| 1. | The spirit of barry and fuseli lives on
巴里和富塞利的精神常驻人间。 |
| 2. | In 1782 fuseli exhibited “ the nightmare ” for the first time , drawing record crowds of up to 3 , 000 people a day
1782年，富塞利首次展出《梦魇》一作，每天观摩者创纪录地达到3000人。 |
| 3. | Barry and fuseli are hardly household names ; indeed since victorian times they have been virtually ignored
巴里和富塞利这两个名字算不上家喻户晓，实际上自维多利亚时代以来，世人对他们已经不闻不问。 |
| 4. | While fuseli ' s rehabilitation is admirable , the tate ' s obsession with inclusiveness dilutes sir christopher ' s ideas
虽然富塞利的重振旗鼓令人肃然起敬，但坚持包罗万象的泰特美术馆还是弱化了克里斯托弗的观念。 |
| 5. | Unlike barry , fuseli ? a former preacher who was forced to leave his native zurich ? looked rationally at the london art scene
当过传教士后来被迫离开祖国瑞士的富塞利跟巴里不一样，他较为理智地看待伦敦艺术境况。 |
| 6. | Barry ' s fall from grace [ 5 ] was the most dramatic , but there is much to admire in this irascible irish artist who , like fuseli , once taught william blake
巴里的失宠于众最富于戏剧性，但跟富塞利一样曾给威廉?布莱克传授过技艺的这位性情暴躁的爱尔兰艺术家，还是拥有许多让人敬佩的地方。 |
| 7. | But in the late 18th century , fuseli , and for a short time barry also , were prominent members of the young royal academy of arts ( ra ) and influential professors of painting there
不过，在18世纪晚期，富塞利曾经是早期皇家美术学院（ ra ）的杰出会员和颇具影响力的画师，巴里曾一度也是如此。 |
| 8. | The last room is one of the best . （ 10 ） here sir christopher has added his cross - cultural hallmark [ 30 ] : a series of horror film clips that invoke fuseli ' s “ the nightmare ” as the ultimate shock - horror icon
最后一间是最好的展室之一，克里斯托弗爵士的“跨文化”印记在此得以展现，那就是一系列以富塞利《梦魇》为最终惊悚形象的恐怖电影短片。 |
| 9. | Instead of rising to sir christopher ' s wide - ranging themes , which link fuseli and blake with other great european painters , including goya and caspar david friedrich , the tate has taken a parochial [ 27 ] view , showing virtually every mediocre british artist who ever dabbled [ 28 ] in gothic fantasy
克里斯托弗爵士崇尚的主题广泛，将富塞利、布莱克同包括戈亚、卡斯帕?戴维?弗雷德里希在内的欧洲其他杰出画家有机结合在一起，但泰特美术馆却反其道而行之，几乎展出了所有和哥特式幻想沾点边、不入流的英国艺术家的作品，其眼界之狭窄可见一斑。 |
