斯大教堂是英国第一个完全采用尖顶拱门的哥特式大教堂，这使得它具有同质性。 <E-C\> <E-C\> The construction of the nave at Wells (pp. 50-51) is dated to roughly 1205 to 1230, thus preceding the nave at Lincoln. It was begun by Adam Lock 1205, who is in around also credited with the transepts and north porch, and who died in 1229. Between 1220 and 1229, Lock completed the western bays of the nave and the lower part of the west front; he is thus credited with initiating the design of the west front.The nave was completed by Thomas Norreys, who also completed the west front. The tierceron vault of the nave was restored and decorated in 1844 and 1985. The ten bays of the nave were constructed from east to west, and were preceded by the choir and transepts, which represent the earliest architectural intentions in the cathedral, initiated by Bishop Reginald Fitz Jocelin a few years prior to the start of the building activity of Bishop Hugh of Avalon and Geoffrey de Noyers at Lincoln. Only the piers and arches survive from the original late-12th century choir at Wells. The piers are completely different in conception from those at Lincoln and Canterbury. They are massive Greek crosses with twenty-four attached shafts divided into eight trefoil groupings around the pier. The arches are equally as well articulated, with roll mouldings. 维尔斯的中殿(第 50-51 页)的建造年代约为 1205 年至 1230 年，因此早于林肯的中殿。它由亚当·洛克在 1205 年左右开始设计，他也被认为是教堂 transepts 和北门廊的创始人，他死于 1229 年。1220 年至 1229 年，洛克完成了中殿的西开间和西线的下半部;因此，他被认为是设计西线的作者。中殿由托马斯·诺瑞斯完成，他也完成了西线。中殿的蒂尔塞隆拱顶在 1844 年和 1985 年得到修复和装饰。十殿的开间由东向西,和前面的是合唱团和婚礼,这代表最早的建筑意图大教堂 , 由主教雷金纳德菲茨几年的建筑活动开始之前休主教阿瓦隆和杰弗里·德·诺亚的林肯。只有桥墩和拱门从最初的 12 世纪末的威尔士合唱团中幸存下来。码头在构思上与林肯和坎特伯雷码头完全不同。它们是巨大的希腊十字架，有 24 根相连的轴，围绕着码头分成 8 个三叶草组。拱同样是铰接，与轧辊模具。 74 硕士研究生学位论文附录原文与译文 <E-C\> <E-C\> The west tower and front of Ely Cathedral (p. 77, Cathedral Church of the Holy Trinity, Cambridgeshire, East Anglia; Benedictine abbey founded by St Etheldreda in 673; cathedral begun by Abbot Simeon 1082-1094) can be dated to the same period, around 1200, and the Galilee Porch to around 1215. The west front of Ely shows similarities to the west front of Lincoln: similar arcading, intersecting and overlapping arcading showing Islamic influence, and diapering, giving the walls an additional texture. At Ely the articulation includes quatrefoils and doubled piers. The façade of the Galilee Porch is even more sophisticated, with thinner piers and cusped pointed arches in blind arcades drawn further out from the wall, and a traceried portal. The arcade in the Galilee Porch (p. 53), built by Bishop Eustace around 1215, is a syncopated overlapping double arcade, with trilobe arches on slender shafts in front, alternating with piers attached to the wall in back. The piers have foliate capitals, the archivolts are articulated with a kind of zigzag moulding, there are foils in the spandrels, and there is another row of slender piers rising from the cornice above. 伊利大教堂(东盎格鲁郡剑桥郡圣三一大教堂，第 77 页;圣埃特尔德雷达于 673 年建立本笃会修道院;由方丈西米恩 1082-1094 建造的大教堂可以追溯到同一时期，大约在 1200 年，而加利利走廊大约在 1215 年。伊利的西侧与林肯的西侧有相似之处:相似的拱廊，交叉和重叠的拱廊显示出伊斯兰教的影响，以及换布，给墙壁增添了额外的质感。在伊利，连接包括四翼和双墩。加利利门廊的立面甚至更加复杂，有更薄的桥墩和从墙上拉得更远的盲人拱廊中的尖顶拱，还有一个带痕迹的入口。加利利玄关的拱廊(第 53 页)是由尤斯塔斯主教在 1215 年左右建造的，是一个切分重叠的双拱廊，前面细长的竖井上有三层拱门，后面的桥墩连接在墙上。桥墩有叶状的柱顶，阿基米德用一种锯齿形的造型连接起来，在横梁上有箔片，还有另一排细长的桥墩从上面的檐口升起。 <E-C\> <E-C\> The same motif, the double syncopated arcade, can be found at Lincoln, in the choir aisles. The arches in front at Lincoln are also trilobe, on slender piers with foliate capitals, but there are sculptural figures in the spandrels, and there is no space between the two syncopated arcades. The archivolts in the back arcade are articulated with the zigzag moulding. The Galilee Porch at Ely culminates in an elaborate portal 75 附录原文与译文硕士研究生学位论文 (p. 52) into the church, with multiple Purbeck piers, foliate capitals,multiple articulated archivolts, and cusped pointed arches, summing up all of the motifs on the façade, but with an opulence that is out of character in the Early English style, and more reminiscent of the French Gothic cathedral. The similarities in detailing between Ely and Lincoln continue throughout the 13th century, especially in the retrochoir at Ely and the nave and Angel Choir at Lincoln; masons probably went back and forth frequently between the two cathedrals. 同样的主题，双切分音拱廊，可以在林肯，在唱诗班的过道里找到。林肯广场前的拱门也是三部曲式的，在细长的桥墩上有叶状的柱顶，但在横梁上有雕塑的人物，两个切分的拱廊之间没有空间。后拱廊的阿基米德以之字形连接。加利利玄关在伊利的高潮在一个精心设计的门户到教堂,与多个苏贝克码头,有叶的首都,多个铰接拱门饰,和尖的尖拱门,总结所有的正面图案,但与一个富裕,是早期的英语风格,更让人想起法国哥特式大教堂。伊利和林肯在细节上的相似之处贯穿了整个 13 世纪，尤其是伊利的后唱诗班林肯的中殿和天使唱诗班;石匠们可能经常往返于两座大教堂之间。 <E-C\> <E-C\> Winchester Cathedral (p. 223, Cathedral Church of the Holy Trinity, St Peter, St Paul and St Swithun, in Hampshire) was begun by Bishop William Walkelin (1070-1098). It is built mostly out of stone transported from the Isle of Wight. Thousands of wooden piles had to be driven into the ground on a marshy site in order to support the original foundation of the cathedral, the longest cathedral in Europe. The crypt, transepts and crossing survive from the original Norman church. The tower was built between 1108 and 1120, following the collapse of the original tower after William Rufus, or William II, King of England 1087-1100, was buried beneath it. The tower was believed to collapse because of the hatred that the English people had for the ruthless and immoral ruler, third son of William the Conqueror. The Norman nave survives but was rebuilt in the Perpendicular style; the original elevations were probably similar to the transepts. 温彻斯特大教堂是由主教威廉·沃克林(1070-1098)开始兴建的。它主要由怀特岛运来的石头建成。为了支撑欧洲最长的大教堂——大教堂的原始地基，数千根木桩被打入沼泽地。这个地窖、横断面和十字路口都是由原来的诺曼教堂遗留下来的。这座塔建于 1108 年至 1120 年之间，是在英国国王威廉·鲁弗斯即威廉二世于 1087 年至 1100 年被埋在原塔下后倒塌的。据信，这座塔之所以倒塌，是 76 硕士研究生学位论文附录原文与译文因为英国人对征服者威廉三世的儿子、残暴、不道德的统治者怀有仇恨。诺曼中堂幸存下来，但以垂直的风格重建;最初的海拔高度可能与横断面相似。 <E-C\> <E-C\> The arcading of the Lady Chapel (pp. 54-55) of Winchester dates from 1205 to 1235, under Bishop de Lucy (1189-1204) and Peter des Roches (1204-1238), as does the arcading and vaulting of the retrochoir. The arcading in the Lady Chapel consists of trilobe arches on top of piers of bundled shafts, with foils in the spandrels above, similar to Lincoln and Ely. The retrochoir displays a blind arcade along the wall with trilobe arches on slender piers (pilasters) with simple round capitals, and foils in the spandrels. The piers of the main arcade are surrounded by eight Purbeck shafts, four main and four subsidiary, with shaft rings and a variety of capitals with crockets and stiff-leaf foliage. The vaulting is quadripartite, with thin ribs and long horizontal bricks in the severies, and bundled ribs springing from corbels and dark responds, as at Lincoln. An arcade with tall slender piers is set in front of the lancet windows in the outer wall, recalling the openwork articulation of the east transepts at Lincoln, 温彻斯特夫人礼拜堂的拱廊(54-55 页)可追溯到 1205 年至 1235 年，由主教德·露西(1189-1204)和彼得·德·罗彻斯(1204-1238)主持，唱诗班的拱廊和拱顶也是如此。圣母礼拜堂的拱廊是由绑在立柱上的三拱形拱廊组成的，上面的横梁上有箔片，类似于林肯和伊利。逆行合唱团沿着墙壁展示了一个盲人拱廊，细长的桥墩(壁柱)上有三个拱形，柱顶简单的圆形，横梁上有箔片。主拱廊的桥墩由八根波贝克竖井、四根主竖井和四根附属竖井围合而成，这些竖井有竖井环和各种各样的柱顶，柱顶上有弯头和坚硬的树叶。拱顶是四部分的，细长的拱肋和水平的长条砖在几段，捆绑的拱肋从横梁和黑色的回应，就像在林肯。一个有着细长高墩的拱廊设置在外墙的刺状窗前，让人回想起林肯东跨的开放式连接， <E-C\> <E-C\> The architecture of the northwest transept (p. 61) of Beverley Minster (Parish Church of St John and St Martin in eastern Yorkshire, in the York diocese) was begun in around 1220, and the transepts were completed in around 1260, along with the choir. The elevations of the transepts at Beverley, which are contemporary with the outer bays of the main transept at Lincoln, including the Dean’s Eye to the north 77 附录原文与译文硕士研究生学位论文 and the Bishop ’ s Eye to the south, contain many vocabulary elements which are found at Lincoln. The triforium consists of a syncopated double arcade, with trilobe or trefoil arches on piers of clustered Purbeck shafts, or colonnettes, and foils in the spandrels, resulting in a stimulating visual experience. Purbeck shafts also carry a blind arcade of pointed arches along the wall behind. The clerestory includes an openwork arcade set inside the window wall, with tall slender shafts. Responds of Purbeck shafts run from the arcade below, just below the cornice, to mid-clerestory level, supporting the ribs of a quadripartite vault. The arcade at floor level is composed of wide pointed arches articulated with multiple archivolts, and in certain places blind arcading is set into the wall, with bundled shafts, eight shafts surrounding circular piers, Purbeck alternating with local stone, zigzag moulding, and squeezed pointed arches. A similar formula can be seen in the choir at Beverley from the 1230s (pp. 58-59). Beverley can be seen to be a purification of the intentions at Lincoln, a crystallisation of the inventive vocabulary elements into a homogeneous system. This is partly due to the Cistercian identity of Beverley; the architect had worked previously at Fountains Abbey. 贝弗利明斯特(贝弗利明斯特是位于约克郡东部的圣约翰和圣马丁教区教堂，位于约克教区)的西北教堂耳堂(第 61 页)始建于 1220 年左右，耳堂和唱诗班于 1260 年左右完工。贝弗利横断面的高度，与林肯主耳堂的外部开间是同时代的，包括北面牧师之眼和南面主教之眼，包含了很多林肯元素。三叠式拱廊由切分的双层拱廊组成，在聚簇的普贝克竖井(Purbeck 竖井或柱廊)的墩上有三部曲式或三叶形拱，在横梁上有箔片，形成一种刺激的视觉体验。普贝克竖井也沿着后面的墙壁带着一个由尖拱组成的盲拱廊。天窗包括一个开放的拱廊设置在窗户墙内，带有细长的竖井。波贝克竖井的响应从拱廊下方，就在檐口下方，一直延伸到中层，支撑着四部分拱顶的拱肋。一层的拱廊由多个阿基米德连接的宽尖拱组成，在某些地方设置盲拱廊进入墙体，有捆绑的竖井、围绕圆形墩的八根竖井、波贝克与当地石材的交替、之字形造型和挤压的尖拱。类似的公式可以在贝弗利合唱团从 1230 年代(第 58-59 页)。贝弗利可以被看作是林肯意图的净化，将创造性的词汇元素具体化成一个同质的系统。这部分是由于贝弗利的西多会身份;这位建筑师以前在喷泉修道院工作过。 <E-C\> <E-C\> During the second decade of the 13th century, while the great transept at Lincoln was being completed, after the completion of the original choir and east transepts, 78 硕士研究生学位论文附录原文与译文 much work was under way, besides at Beverley, at Chester, York, Worcester, and Salisbury. The vaulting in the east walk of the cloister (p.56) of Chester Cathedral (Cathedral Church of Christ and the Blessed Virgin Mary in Cheshire, made a cathedral in 1541 by Henry VIII) is a quadripartite vault with massive ribs and round transverse arches, and with a ridge pole added. The severies are stonework rather than brick, and a variety of shades in the stones, mostly red sandstone, gives the vault an added visual texture and richness. 在 13 世纪的第二个十年里，当林肯的大耳堂完工时，在最初的唱诗班和东耳堂完工后，除了贝弗利、切斯特、约克、伍斯特和索尔兹伯里，许多工作正在进行中。切斯特大教堂(柴郡的基督教堂和圣母玛利亚大教堂，1541 年由亨利八世建成)回廊东侧的拱顶是一个四方拱顶，有巨大的拱肋和圆形的横向拱门，加上一根山脊杆。这些深浅不一的石头，大多是红砂岩，给拱顶增添了视觉质感和丰富感。 <E-C\> <E-C\> The city of York was previously Eboracum, the capital of Roman Britain. At York Paulinus converted Edwin of Northumbria to Christianity in 627. The current Gothic minster (pp. 102-103) replaced a Norman church which grew out of a wooden oratory built by Edwin. The elevations of the south transept (pp. 62-63) at York Minster (Cathedral Church of St Peter in Yorkshire, begun in the 11th century by Archbishop Thomas of Bayeux), which were begun around 1220 by Archbishop Walter de Gray (1215-1255), and completed about forty years later, are different from the work at Chester, with lighter stone and finer detailing, and closer to the work at Beverley, in its Cistercian austerity, and with a shared affinity with Lincoln Cathedral, especially in the structural articulation and the use of Purbeck marble. The ribs of the vault (the present vault is a wooden reconstruction of the 13th- century original which was never built) rise from full-height Purbeck responds, with foliate corbels at the base of the spandrel in the gallery (with a passageway behind, rather than a triforium). The north and south transepts at York are almost fifty feet wide and one hundred and ten feet high. 约克城以前是罗马不列颠的首都伊波拉堪。在约克，鲍林努斯于 627 年使诺森比亚的埃德温皈依基督教。现在的哥特式大教堂(102-103 页)取代了由埃德温建造的木制演讲室发展而来的诺曼教堂。南方的海拔耳堂(页 62 - 63)约克大教堂 (圣彼得大教堂的约克郡,在 11 世纪开始的大主教托马斯 Bayeux),由大主教开始大 79 附录原文与译文硕士研究生学位论文约 1220 沃尔特·德·格雷(1215 - 1255),并完成了大约四十年后,在切斯特是不同的工作,较轻的石头和更精细的细节,接近在贝弗利的工作,在其西多会的紧缩,和一个共享的亲和力与林肯大教堂,特别是在结构连接和珀贝克大理石的使用。拱顶的拱肋(现在的拱顶是一个从未建造过的 13 世纪原始木结构的重建)从全高的珀贝克的回应中升起，在画廊的拱顶底部有叶状的小柱(后面有一个通道，而不是一个三穹窿)。在约克郡，南北两级的隔板差不多有五十英尺宽，一百一十英尺高。 <E-C\> The gallery at York is composed of an elaborate composition of Purbeck and stone shafts supporting four pointed arches per bay, with the two pairs set inside a larger pair of pointed arches, which are set inside a long round arch with zigzag moulding, with quatrefoils in the minor spandrels and a cinquefoil in the major spandrel, and the passageway behind. The Purbeck responds and shafts, and the juxtaposition of dark and light stone, magnesian limestone, is similar to the elevations at Beverley. In the clerestory, an arcade with Purbeck shafts with gilded foliate capitals is set to the inside of the windows, as in the clerestories in the retrochoir at Winchester, the east transepts at Lincoln, and the retrochoir aisles at Canterbury. Light is especially present in the lancet windows of the north transept, called the Five Sisters, which are each fifty-five feet high and only five feet wide, with original grisaille glass from the 13th century. 画廊在纽约是由一个复杂的苏贝克和石头组成轴支持每个开间有四个尖拱, 设置了两对在一个更大的对尖拱门,是设置在一个圆尖拱和锯齿形造型,与小能和四瓣花的装饰主要拱肩,和背后的通道。普贝克回应和竖井，暗色和浅色的石头，镁质石灰石的并列，类似于贝弗利的海拔高度。在克莱莱斯特里，一条带有带有镀金叶状柱顶的珀贝克竖井的拱廊被布置在窗户的内侧，就像温彻斯特的复古合唱团、林肯的东跨界合唱团和坎特伯雷的复古合唱团的走廊一样。光线尤其出现在北耳堂的柳叶窗中，称为“五姐妹”，每扇窗高 55 英尺，宽仅 5 英尺，使用的是 13 世纪的原始格栅玻璃。 <E-C\> <E-C\> Worcester Cathedral (Cathedral Church of Christ and the Blessed Virgin Mary in Worcestershire) has a picturesque setting on the Severn River against the backdrop of the Malvern Hills (pp. 64, 209). It was begun as a Benedictine abbey in 1084 by St Wulfstan, Bishop of Worcester, replacing a monastery church established by St 80 硕士研究生学位论文附录原文与译文 Oswald, who became bishop in 961. Wulfstan became bishop in 1062, just before the Norman Conquest, and he was the only Anglo-Saxon bishop to continue his see under William the Conqueror. He believed that the Conquest was deserved punishment for the sins of the English. The only remains of Wulfstan’s building are portions of the transepts and a crypt for the shrine of St Oswald. The chapter house at Worcester, built around 1120, would be seen as a precedent for the Gothic centralised chapter houses in England beginning at Lincoln. The chapter house at Worcester is round, with a central column. Blind arcading runs around the lower wall, with intersecting round arches and contrasting dark and light stone. The canonisation of Wulfstan in 1203 led to an increase in pilgrimages, donations, and building. The east end of the cathedral was rebuilt beginning in 1224, in part to accommodate the shrine of St Wulfstan.The east end of the cathedral is among the earliest architecture in the Gothic style in England. It consists of a choir, eastern transepts, retrochoir and Lady Chapel. The plan with eastern transepts follows the model of Canterbury, Lincoln and Wells, and was later adopted at Beverley, Southwell, and Salisbury. 伍斯特大教堂(伍斯特郡的基督教堂和圣母玛利亚大教堂)坐落在塞文河上，背景是马尔文山，风景如画(64,209 页)。1084 年，伍斯特主教圣乌尔夫斯坦(St Wulfstan)以本笃会(Benedictine)修道院的身份，取代了 961 年成为主教的圣奥斯瓦尔德(St Oswald)建立的修道院。武尔夫斯坦于 1062 年成为主教，就在诺曼征服之前，他是唯一一位在征服者威廉统治下继续担任主教的盎格鲁撒克逊人。他认为这次征服是对英国人罪恶的惩罚。伍尔夫斯坦建筑的唯一遗迹是部分横梁和圣奥斯瓦尔德神殿的地下室。伍斯特的会馆建于 1120 年左右，将被视为英格兰哥特式集中会馆的先例，从林肯开始。伍斯特的会馆是圆形的，中间有一根圆柱。暗色的拱廊环绕下墙，与圆形拱门相交，暗色和浅色的石头形成对比。1203 年武尔夫斯坦被册封为圣徒后，朝圣、捐赠和建筑活动都增加了。大教堂的东端从 1224 年开始重建，部分原因是为了容纳圣伍尔夫斯坦的圣殿。大教堂的东端是英国最早的哥特式建筑之一。它由唱诗班、东跨、后唱诗班和圣母堂组成。东跨公路的计划遵循坎特伯雷、林肯和威尔斯的模式，后来在贝弗利、索斯韦尔和索尔兹伯里采用。 <E-C\> <E-C\> The elevations of the three-bay retrochoir (pp. 66-67) at Worcester belong to the same stylistic grouping as the contemporary work at Lincoln, Beverley, and York transepts in the 1220s. At Worcester, the lower arcade is composed of large pointed 81 附录原文与译文硕士研究生学位论文 arched openings with multiple archivolts which reach up to the cornice, as at Lincoln, Beverley and York. There are also full-height Purbeck responds with foliate capitals, as in the one-bay Lady Chapel (the responds in the Lady Chapel go to the ground, while the responds in the retrochoir go to the arcade), Purbeck shafts in the triforium and clerestory, paired pointed arches set within larger pointed arches in the triforium, a syncopated double arcade and bundles of Purbeck piers in the triforium (combining the motifs at Beverley and York, both borrowing from Lincoln), and Purbeck shafts set in front of the clerestory windows, creating an openwork articulated threedimensional elevation in the tradition of Canterbury, Lincoln, and Winchester. The same contrast of dark Purbeck and light stone, red sandstone, can be found at Worcester; the detailing of the masonry is not quite as exact as at Beverley or York, but the effect is very similar. The elevations in the retrochoir at Worcester were begun in 1224 by Alexander the Mason under Bishop William de Blois. According to John Harvey, it is likely that the architect is the same Alexander the Mason who was the architect of the nave at Lincoln Cathedral. 伍斯特三湾逆行合唱团(第 66-67 页)的立面与 12 世纪 20 年代林肯、贝弗利和约克跨界的当代作品属于同一风格组。在伍斯特，较低的拱廊是由大的尖拱开口与多个阿基米德向上延伸到檐口，在林肯，贝弗利和约克。也有全高度苏贝克响应与叶状的首都,就像一个圣母堂(圣母堂去地上的反应,而反应在后部去商场), 苏贝克轴在教堂拱廊和天窗,成对的尖拱门内设置较大的尖拱门在教堂拱廊,切分双苏贝克皮尔斯的拱廊和包教堂拱廊(结合主题在贝弗利和纽约,都借用林肯),普贝克竖井设置在高窗前，创造了一个开放的工作铰接三维立面在坎特伯雷，林肯和温彻斯特的传统。在伍斯特同样可以看到深色的普贝克石和浅色的砂岩，红色的砂岩;砖石结构的细节不像贝弗利或约克那样精确，但效果非常相似。伍斯特唱诗班的唱诗班于 1224 年由威廉·德·布洛伊斯主教手下的泥瓦匠亚历山大开始升高。据约翰·哈维说，建筑师很可能就是林肯大教堂中殿的建筑师亚历山大·梅森。 <E-C\> <E-C\> In the aisles of the retrochoir, detached Purbeck shafts are set in front of the windows, under ribbed vaults with small bosses. The piers in the retrochoir have eight Purbeck shafts and eight smaller shafts with crocket capitals. In the triforium, the central spandrel (or tympanum) under each of the paired arches in each bay is filled with sculptural decoration similar to that in the choir aisles at Lincoln. The 82 硕士研究生学位论文附录原文与译文 syncopation of a double arcade is created by a blind arcade which runs along the wall behind the inside arcade, similar to the effect in the choir aisles at Lincoln. 在唱诗班的过道里，独立的普贝克竖井被安置在窗户前面，下面是带肋的拱顶，拱顶上有小顶头。逆行合唱团的桥墩有 8 个普贝克轴和 8 个小轴与花型浮雕。在三穹窿中，在每个凹进处的成对拱门下的中央穹窿(或鼓室)充满了与林肯唱诗班走廊相似的雕塑装饰。双拱廊的切分是由一个沿着内部拱廊后面的墙壁运行的盲拱廊创建的，类似于林肯的唱诗班走廊的效果。 <E-C\> <E-C\> The vaulting in the four-bay choir at Worcester (p. 88), from around 1224, features the familiar quadripartite vault combined with round-arched transverse arches and a ridge pole, as in the Chester cloister, though now it has a much different appearance as a result of paintings on the severies designed by Sir George Gilbert Scott in 1871, including painted- on extra transverse ribs in each bay. The vault in the retrochoir is a tierceron vault (or a quadripartite vault with transverse ribs), with three pairs of tiercerons per bay and a ridge pole, the ribs springing from the full-height Purbeck responds which go down to the bottom of the spandrels in the arcade. The vault has the same decoration by Sir George Gilbert Scott. 四个开间唱诗班的跳跃在伍斯特(p。88),从 1224 年左右,功能熟悉的由四部分组成的金库结合的蜗形横向拱门和山脊,在切斯特回廊,虽然现在有很多不同的外观的绘画在穹顶的分隔间由乔治·吉尔伯特•斯科特爵士于 1871 年设计的,包括画——在每个额外的横向拱肋。逆行的拱顶是一个居间肋拱顶(或者是一个带有横肋的四方拱顶)，每个开间有三对居间肋拱顶和一根脊杆，从全高的波贝克上伸出的拱肋向下延伸到拱廊中拱架的底部。墓穴的装饰与乔治·吉尔伯特·斯科特爵士的相同。 <E-C\> <E-C\> The elevations of the choir (p. 69), which were completed by Bishop Thomas de Cantilupe, are the same as the retrochoir, with the syncopated double arcade, though the bays are wider and the arches are not so steep, with bundles of Purbeck shafts and wide pointed arches with multiple archivolts reaching to the cornice, as at Lincoln, and Purbeck shafts rising from corbels at the bottom of the spandrels. The arch 83 附录原文与译文硕士研究生学位论文 mouldings, the most elaborate of any English Gothic church, contain a hollow, where a roll could be found in the retrochoir. The effect of the elevations in the choir and retrochoir at Worcester is of a musical polyphonic harmony, filled with spatial intricacies and ambiguities, in a playfulness like that ascribed by Nikolaus Pevsner to Geoffrey de Noyers at Lincoln. 唱诗班的海拔(69 页),由主教托马斯•德完成一样的后部,切分双拱廊,尽管开间大拱门不是很陡峭,包的苏贝克轴和广泛的尖拱门与多个拱门饰达到飞檐,林肯, 和苏贝克轴都能从底部支撑。拱门的造型是所有英国哥特式教堂中最精致的，里面有一个中空的部分，唱诗班的唱诗班里可以找到一个卷轴。伍斯特唱诗班和逆行唱诗班的立面效果是一种音乐的复调和声，充满了空间的错综复杂和模棱两可，就像尼古劳斯·佩夫斯纳(Nikolaus Pevsner)和林肯的杰弗里·德·诺耶斯 (Geoffrey de Noyers)所认为的那样有趣。 <E-C\> <E-C\> The musical harmony is reiterated by sculptures of musical angels in the south triforium of the choir, which anticipate the musical angels in the Angel Choir at Lincoln, and create the musica celeste, the celestial music which corresponds to the earthly music which can be perceived by the senses, both aurally and visually. Thomas de Cantilupe (1218-1282) was Bishop of Hereford, as well as Chancellor of Oxford University in 1261 and Chancellor of England in 1264. His friend Simon de Montfort (1208-1265) was a leader of the opposition to Henry III, and in 1264 called the first directly elected parliament in history. 音乐和谐是重申了雕塑的音乐天使唱诗班的南教堂拱廊,预测音乐天使的天使唱诗班在林肯,并创建音乐天蓝色,对应于世俗音乐的天体音乐可以感官,都需要通过听觉和视觉。托马斯·德·坎蒂卢普(1218-1282)，赫里福德主教，1261 年牛津大学校长，1264 年英格兰大学校长。他的朋友西蒙·德·蒙福特(1208-1265) 是亨利三世的反对派领袖，并于 1264 年召集了历史上第一个直选议会。 <E-C\> <E-C\> The elevations in the nave (p. 93; pp. 74-75: nave vault, circa 1266) of Salisbury Cathedral (pp. 70-71, Cathedral Church of the Blessed Virgin Mary in Wiltshire, begun in 1220) present some variations on the themes present at Lincoln, Beverley, 84 硕士研究生学位论文附录原文与译文 York, and Worcester in the 1220s. The architect of the nave at Salisbury was Elias of Dereham, called designator; the master mason Nicholas of Ely, called magister cementarius; they worked for Bishop Richard Poore. The masons had access to detailed information about the construction of both Lincoln and Wells, which were both under way. The plan of the cathedral, with two sets of transepts, was based on the plan of Lincoln, though the apsidal east end of Lincoln was replaced by a rectangular ambulatory and rectangular chapels. The nave was complete by 1258, under the direction of Nicholas de Eboraco (1247-1260), magister operis, and consecrated by Bishop Giles de Bridport. The cathedral is 473 feet long, and the nave vault is eighty-four feet high, about the same as Lincoln (pp. 12-13). Bundle piers with Purbeck shafts interspersed support pointed arches in the arcade, not too wide, rising to the cornice. The Purbeck stone was brought to the building site on barges on the Avon River. The piers are“quatrefoils” of Chilmark stone with unpolished grey Purbeck shafts with dark polished Purbeck capitals, with no shaft rings, as influenced by piers at Westminster Abbey. As at Winchester (p. 223), the site was marshy, so the piers stand on sleeper walls laid horizontally on the ground; the floor of the nave is lower than ground level. Salisbury is the only English Gothic cathedral which was not a continuation of a previous Norman building. 中殿的高度(第 93 页;第 74-75 页:索尔兹伯里大教堂中殿拱顶，约 1266 年)。威尔特郡圣母玛利亚大教堂始建于 1220 年，其主题与 1220 年代林肯、贝弗利、约克和伍斯特教堂的主题有所不同。索尔兹伯里中殿的建筑师是德雷厄姆的埃利亚斯，被称为“设计家”;伊利的梅森·尼古拉大师，人称塞门斯总督——塔利乌斯;他们为 Richard Poore 主教工作。泥瓦匠们获得了林肯和维尔斯的详细建设信息，这两个项目都在进行中。大教堂的计划，有两套横梁，是基于林肯的计划，虽然林肯的东区被一个长方形的可移动的和长方形的小教堂所取代。中殿在 1258 年完成，在尼古拉斯·德·埃博拉科(1247-1260)的指导下，总督歌剧院，并由主教贾尔斯·德·布里奇波特祝圣。大教堂是长 473 英尺，中殿的拱顶有 84 英尺高，和林肯差不多(第 12-13 页)。拱廊上的束墩与普贝克井穿插着支撑尖拱，不太宽，一直延伸到檐口。普贝克石被运到埃文河驳船上的建筑工地。桥墩是齐尔马克石砌成的“四翼”，带有未经打磨的灰色普贝克竖井，黑色的普贝克柱头经过打磨，没有竖井环，就像西威斯敏斯特教堂的桥墩一样。就像在温彻斯特(第 223 页)一样，这个地方是沼泽地，所以桥墩立在水平放置在地面上的枕木墙上;中殿的地板比地面低。索尔兹伯里是英国唯一一座哥特式大教堂，它不是之前诺曼建筑的延续。 <E-C\> 85 附录原文与译文硕士研究生学位论文 <E-C\> The gallery above the arcade in the nave, with windows behind it, is very squat in relation to the compositions further north; the Purbeck responds only rise the height of the spandrels in the gallery, which is only a couple of feet. The emphasis in the proportions is on horizontality, as at Wells. In the elevations at Salisbury, the three levels of arcade, gallery and clerestory are autonomous horizontal bands with no vertical divisions. In the gallery, pairs of arches are set in pairs of arches which are set in a major arch per bay, as at York (or at Lincoln and Worcester without the major arch). The openings have trefoil heads and are enclosed by Purbeck shafts. The tympana have quatrefoils and octofoils with cusping. The responds begin at the base of the spandrels of the gallery, and have foliate capitals at the cornice below the springer ribs. The sub-arches are pushed back below the main arches, which adds to the horizontal emphasis of the gallery. While the bays of the gallery correspond to the bays of the arcade below, the proportion of the arches in the gallery, being flat and low, differentiates it from the arcade, along with the profusion of Purbeck shafts, and makes it appear autonomous. 中殿拱廊上方的画廊，后面是窗户，与更北的构图相比，显得非常低矮。珀贝克的回答是，只需要把画廊里的海鞘抬高几英尺就可以了。在比例的重点是水平性，在井。在索尔兹伯里的立面上，三层的拱廊、画廊和天窗是独立的水平条带，没有垂直的分隔。在画廊里，成对的拱门被设置在成对的拱门中，这些拱门被设置在每个开间的一个大拱门中，就像在约克(或者在没有大拱门的林肯和伍斯特)。开口有三叶头，并由珀贝克轴密封。鼓室有四叶和八叶，有尖。回应开始于画廊的横梁底部，并在施普林格肋下的檐口处有叶状的柱顶。副拱被推到主拱下，这增加了画廊的水平重点。虽然画廊的开间与下面的拱廊相对应，但画廊中拱门的比例较低，比较平坦，与拱廊不同，还有大量的波贝克竖井，使它看起来独立。 <E-C\> <E-C\> In the clerestory of the nave, which is ten bays long, Purbeck shafts are set in front of the windows, the openwork motif initially derived from the retrochoir at Winchester. The slender, detached Purbeck shafts are set in contrast to the grey Chilmark stone, an oolitic limestone from nearby quarries, though only in horizontal bands, so the contrast is not as effective as at Lincoln, Beverley, or Worcester (or the 86 硕士研究生学位论文附录原文与译文 York transept). Further contrast is achieved with the grey unpolished Purbeck shafts, not as shiny and dark as the polished ones. The grouping of three lancet windows per bay in the clerestory, and the two lancet windows per bay in the aisles, is based on Lincoln. The Salisbury nave elevation is a cross between the articulated openwork compositions of the north, in particular at Lincoln, and the homogeneous, horizontal composition of the elevations in the nave of Wells Cathedral. The architecture is considered to be the purest and most unified of the Early English style, being the product of one building campaign on a virgin site, with the influence of Lincoln and Canterbury in the use of Purbeck marble. The purity in part comes from a lack of ornament, with moulded rather than foliate capitals, a simple quadripartite vault, and simple lancet windows. The detached Purbeck shafts around the cores of the piers, and the moulded arches in the elevation, comparable to Lincoln, are the only real structural elaboration, allowing the light through the windows and the material of the construction to play a prominent role in the visual effect. A precedent for the purity of the design may be the Corona, or Becket‘s Crown (p. 27),at Canterbury Cathedral, with its restrained use of Purbeck responds and shafts, contrasting with the grey stone and simple arches. 中殿有 10 个开间的长度，在中殿的天窗处，珀贝克竖井被设置在窗户前面，这一开放式的主题最初源自温彻斯特的复古唱诗班。细长、分离的普贝克井与附近采石场的灰质奇尔马克石灰岩形成对比，不过只是水平排列，所以这种对比不如林肯、贝弗利或伍斯特(或约克耳堂)那么有效。奇尔马克是一种鲕状石灰岩，产自附近的采石场。进一步的对比是实现与灰色未抛光的珀贝克轴，不像抛光的光泽和黑暗。这组三个柳叶窗口每湾在天窗，和两个柳叶刀窗口每湾在过道，是基于林肯。索尔兹伯里中殿的立面是介于北部铰接的开放式建筑，尤其是林肯，和维尔斯大教堂中殿立面的均匀的水平结构之间的交叉。该建筑被认为是早期英国风格中最纯粹、最统一的，是在一个原始场地上进行的一场建筑运动的产物，受到了林肯和坎特伯雷使用普贝克大理石的影响。部分的纯净来自于缺乏装饰，用模压的而不是叶状的柱顶，一个简单的四方拱顶，和简单的刺状窗。围绕桥墩核心的分离的波贝克竖井，以及立面上的模压拱，与林肯类似，是唯一真正的结构细节，允许光线通过窗户和建筑材料，在视觉效果上发挥突出的作用。设计纯度的先例可能是科罗娜，或贝克特王冠(p。在坎特伯雷大教堂，与灰色的石头和简单的拱门形成鲜明对比的是，教堂克制地使用了珀贝克式的回应和竖井。 <E-C\> <E-C\> 87 附录原文与译文硕士研究生学位论文 The east end of Salisbury Cathedral, including the three bays of the choir (p. 72), three bays of the retrochoir, and Lady Chapel, dates from 1220 to 1225. （例 1）The height of the retrochoir and Lady Chapel is lower than the choir, and the design was influenced by the east end of Winchester Cathedral, built by Bishops de Lucy and des Roches, beginning in 1204-1205, and probably completed by 1220. While the Lady Chapel of Winchester is dominated by the piers of bundled shafts supporting arches in the arcade, in the Lady Chapel at Salisbury, complete by 1225, single Purbeck columns (seemingly too thin for their structural role) support the arcade which separates the nave and aisles. Clustered piers can be found in the retrochoir (completed by 1225) and choir (completed by 1247) at Salisbury, along with detached wall shafts set in front of windows, recalling the articulation at Winchester, where piers are set in front of the wall in the manner of the east transepts of Lincoln and the retrochoir aisles of Canterbury. At Salisbury, detached Purbeck shafts, whether single columns or bundle columns, support simple quadripartite vaults with thin ribs and transverse arches. The piers in the choir combine unpolished grey Purbeck shafts with detached polished black Purbeck shafts, in a variation on Canterbury and Lincoln, but without the foliate capitals, just bell capitals with plain mouldings. The irregular shape of the western bays of the retrochoir aisles, deformed to connect to the choir, recalls the deformed bays of the retrochoir aisles at Canterbury. 索尔兹伯里大教堂的东端，包括唱诗班的三个开间(第 72 页)，唱诗班的三个凹进处，以及圣母教堂，可追溯到 1220 年至 1225 年。复古唱诗班和圣母教堂的高度低于唱诗班，设计受到了温彻斯特大教堂东端的影响，由主教德·露西和德·罗彻斯特建造，开始于 1204-1205 年，可能在 1220 年完成。温彻斯特夫人礼拜堂主要由拱廊的捆绑竖井支撑拱门的桥墩组成，而索尔兹伯里夫人礼拜堂由 1225 根珀贝克柱组成(相对于它们的结构角色，似乎太薄了)，支撑着分隔中殿和过道的拱廊。集群可以找到码头的后部(1225 年完成)和唱诗班在索尔兹伯里 (1247 年完成),以及分离墙轴设置在窗户前面,回忆温彻斯特的清晰度,码头在哪里设置在墙前的东方婚礼的林肯和坎特伯雷的后部过道。在索尔兹伯里，分离的波贝克竖井，无论是单柱还是束柱，都用薄肋和横向拱支撑简单的四方拱顶。唱诗班的桥墩结合了未经打磨的灰色普贝克竖井和独立打磨的黑色普贝克竖井，这是对坎特伯雷和林肯的一种变形，但没有叶状的柱头，只有带有简单造型的钟形柱头。后唱诗班走道的西部开间形状不规则，与唱诗班相连而变形，让人想起坎特伯雷后唱诗班走道的变形凹进处。 <E-C\> 88 硕士研究生学位论文附录原文与译文 <E-C\> In the 1230s, contemporary with the construction of the nave elevations and vault at Lincoln (pp. 12-13), work on the Southwell choir, Ely presbytery and choir vaults were underway. The elevations of the presbytery at Ely (p. 80) are considered to be the“missing link”between the Lincoln nave and Lincoln Angel Choir, the bridge in the development between the two. 在 1230 年代，与林肯教堂中殿立面和拱顶的建造同时代(第 12-13 页)，南威尔合唱团、伊利长老教堂和合唱团拱顶的建造工作正在进行中。伊利长老会的海拔高度(第 80 页)被认为是林肯中堂和林肯天使唱诗班之间“缺失的一环”，是两者之间发展的桥梁。 <E-C\> <E-C\> The choir (pp. 78-79) of Southwell Minster (pp.98-99, Cathedral and Parish Church of the Blessed Virgin Mary in Nottinghamshire, begun as a Norman church in begun in 1234 by Archbishop Walter de Gray, Archbishop of York. The elevation differs from the previous examples in that there is no triforium or gallery; it is divided in half by a tall arcade with pointed arches of multiple archivolts supported by bundled piers, with the arches reaching the cornice, as at Lincoln, or Beverley, York, or Worcester, and a tall clerestory level, with tall, slender piers set in front of compartmental windows, in an openwork composition recalling Winchester retrochoir aisles and Lincoln east transepts.（例 9）In the arcade, piers consist of four major and four minor filleted or banded shafts, with deep hollows between them, as in Saint Hugh’s Choir at Lincoln. In the clerestory, there are two tall lancet windows in each bay, underneath clerestory windows with wall passages in front of them, and with openings from a gallery between them. 诺丁汉郡圣母玛利亚大教堂和教区教堂南威尔大教堂唱诗班(78-79 页)，由约克大主教托马斯二世于 1108 年作为诺曼人教堂开始;它是一座大教堂，从 1884 年到 1927 年)是 1234 年由约克大主教沃尔特·德·格雷大主教创建的。立面不同于之前的例子，没有三棱柱或画廊。它被一个高耸的拱廊一分为二，这个拱廊由捆绑在一起的支墩支撑，它的拱桥锋利，拱门饰繁琐。正如林肯、贝弗利、约克或者伍斯特这些教堂，其天窗开阔，窗户分割开来，支墩高耸细长，矗立在前，镂空细雕，与温切斯特大教堂的后部过道和林肯大教堂的东部耳堂遥相呼应。在拱廊上，桥墩由四个大的和四个小的有角的或带状的竖井组成，它们之间有很深的洞，就像在林肯的圣休歌坛中一样。在天窗中，每个开间都有两扇高大的刺针 89 附录原文与译文硕士研究生学位论文窗，在天窗的下方，前面是墙壁通道，它们之间有画廊的开口。 <E-C\> <E-C\> Unlike the previous examples there is no Purbeck marble to create a polychromatic effect, though there are stiff-leaf capitals and dogtooth moulding to provide some ornamental articulation. The Southwell choir recalls the homogeneity of Wells, but with the northern structural articulation and membri- fication; it combines the northern Cistercian austerity with elements from Cathedral. Short responds, from corbels at the bottom of the spandrels in the arcade to corbels just a couple feet above the cornice, support three tierceron ribs per bay in the vault, or two tierceron ribs and a transverse rib, meeting at a continuous ridge pole, based on the innovations at Lincoln. The bays are divided by the deep recesses which accommodate the tall clerestory windows; the severies are painted white.The lack of a triforium notwithstanding, the basic vocabulary of the Southwell choir is from Lincoln, in the classic Early English style. 不像之前的例子，没有珀贝克大理石创造一个多色的效果，虽然有硬叶柱头和狗齿造型，以提供一些装饰性的连接。南井合唱团回顾了井的同质性，但与北方的结构连接和记忆;它结合了北西多会的简朴和林肯大教堂的元素。简短的回应,从枕梁底部的商场中都能挑出几英尺的边缘,每个开间有三个居间肋的支持, 或两个居间肋和横肋,会议连续脊,基于创新在林肯。壁龛被深深的凹槽分开，凹槽容纳了高大的天窗;塞维被漆成白色。尽管缺少三拱式拱廊，南威尔唱诗班的基本元素来自林肯大教堂，它是典型的早期英语风格。 <E-C\> <E-C\> The elevations of the presbytery at Ely Cathedral (p. 80) were executed between 1234 and 1252 under Bishop Hugh of Northwold (1229-1254). The presbytery was built to provide space for altars and the shrine of St Etheldreda, daughter of the king of East Anglia; it was dedicated in 1252, in the presence of King Henry III. It combines Barnack stone and polished Purbeck stone, and, perhaps designed to suggest more precious materials, has a richness comparable to Lincoln Cathedral. The east end of Ely is considered to be the most lavish of English Gothic architecture. The elevations consist of the familiar formula of bundled Purbeck shafts supporting pointed arches with multiple archivolts reaching to the cornice of the arcade, as can be 90 硕士研究生学位论文附录原文与译文 found in Lincoln nave, with a gallery and an openwork clerestory, and responds beginning at the bottom of the spandrels of the arcade and running up to the cornice at the top of the gallery, as opposed to just below it, as in the nave at Lincoln. The piers consist of a circular core with eight detached Purbeck shafts tied together by a band of shaft rings. The Purbeck capitals feature elaborate sculpted stiff-leaf decoration. Some of the mouldings of the arches are dogtooth, unlike Lincoln. The spandrels are decorated with relief trefoils, as they would be in the Angel Choir at Lincoln. The Ely presbytery is seen as a more elaborate version of Lincoln nave. 伊利大教堂的长老会(第 80 页)是在 1234 年至 1252 年间由诺斯沃尔德主教休(1229-1254)主持的。长老会的建立是为了给圣坛和东盎格鲁国王之女圣埃特尔德雷达的神龛提供空间;它于 1252 年在国王亨利三世的见证下落成。它结合了巴纳克石和抛光珀贝克石，也许是为了暗示更珍贵的材料，具有丰富的媲美林肯大教堂。伊利东区被认为是英国哥特式建筑中最奢华的。捆绑的海拔高度由熟悉的公式苏贝克轴尖拱支持与多个拱门饰达到商场的飞檐,可以发现在林肯殿,一个画廊,一个透空式天窗,并响应的底部开始的都能拱廊和运行顶部的檐口的画廊,而不仅仅是在它的下面,如林肯的中殿。桥墩由一个圆形核心组成，由八根分离的普贝克轴通过一圈轴环绑在一起。普贝克首府的特点是精心雕刻的硬叶装饰。拱门的一些造型像狗牙，不像林肯。吊杆上装饰着浮雕三叶草，就像他们在林肯天使合唱团一样。伊利长老会被认为是林肯中堂的一个更精细的版本。 <E-C\> <E-C\> In the gallery of Lincoln nave, there are two sets of three small arches per bay supported by bundles of Purbeck shafts and inscribed into two flat pointed arches, with quatrefoils in the tympanum below and trefoils in the central spandrel above. There are three lancets windows per bay in the clerestory (the grouping of three is reiterated everywhere at Lincoln, corresponding to the Trinity), with pointed arches set in front of them supported by bundled Purbeck shafts with foliate capitals. In the Angel Choir at Lincoln (pp. 30-31), the gallery and clerestory have more of an affinity with the presbytery at Ely. The spandrels of the arcade at Lincoln are decorated with relief trefoils, and the Purbeck shafts have foliate corbels at each end (though they do not rise to the cornice of the gallery). The gallery is again composed of two pairs of arches inscribed into two arches, but they are very different than the Lincoln nave. Here the almost rounded arches are supported by single Purbeck shafts in the centre, and bundled Purbeck shafts on the sides, all with gilded foliate capitals, and have 91 附录原文与译文硕士研究生学位论文 trefoil cusping, with an openwork tympanum with quatrefoil cusping, and foliate patterns in the spandrels. The archivolts at the top of the two main arches have a prominent zigzag moulding. A similar treatment can be found in the clerestory: set in front of the windows, there are four arches supported by single Purbeck shafts, with trefoil cusping, and openwork tympana above with cusped quatrefoils. 在林肯中堂的画廊里，每隔一个开间有两套三个小拱门，由几束波贝克竖井支撑，并被雕刻成两个扁平的尖拱，下面的鼓室有四翼，上面的中央拱架有三翼。在长廊每个开间都有三个柳叶窗(林肯各处都重复了这三个窗户的组合，与三位一体相对应)，它们前面设置了尖拱，由带叶状柱头的捆绑的波贝克竖井支撑。在林肯的天使唱诗班(第 30-31 页)，画廊和克莱莱斯托里更接近伊利的长老教会。林肯拱廊的横梁上装饰着浮雕的三叶草，珀贝克竖井的两端都有叶状的圆木(虽然它们没有上升到画廊的檐口)。画廊也是由两对拱门组成的，它们被雕刻成两个拱门，但它们与林肯中堂非常不同。在这里，几乎是圆形的拱门由中心的单一波贝克轴支撑，两侧是捆绑的波贝克轴，都有镀金的叶状柱头，并有三叶尖，与开放的鼓室与四叶尖，叶面图案。在两个主要拱门的顶部有一个突出的锯齿形造型。在天窗处也可以找到类似的处理方法:设置在窗户前面，有四个由单个波贝克竖井支撑的拱门，带有三叶尖顶，上面是带有尖顶四叶的开放式鼓室。 <E-C\> <E-C\> The elevations at Ely presbytery are not quite as far along, as the tympana in the gallery are solid, not openwork bar tracery as in the Angel Choir, without the elaborate cusping; there are only one major arch and two minor arches per bay, corresponding to Lincoln nave; and there are three arches per bay in the clerestory, with no openwork cusping. The two arches in each bay of the Ely presbytery have cusped trefoiled heads, and the tympana and spandrels above contain sunk quatrefoils. The shafts in the gallery are not Purbeck shafts, but they have crocketing in vertical bands, the most elaborate of any English cathedral, and the same kind of crocketing that can be found in Lincoln choir. There is more foliate sculpture than in the nave at Lincoln, though there are no sculpted figures, and more geometric ornament in the foiled openwork patterns. The clerestory does not contain any bar tracery, but instead groups of stepped lancet openings in the wall with Purbeck shafts, as in Lincoln choir, decorated with shaft rings and dogtooth, and with foiled and cusped arches. Thus the Ely presbytery elevation is the “link” between the Lincoln nave begun in the 1230s by Master Alexander, or Alexander the Mason, and the Lincoln Angel Choir, built 92 硕士研究生学位论文附录原文与译文 between 1256 and 1280 by Simon Thirsk, and possibly Richard of Stowe. 伊利长老会教堂的立面没有那么远，因为画廊里的鼓室很坚固，不像天使唱诗班里那种没有精致尖头的开放式酒吧窗饰;每个开间只有一个大拱门和两个小拱门，与林肯中堂相呼应;每一个开间都有三个拱门，没有开口的尖顶。伊利长老会每个开间里的两个拱门都有尖顶的三叶草头，上面的鼓室和海鞘包含着下沉的四叶。画廊里的竖井不是珀贝克竖井，而是垂直排列的，是英国大教堂中最精致的，和林肯唱诗班里的一样。林肯的中殿比中殿有更多的叶面雕塑，虽然没有雕塑人物，但开放式图案中有更多的几何装饰。高窗不包含任何条形窗饰，而是在墙上用普贝克竖井是林肯合唱团(Lincoln choir)用的一组台阶状的柳叶刀开口，饰有竖井环和狗牙，还有弯曲的尖拱。因此，伊利长老会高地是连接林肯中殿和林肯天使唱诗班的“纽带”。林肯中殿始建于 1230 年代，由亚历山大大师(或亚历山大泥水匠)建造，林肯天使唱诗班建于 1256 年至 1280 年间，由西蒙•瑟斯克 (Simon Thirsk)建造，可能还有斯托城的理查德(Richard of Stowe)。 <E-C\> The vaulting in the choir and presbytery at Ely represents a development on the vaulting at Lincoln. The presbytery vault (pp. 82-83), completed by 1252, is a copy of the vault in the Lincoln nave. It consists of a continuous ridge pole, five pairs of tiercerons per bay, with short pairs of transverse tiercerons, or liernes, between bays, connecting with shorter tiercerons in the recesses in front of the clerestory windows, all the same as at Lincoln. As at Lincoln, the severies are white, and the ribs spring from corbels where they are bundled together in a squared-off conoid springer vault at the centre of the vault bays, but between the elevation bays, so that the bays of the elevations and vault are offset, confounding the structural relation between them, in contrast to the French approach. Most of the bosses of the Ely presbytery vault are stiff-leaf, but there is a boss with a Coronation of the Virgin above the altar and a boss with a figure of St Etheldreda above her shrine. 唱诗班的拱顶和伊利的长老会代表了林肯拱顶的发展。长老会拱顶(82-83 页)，完成于 1252 年，是林肯中殿拱顶的一个复制品。它由一根连续的山脊杆组成，每个凹进处有五对铁锈龙，凹进处之间有一对短的横向铁锈龙，或者叫莱尔斯，与较短的铁锈龙在天窗前的凹处相连，这和林肯大教堂的情况一样。在林肯, 穹顶的分隔间为白色,拱肋来自于枕梁，拱顶凹进处中心有一个正方形切断的圆锥形拱底石，在那里枕梁被捆绑在一起,但高地之间的凹进处和拱顶抵消,这种法国建筑风格混淆了它们之间的结构关系。伊利长老会地下室的大多数轴套都是呆板的叶子，但是有一个轴套在圣坛上方有圣母加冕礼，还有一个轴套在圣坛上方 93 附录原文与译文硕士研究生学位论文有圣埃特尔德雷达的雕像。 <E-C\> <E-C\> The vaulting in the Angel Choir at Lincoln is a more simplified version of the nave vaulting at Lincoln. It is composed of the five pairs of tiercerons per bay, but without the transverse liernes or their connecting shorter tiercerons. The severies in the Angel Choir are of exposed brick courses set perpendicular to the severies, adding additional surface texture to the already rich textural composition of the Angel Choir. 在林肯天使唱诗班的拱顶是一个更简单的版本的中殿拱顶在林肯。它是由每一开间的五对被缘体组成，但没有横向缘体或它们之间较短的连接。天使唱诗班穹顶的分隔间是由垂直于它的裸露砖砌成的，为天使唱诗班已经丰富的纹理组成增加了额外的表面纹理。 <E-C\> The choir vault at Ely (p. 85), completed later in the 1320s, presents something much different than can be found at Lincoln, a“lierne star”vault pattern. There are nine pairs of tiercerons springing from each corbel at the centre of the bays,forming a truer conoid vault, but only three pairs of the tiercerons reach the ridge pole. The first two tiercerons on either side of the clerestory windows only reach a full transverse rib connecting the peaks of the arches of the clerestory windows on either side, and the two pairs of tiercerons on either side of the central transverse tiercerons in each bay are cut off by liernes forming zigzag patterns along the ridge pole. More liernes zigzag towards the transverse ribs, forming star patterns around the major bosses at the intersections of the ridge pole and the transverse ribs. All of the intersections of ribs are covered by gilded bosses, and the ridge pole and transverse ribs are differentiated by being painted with green and red stripes. Such an elaborate patterned vault is unlike anything seen at Lincoln Cathedral or in the Early English style, and announces the“Decorated”style at Ely Cathedral. The increased emphasis on surface pattern constitutes a trend in the development of English Gothic architecture, as described by Paul Frankl and Jean Bony, among others, which puts more emphasis on “texture”than“structure”, or structural articulation. 伊利的唱诗班拱顶(第 85 页)，完成于 1320 年代后期，呈现出了与林肯截然不同的东西，一个枝肋星拱顶图案。在开间的中心，每一根球茎上都有九对铁锈 94 硕士研究生学位论文附录原文与译文龙，形成一个更真实的圆锥形拱顶，但只有三对铁锈龙能到达山脊的极点。前两个居间肋长廊的两边窗户只有达到一个完整的横肋拱连接的山峰长廊两侧窗户, 和两双居间肋两侧的每个湾中心横向居间肋切断沿着山脊杆通过枝肋形成锯齿形模式。在脊极与横肋的交点处，更多的莱尔斯向横肋呈锯齿状，在主凸台周围形成星型。拱肋的所有交叉点都被镀金的凸台覆盖，脊杆和横肋被涂上绿色和红色的条纹区分开来。这样一个精心设计的拱顶不同于林肯大教堂或早期英式风格的任何建筑，它宣告了伊利大教堂的“装饰”风格。越来越强调表面图案构成了英国哥特式建筑发展的一种趋势，正如保罗弗兰克和简博尼等人所描述，英国哥特式建筑更注重“肌理”而不是“结构”或结构的衔接。 <E-C\> <E-C\> In the 1240s, contemporary with work at Lincoln on the west front and towers, and the rebuilding of Saint Hugh’s Choir, with the“crazy vault”, and the vaulting of the choir aisles, interesting vaulting appeared at Wells south cloister walk, Salisbury cloister, Gloucester nave, and Westminster Abbey east and west cloister walks. Gloucester Cathedral (p. 184, Cathedral Church of the Holy and Indivisible Trinity in Gloucestershire, which began as a Benedictine abbey founded by Abbot Serlo in 1089 and was made a cathedral by Henry VIII in 1540) was extensively rebuilt in the Early English style between around 1220 and 1239, during the reign of King Henry III (1216-1272). The rebuilding was carried out during the abbacies of Henry Blunt (1205-1224), Thomas Bredon (1224-1228), and Henry Foliot (1228-1243). The cathedral was rededicated in 1239. The vault in the nave (pp. 86-87), completed in 1242, along with a screen in the north transept, is the only part of the Early English rebuilding to survive. It is a simple pointed arch and rib vault, or tierceron vault on the model of Lincoln, with three pairs of tiercerons per bay and a ridge pole. The ridge pole is narrower and higher (the apex of the vault rises) in the eastern bays. The springer ribs of the vault rise from bundles of three short Purbeck shafts with foliate capitals, set into a small Romanesque triforium (with no wall passage), similar to Tewkesbury Abbey. The Gloucester triforium sits on top of an arcade with enormous cylindrical piers supporting round arches with zigzag moulding, all reminiscent of Durham Cathedral (p. 11). The Purbeck shafts form part of a respond system which continues down to mid-spandrel of the arcade. 在 1240 年代,当代工作在林肯在西立面和塔,和圣休的唱诗班的重建,“疯狂的金库”,和唱诗班的跳跃的过道,有趣却出现在井南院里走,索尔兹伯里回廊,格洛 95 附录原文与译文硕士研究生学位论文斯特教堂的中殿,东西方威斯敏斯特教堂回廊走。格洛斯特教堂(p。184 年,教堂的神圣和不可分割的三一教堂在格洛斯特郡,始于 1089 年创立的本笃会修道院的院长 Serlo,犯了一个大教堂,1540 年亨利八世)是广泛的重建早期英语风格大约 1220 年至 1239 年,国王亨利三世的统治期间(1216 - 1272)。重建工作在亨利·布朗特 (1205-1224)、托马斯·布雷顿(1224-1228)和亨利·叶诺特(1228-1243)的修道院期间进行。这座大教堂于 1239 年重新落成。中殿的拱顶(86-87 页)，完成于 1242 年，连同北耳堂的一个屏风，是早期英格兰重建中唯一幸存下来的部分。这是一个简单的尖拱肋拱顶，或林肯模型的居间肋拱顶，每个开间有三对提尔瑟龙和一根脊杆。在东部开间，脊杆较窄且较高(穹窿的顶端上升)。拱顶的施普林格肋从三个带叶状柱顶的短波贝克竖井的束中升起，被设置成一个小型的罗马式三穹窿 (没有墙壁通道)，类似于图克斯伯里修道院。格洛斯特三穹窿坐落在拱廊顶部，巨大的圆柱墩支撑着曲折造型的圆形拱门，所有这些都让人想起达勒姆大教堂 (第 11 页)。普贝克竖井是一个响应系统的一部分，该系统一直延伸到拱廊的中拱。 <E-C\> <E-C\> The use of the Purbeck shafts follows the influence of Canterbury and Lincoln as a unique and defining element of the Early English style, creating a rich polyphonic and polychromatic texture in extensive multiplication and membrifi- cation, creating an architecture both rich in sensual experience and complete as a catechism of Scholastic knowledge and natural philosophy. In between the Purbeck shafts in each bay of the triforium are pairs of arches with chevron mouldings, with a second pair of arches inset into each, set on piers with scallop capitals. The small triforium, functioning as a kind of decorative band, is set between a high arcade and a high clerestory, as is found more often in France. In the last two bays of the nave before the crossing, the ribs go straight down to the cornice of the arcade, at the base of the triforium, dispensing with a Purbeck respond at the arcade level. As the work proceeded from east to west, it is possible that these bays were finished by monks without the assistance of the original masons. As explained in the chronicle of the abbey, the Historia,“In the year of our Lord 1242 the new vault was completed in the nave of the church not with the help of craftsmen as at first but by the ardent devotion of the monks who were in that place ” . The monks stilted the vault from a lower position, resulting in the lowering of the springer ribs. The vault appears to be too low, as it was perhaps built under an existing Norman roof, which would explain the 96 硕士研究生学位论文附录原文与译文 disappearance of the original clerestory. 普贝克竖井的使用遵循坎特伯雷的影响和林肯作为一个独特的和定义元素的早期英国风格,创造了一个丰富的复调和多色的纹理在广泛的乘法和阳离子,创建一个丰富的建筑感官体验和完整的教义问答书学习知识和自然哲学。在三穹窿每个凹进处的普贝克竖井之间，有一对带有人字形模具的拱，每一对拱中都嵌有第二对拱，拱架在带有扇贝柱头的桥墩上。小三层，作为一种装饰带的功能，设置在一个高拱廊和高天窗之间，法国建筑里经常能发现这一点。在交叉之前的中殿的最后两个开间，拱肋直接向下延伸到拱廊的檐口，在三穹窿的底部，在拱廊的水平上没有一个普贝克反应。由于工程从东到西进行，这些开间可能是由僧侣完成的，没有原始石匠的帮助。正如《修道院编年史》(the chronicle of the abbey) 在《历史》(the Historia)中所解释的那样，“在我们的主 1242 年，新拱顶在教堂中殿落成，不像最初那样是靠工匠的帮助，而是靠当时在场的僧侣们的热情奉献。”僧侣们从较低的位置支撑着拱顶，导致了施普林格拱肋的下降。拱顶看起来太低了，因为它可能是在现存的诺曼式屋顶下建造的，这可以解释原来的天窗消失的原因。 <E-C\> The Romanesque elevation of Gloucester nave dates from 1090 to 1121, under Abbots Peter (1104-1113) and William (1113-1130). The design follows the design at Tewkesbury Abbey (pp. 90-91, 202-203), and is dominated by the cylindrical piers of pale cream Cotswold stone, six feet in diameter and thirty-two feet high. Seven of the piers are placed in each arcade, twelve and a half feet apart. The piers have round convex capitals similar to Tewkesbury. Little remains of the Norman clerestory, as the Early English vault springs from the line of the triforium. 格洛斯特中殿的罗马式高程可追溯到 1090 年至 1121 年，由修道院院长彼得 (1104-1113)和威廉(1113-1130)主持。该设计遵循了特克斯伯里修道院的设计 (90-91 页，202-203 页)，主要由浅奶油色科茨沃尔德石砌成的圆柱形桥墩组成，直径 6 英尺，高 32 英尺。每个拱廊都有七个桥墩，相隔 12.5 英尺。桥墩有圆形凸起的柱顶，类似于图克斯伯里。诺曼·克莱莱斯托利的遗迹很少，早期的英格兰拱顶是由三穹窿组成的。 <E-C\> 97

英国哥特式建筑的辉煌第一章第四章翻译实践报告袁蕾

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英国哥特式建筑的辉煌第一章第四章翻译实践报告袁蕾