Wedgwood wanted to " astonish the world... for I hate piddling" .

韦奇伍德想要“震惊世界… … 因为我讨厌小打小闹”。

Wedgwood wrote that he wanted " to make such Machines of the Men as cannot Err" .

韦奇伍德写道，他希望“人类制造出不会犯错的机器”。

Vases in their thousands, then in their tens of thousands, began to emerge from the Wedgwood production line.

数千的花瓶，接着，数万的花瓶，开始从韦奇伍德的生产线上涌出。

Greek vases with heroes fighting on them, Ming bowls from China, pot-bellied African jars and beautiful Wedgwood tureens.

来自希腊的陶罐，上边描绘了战斗中的英雄，来自中国的明代古碗，来自非洲的大腹罐，还有美丽的韦奇伍德砂锅。

And, in a way, Wedgwood did change the world.

在某种程度上，韦奇伍德确实改变了世界。

Wedgwood's genius lay not in the creation of individuality, but in the erasing of it.

韦奇伍德的天才不在于创造个性，而在于消除个性。

Today, Wedgwood is cherished by the very elderly and the very ironic; an ancient aunt or an east London hipster are likeliest to wear a cameo brooch now.

今天，韦奇伍德受到年长者和极具讽刺意味者的珍爱；老妇或东伦敦的潮人如今是最有可能佩戴浮雕胸针的人。

When the author J.B. Priestley set out on a round-England trip in the 1930s, he sniffed at the Wedgwood factory in Stoke-on-Trent: so industrial, he considered, and so soulless.

20世纪30年代，当作家J.B.普里斯特利启程环游英国时，他对特伦特河畔斯托克的韦奇伍德工厂嗤之以鼻：如此工业化，他认为，如此没有灵魂。

In his lifetime some of Wedgwood's most popular products were his medallions: little ceramic circles embossed with profiles of famous figures, such as Aristotle, John Locke and Voltaire.

圆形陶片上雕刻有著名人物的肖像侧影，如亚里士多德、约翰·洛克和伏尔泰。

Peer at a piece of Wedgwood, and you can still be astonished by the brilliance of the individual engravings - by the curl lying on this king's neck, or the realistic line of that philosopher's nose.

仔细看一看韦奇伍德的作品，你仍然会为其精美绝伦的雕刻而惊叹——国王脖子的弧度，或者哲学家鼻子那里逼真的线条。