(单词翻译:单击)
At first, these World War I era photos look unextraordinary.
乍一看，这些一战时期的照片并没有什么特别。
Medals. Jackets with large buttons. Some bandages.
奖牌，大钮扣夹克，有时还打了绷带。
But look at the glasses.
然而，看看那些眼镜。
None of them are for vision.
它们都不是近视眼镜。
They were for support.
而是为了起支撑作用。
Through this passageway and inside a studio, sculptors created the best possible way to conceal some of the war’s most significant facial injuries.
沿着这个走廊走进一间工作室，里面的雕刻家们极尽所能，创造了隐藏战争造成的最为严重的面部伤害的方式。
World War I is known for machine guns, tanks, and lethal gas attacks, but artillery dominated attacks on trenches.
一战以机关枪、坦克和致命毒气袭击闻名，然而，战壕袭击还是以炮火为主。
When you think of artillery, imagine cannons - guns that fired large destructive shells.
想到大炮，大家不妨想象一下机关炮——就是那种发射大型毁灭性炮弹的大炮。
This chart shows estimates of artillery rounds in battles from the American Civil War to World War I.
这张表显示了美国从内战到一战期间战场上大致使用的炮弹数量。
At Gettysburg, 32,000 rounds were fired.
葛底斯堡一役就发射了3.2万发炮弹。
At Somme, in 1916: 4,000,000.
1916年的索姆河战役则发射了400万发。
A staggering volume of shells dropped, creating deadly flying debris.
不计其数的弹片从天而降，化身成致命的飞行碎片。
That barrage resulted in an estimated 20,000 facial injuries, a statistic that medicine had to confront.
据估计，这些连珠炮式的碎片毁掉了2万人的面容，而这也是医学必须面对的一个统计数字。
This book about plastic surgery was published after the war,
这本关于整形手术的书出版于战后，
but it shows groundbreaking techniques for suturing and transplanting skin.
但它表明，缝合和移植皮肤的手术在那时已经取得了突破性的进展。
Techniques like cartilage insertion in the nose or grafts to the ear were pioneering at the time.
将软骨植入鼻子或移植到耳朵上的技术在当时还是比较前沿的。
But some cases went beyond the abilities of these plastic surgeons.
然而，有些病例的严重程度已经超出了整形外科医生的能力范围。
That’s where the sculptors came in.
于是，雕刻家们发挥用武之地的时候到了。
Before she was in this American Red Cross studio in Paris, Anna Coleman Ladd was a sculptor and writer in America.
在前往美国红十字会巴黎分会工作之前，安娜·科尔曼·拉德曾是美国的一位雕刻家和作家。
Having heard of the sculptor Francis Derwent Wood’s pioneering work in London, in 1917 she took his techniques to the Red Cross in France, starting her own studio there.
听说了雕刻家弗朗西斯·德温特·伍德在伦敦的开创性作品后，1917年，她把他的技术带到了法国红十字会，并在那里开办了自己的工作室。
They made casts of the injured faces, then sculpted attachments that restored the face.
他们先照着受伤的面孔铸造一张面具，然后雕刻出修复面部的局部器官。
These were then used to make a paper thin copper-plated attachment, which Ladd and others then painted.
接着，这些器官会被制成纸一样薄的镀铜器官，然后经由拉德等人绘制出皮肤的纹理。
Eyebrows and mustaches were made from real hair or tiny pieces of tinfoil, with astonishing results.
眉毛和胡子是由真发或锡箔制成的，成品能达到以假乱真的地步。
They were supported by tiny ties around the ears or, more often, glasses.
面具最终被用细线，更多的是用眼镜，绕着耳朵固定起来。
They made more than 150 of these masks.
拉德等人一共制作了150多个这样的面具。
After the war, Anna Coleman Ladd returned to America.
战后，安娜·科尔曼·拉德回到了美国。
She sculpted many pieces similar to her pre-war work.
又雕刻了许多与战前相似的作品。
Perfect figures, oblivious to charts about artillery. Figures who didn’t need glasses.
完美的面容，对关于大炮数量的图表浑然不知，也不需要特殊眼镜的面容。
In 1923, she created a controversial World War I memorial for the American legion in Manchester, Massachusetts.
1923年，拉德在马萨诸塞州的曼彻斯特为美军立了一座颇有争议的一战纪念碑。
It showed a skeleton trapped in barbed wire.
纪念碑上雕刻了一具被困在带刺铁丝网里的骷髅。
She once wrote about memorials, "when the masters of yesterday have passed, the masters of tomorrow will express this new sense of the futility of war and the greater power of the spirit."
拉德曾就纪念碑一事写道，“当昨天的主人逝去，明天的主人只会表达战争不过是徒劳，精神的力量更为强大这一感受。”
Her Memorial in Manchester actually had two images.
她在曼彻斯特立的纪念碑实际上雕刻了两幅画。
The skeleton was called night.
那具骷髅叫“夜”。
On the other side, she put dawn.
而骷髅的另一面，她还雕刻了一幅黎明。
