Like most bloggers, I'm used to having posts copied and put on someone else's website ... without getting so much as a mention. But never before has my blog been run through an automatic translator (twice, I believe) before being plagiarized.
That's what happened to The Double Duchess and Zenobia. The results are hilarious -- an entirely new language that must be called 'Babelish' -- and a joy to share with my more honest readers.
First, the Babelish (via The Jewerly Shop, as they spell it), which is italicized for its sins, followed by my original text:
On Monday 21 June, a sector thanksgiving unmistakable 60 years of Ruler Victoria's find. And, for the opening beforehand since the liquidation of the Prince Consort in 1861, at the regal regale that evening, the beauty queen set excursion her widow's weeds and wore "a put on clothing of which the whole kit fa was embroidered in gold, which had been uniquely worked in India."
On Monday 21 June, a public thanksgiving marked 60 years of Queen Victoria's rule. And, for the first time since the death of the Prince Consort in 1861, at the state banquet that evening, the queen set aside her widow's weeds and wore "a dress of which the whole front was embroidered in gold, which had been especially worked in India."
The skirt of gold pile was embroidered all all over in a comet-like intend in emeralds, sapphires, diamonds, and other jewels outlined with gold, the corners where it opened in face existence opulently wrought in the verbatim at the same time jewels and gold to note peacocks outspread tails. This opened to reveal an underdress of goo crepe de chine, lightly embroidered in bright, gold, and pearls and sprinkled all settled with diamonds. The trail, which was devoted to to the shoulders by two slim points and was fastened at the waist with a at liberty diamond furbelow, was a grassy velvet of a pleasurable tinge, and was superbly embroidered in Oriental designs introducing the lotus bud in rubies, sapphires, amethysts, emeralds, and diamonds, with four borderings on incongruent grounds, separated with gold twine. The trains was rocky with turquoise satin. The bodice was composed of gold chain to accord the skirt, and the face was of crepe de chine esoteric with a stomacher of verifiable diamonds, rubies and emeralds.
The skirt of gold tissue was embroidered all over in a star-like design in emeralds, sapphires, diamonds, and other jewels outlined with gold, the corners where it opened in front being elaborately wrought in the same jewels and gold to represent peacocks outspread tails. This opened to show an underdress of cream crepe de chine, delicately embroidered in silver, gold, and pearls and sprinkled all over with diamonds.
The train, which was attached to the shoulders by two slender points and was fastened at the waist with a large diamond ornament, was a green velvet of a lovely shade, and was superbly embroidered in Oriental designs introducing the lotus flower in rubies, sapphires, amethysts, emeralds, and diamonds, with four borderings on contrasting grounds, separated with gold cord. The trains was lined with turquoise satin.
The bodice was composed of gold tissue to match the skirt, and the front was of crepe de chine hidden with a stomacher of real diamonds, rubies and emeralds.
An Englishman in Paris
Charles Frederick Benefit , who opened his look for on the Rue de la Paix in 1858. Lincolnshire natural, Quality had worked as a clerk for two London textile merchants, gaining a encyclopedic adeptness of fabrics and culture the affair of supplying dressmakers. Unusually pushy, he visited the Citizen Terrace to contemplation distinguished portraits. Elements of the sitters' dresses in these paintings would later contribute insight for Significance's own designs for both in fashion ensembles and masked ball costumes.
Charles Frederick Worth, who opened his shop on the Rue de la Paix in 1858. Lincolnshire born, Worth had worked as a clerk for two London textile merchants, gaining a thorough knowledge of fabrics and learning the business of supplying dressmakers. Unusually ambitious, he visited the National Gallery to study historic portraits. Elements of the sitters' dresses in these paintings would later provide inspiration for Worth's own designs for both fashionable ensembles and masquerade costumes.
It was his ingenuity to use 'spend mannequins', our models of today (selected in Quality’s instance not for their knockout but for their resemblances to his best customers) to staged off the clothing -- so that his customers would see how the garments look when ragged. The Lodgings of Benefit was likewise the sooner to put forward seasonal collections, four respectively year, and event invented fashion shows, as we restful identify them.
It was his genius to use 'live mannequins', our models of today (selected in Worth’s case not for their beauty but for their resemblances to his best customers) to show off the clothes -- so that his clients would see how the garments look when worn. The House of Worth was also the first to present seasonal collections, four each year, and thus invented fashion shows, as we still know them.
Anticyclone-upper classes women flocked to his classy, definitely uncommunicative salon; a literally of prologue was as a rule required. Charles Dickens, in 1863, reported slyly in stupefaction to his compatriots on both sides of the Aqueduct that a bearded man with his “rugged fingers” was formal to rip off “the wrest dimensions of the highest titled women in Paris — garb them, unrobe them, and get them apply to loath and back.”
High-society women flocked to his plush, very private salon; a letter of introduction was usually required. Charles Dickens, in 1863, reported back in astonishment to his compatriots across the Channel that a bearded man with his “solid fingers” was allowed to take “the exact dimensions of the highest titled women in Paris — robe them, unrobe them, and make them turn backward and forward.”
“and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them.”
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