Lippincott's Magazine of Popular Literature and Science, Vol. 12, No. 32, November, 1873Various
Science
Lippincott's Magazine of Popular Literature and Science, Vol. 12, No. 32, November, 1873
Various
Literature, Modern -- 19th century -- Periodicals; Science -- Periodicals
Who could remain long shut up from such an out-of-doors? Directly I was
in the open air, scenting the fresh breath from the parks. I inspected
the streets, the factories, the people, the houses. A prolonged and
deliberate examination of Carlsruhe enables me to assert that it is the
most easy-going, slow-paced, loitering, temporizing, procrastinating
capital outside of Dreamland.
A young workingman was assisting some bricklayers in an extension
adjacent to the foundry of Christofle and Company. I saw him going, with
a slow and lounging pace, toward the brick-pile, stopping by the way to
quench his thirst at a hydrant, whose stream was so slender that a good
many applications of the cup of Diogenes were necessary to allay the
heat concentred in the fellow's thick throat. Arrived finally at the
heap of bricks, the goal of his promenade, he took up precisely six, and
proceeded with a lordly, lounging step to bear them back to the masons.
Then, folding his arms, he watched the imbedding of those bricks in
their plaster with a sovereign calm like that of Vitellius eating figs
at the combats of the gladiators. When he consented to take up again his
serene march, it was the turn of the bricklayers to fold their arms. At
each errand he consulted the hydrant, and the builders watched all his
movements with sympathy and approval.
I photograph the moving figures in the street with the same simple
fidelity which I have employed to represent the trouble-saving
conveniences of my chamber. Take another hero, equally worthy of Capua.
The placid personage who assisted me to a bath in my room was as happy a
dullard as my waiter in the _Baden_, and both of them caressed their job
as Narcissus caressed the fountain.
[Illustration: THE KNIGHT OF THE BATH]
Public-domain text, read in full here on John Shaqi.
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