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Bradley-Martin's sartorial kings and pseudo-queens, her dukes and DuBarrys, princes and Pompadours, have strutted their brief hour upon the mimic stage, disappearing at daybreak like foul night-birds or an unclean dream have come and gone like the rank eructation of some crapulous Sodom, a malodor from the cloacae of ancient capitals, a breath blown from the festering lips of half-forgotten harlots, a stench from the sepulcher of centuries devoid of shame.
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