英语翻译Yet,even the enemies of Catholic Spain soon adopted sober black clothing.Indeed,black clothing would prove to be extremely popular in predominantly Protestant countries,such as the Netherlands and England,setting the stage for the rise of

英语翻译Yet,even the enemies of Catholic Spain soon adopted sober black clothing.Indeed,black clothing would prove to be extremely popular in predominantly Protestant countries,such as the Netherlands and England,setting the stage for the rise of
英语翻译
Yet,even the enemies of Catholic Spain soon adopted sober black clothing.Indeed,black clothing would prove to be extremely popular in predominantly Protestant countries,such as the Netherlands and England,setting the stage for the rise of black in modern European society.Within sixteenth-century Protestant culture,a clear distinction was drawn between colors that were “honnête” (black,white,gray,brown,and blue) and those that were not honest,sober and discrete (yellow,green,and red).Evidence of this distinction can be seen in the innumerable portraits of Protestant worthies in their sober dark attire.(This was also the beginning of the idea that blue is for boys and pink is for girls.)
In his book Men in Black,John Harvey focused on black as a sign of authority in men’s clothing.Priests and princes wore black,as did judges and executioners.Harvey’s examples range from the Black Prince to Hitler’s SS,and from the nineteenth-century poet and dandy Charles Baudelaire to Marlon Brando in a black leather jacket.The book opens with a dialogue from Quentin Tarantino’s flm,Reservoir Dogs:
mr.pink:Why can’t we pick out our own color?
joe:I tried that once; it don’t work.You get
four guys fghting over who’s gonna be
Mr.Black
But what about women?Is there a history of women in black?And if so,what does black signify for them?There is Catherine de Medici,the Renaissance-era queen of France,widowed in 1559,and thereafter always dressed in black.Sometimes described as the Black Queen,she has often been viewed as “the very incarnation of evil” for her role in the St.Bartholomew’s Day Massacre.Although she used the sartorial signs of her widowhood for her own political ends,this did little or nothing to enhance the prestige or power of other widows.
Black was certainly a fashionable color for many European aristocrats,especially in the sixteenth and seventeenth centuries.Visitors to the Château of Chantilly outside Paris can still see a portrait of Gabrielle de Rochechouart,dating from about 1547.She wears a pretty black dress with puffy black-and-white sleeves accented with red.She is clearly not a widow,for this is not a mourning dress.At the time,fashionable aristocratic women sometimes wore striking combinations of color and fabric,such as a dress made of black velvet,together with black,white,and brilliant red satin.
More typical of the sixteenth century was the fashion for dressing all in black,except for an accent of white at collar and cuffs.Both men and women wore black clothing,its sober elegance enlivened by dramatic white ruffs that framed the face.Black could also serve to highlight gold.Veronica Spinola Doria,for example,wears stately Spanish black in a portrait (c.1606–1607) by Peter Paul Rubens.
yayayolanda 你翻译的很好，

英语翻译Yet,even the enemies of Catholic Spain soon adopted sober black clothing.Indeed,black clothing would prove to be extremely popular in predominantly Protestant countries,such as the Netherlands and England,setting the stage for the rise of
然而,甚至是信奉天主教的西班牙人的敌人们也迅速采用了纯黑色服饰.事实上,在像荷兰和英格兰这样新教盛行的国家,黑色服饰尤其流行,这便为其在现代欧洲社会的流行做了铺垫.在十六世纪新教文化里,颜色被严格区分为 有可靠感觉的（黑,白,灰,棕,蓝） 以及不给人可靠,郑重和具体感觉的颜色(黄,绿,红）.这种区分可以从众多新教显要们身着纯黑色服饰的肖像画里看出来.（这也是蓝色是男孩专用而粉红是女孩专用观念的开始）
太多了,呜呜呜……

不是吧

然而，即使敌人的天主教西班牙很快通过清醒的黑色衣服。事实上，黑色衣服将证明是非常受欢迎的主要新教国家，如荷兰和英国，并为黑色的崛起，在现代的欧洲社会。在16世纪新教文化，明确区分的颜色是“ honnête ” （黑色，白色，灰色，棕色，蓝色）和那些没有诚实，清醒和离散（黄色，绿色，红色） 。证明了这一点区别中可以看到无数的画像新教worthies在他们清醒的深色服装。 （这也是开始的想法是蓝色和粉...

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然而，即使敌人的天主教西班牙很快通过清醒的黑色衣服。事实上，黑色衣服将证明是非常受欢迎的主要新教国家，如荷兰和英国，并为黑色的崛起，在现代的欧洲社会。在16世纪新教文化，明确区分的颜色是“ honnête ” （黑色，白色，灰色，棕色，蓝色）和那些没有诚实，清醒和离散（黄色，绿色，红色） 。证明了这一点区别中可以看到无数的画像新教worthies在他们清醒的深色服装。 （这也是开始的想法是蓝色和粉红色的男孩是女孩。 ）
在他的书中黑衣人，约翰哈维集中在黑色，以示权威男装。神父和王子穿着黑色一样，法官和刽子手。哈维的例子包括从黑王子向希特勒的党卫军，从十九世纪的诗人和丹迪波德莱尔到马龙白兰度在一个黑色皮夹克。这本书打开对话从昆汀塔伦蒂诺的关机，落水狗：
先生。粉红色：为什么我们不能挑选出我们自己的颜色？
乔：我想，一旦它不工作。你
四个家伙fghting了谁的公鹿
布莱克先生
可是你知道妇女？是否有一个妇女在历史上的黑色？如果是的话，黑人意味着什么呢？有凯瑟琳德梅狄奇，文艺复兴时期的英国女王，法国在1559年丧偶，此后始终身穿黑色。有时称为黑皇后，她常常被视为“非常邪恶的化身” ，她的作用，圣巴塞洛缪节大屠杀。虽然她使用了sartorial守寡的迹象，她为自己的政治目的，这很少或几乎没有提高的威望或权力的其他寡妇。
黑色无疑是一个时髦的颜色，许多欧洲贵族，特别是在十六世纪和十七世纪。游客的尚蒂伊城堡巴黎郊外还是可以看到的肖像加布里埃日Rochechouart的历史可以追溯到大约1547年。她穿着一件黑色裙子漂亮浮肿黑白袖子重音红色。她显然不是一个寡妇，因为这不是一个丧服。当时，时尚的贵族妇女有时穿着引人注目组合颜色和面料，如穿着黑色天鹅绒制成的，加上黑，白，和灿烂的红色缎子。
更为典型的是16世纪的时尚梳妆所有黑色，除了口音的白人在衣领和袖口。男人和女人穿着黑色的服装，其清醒优雅活跃了巨大的白色ruffs框架的脸。黑色也可以突出金牌。维罗妮卡斯皮诺拉的Doria ，例如，穿黑色的庄重西班牙语画像
（约1606至1607年）的彼得保罗巴里切罗

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Yet, even the enemies of Catholic Spain soon adopted sober black clothing. Indeed, black clothing would prove to be extremely popular in predominantly Protestant countries, such as the Netherlands and...

全部展开

Yet, even the enemies of Catholic Spain soon adopted sober black clothing. Indeed, black clothing would prove to be extremely popular in predominantly Protestant countries, such as the Netherlands and England, setting the stage for the rise of black in modern European society. Within sixteenth-century Protestant culture, a clear distinction was drawn between colors that were “honnête” (black, white, gray, brown, and blue) and those that were not honest, sober and discrete (yellow, green, and red). Evidence of this distinction can be seen in the innumerable portraits of Protestant worthies in their sober dark attire. (This was also the beginning of the idea that blue is for boys and pink is for girls.)
然而，即使敌人的天主教西班牙很快通过清醒的黑色衣服。事实上，黑色衣服将证明是非常受欢迎的主要新教国家，如荷兰和英国，并为黑色的崛起，在现代的欧洲社会。在16世纪新教文化，明确区分的颜色是“ honnête ” （黑色，白色，灰色，棕色，蓝色）和那些没有诚实，清醒和离散（黄色，绿色，红色） 。证明了这一点区别中可以看到无数的画像新教worthies在他们清醒的深色服装。 （这也是开始的想法是蓝色和粉红色的男孩是女孩。 ）
In his book Men in Black, John Harvey focused on black as a sign of authority in men’s clothing. Priests and princes wore black, as did judges and executioners. Harvey’s examples range from the Black Prince to Hitler’s SS, and from the nineteenth-century poet and dandy Charles Baudelaire to Marlon Brando in a black leather jacket. The book opens with a dialogue from Quentin Tarantino’s flm, Reservoir Dogs:
mr. pink: Why can’t we pick out our own color?
joe: I tried that once; it don’t work. You get
four guys fghting over who’s gonna be
Mr. Black
在他的书中黑衣人，约翰哈维集中在黑色，以示权威男装。神父和王子穿着黑色一样，法官和刽子手。哈维的例子包括从黑王子向希特勒的党卫军，从十九世纪的诗人和丹迪波德莱尔到马龙白兰度在一个黑色皮夹克。这本书打开对话从昆汀塔伦蒂诺的关机，落水狗：
先生。粉红色：为什么我们不能挑选出我们自己的颜色？
乔：我想，一旦它不工作。你
四个家伙fghting了谁的公鹿
布莱克先生
But what about women? Is there a history of women in black? And if so, what does black signify for them? There is Catherine de Medici, the Renaissance-era queen of France, widowed in 1559, and thereafter always dressed in black. Sometimes described as the Black Queen, she has often been viewed as “the very incarnation of evil” for her role in the St. Bartholomew’s Day Massacre. Although she used the sartorial signs of her widowhood for her own political ends, this did little or nothing to enhance the prestige or power of other widows.
可是你知道妇女？是否有一个妇女在历史上的黑色？如果是的话，黑人意味着什么呢？有凯瑟琳德梅狄奇，文艺复兴时期的英国女王，法国在1559年丧偶，此后始终身穿黑色。有时称为黑皇后，她常常被视为“非常邪恶的化身” ，她的作用，圣巴塞洛缪节大屠杀。虽然她使用了sartorial守寡的迹象，她为自己的政治目的，这很少或几乎没有提高的威望或权力的其他寡妇。
Black was certainly a fashionable color for many European aristocrats, especially in the sixteenth and seventeenth centuries. Visitors to the Château of Chantilly outside Paris can still see a portrait of Gabrielle de Rochechouart, dating from about 1547. She wears a pretty black dress with puffy black-and-white sleeves accented with red. She is clearly not a widow, for this is not a mourning dress. At the time, fashionable aristocratic women sometimes wore striking combinations of color and fabric, such as a dress made of black velvet, together with black, white, and brilliant red satin.
黑色无疑是一个时髦的颜色，许多欧洲贵族，特别是在十六世纪和十七世纪。游客的尚蒂伊城堡巴黎郊外还是可以看到的肖像加布里埃日Rochechouart的历史可以追溯到大约1547年。她穿着一件黑色裙子漂亮浮肿黑白袖子重音红色。她显然不是一个寡妇，因为这不是一个丧服。当时，时尚的贵族妇女有时穿着引人注目组合颜色和面料，如穿着黑色天鹅绒制成的，加上黑，白，和灿烂的红色缎子。
More typical of the sixteenth century was the fashion for dressing all in black, except for an accent of white at collar and cuffs. Both men and women wore black clothing, its sober elegance enlivened by dramatic white ruffs that framed the face. Black could also serve to highlight gold. Veronica Spinola Doria, for example, wears stately Spanish black in a portrait (c. 1606–1607) by Peter Paul Rubens.
更为典型的是16世纪的时尚梳妆所有黑色，除了口音的白人在衣领和袖口。男人和女人穿着黑色的服装，其清醒优雅活跃了巨大的白色ruffs框架的脸。黑色也可以突出金牌。维罗妮卡斯皮诺拉的Doria ，例如，穿黑色的庄重西班牙语画像（约1606年至1607年）的彼得保罗巴里切罗。

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