The Mysteries of Paris, illustrated with etchings, Vol. 3Sue, Eugène
General
The Mysteries of Paris, illustrated with etchings, Vol. 3
Sue, Eugène
Paris (France) -- Fiction
Here are to be found dealers in pieces of every coloured cloth, of all
ages, qualities, shades, and capabilities, for the service of such as
wish to repair or alter damaged or ill-fitting garments. Some of the
shops present huge piles of old shoes, some trodden down of heel,
others twisted, torn, worn, split, and in holes, presenting a mass of
nameless, formless, colourless objects, among which are grimly visible
some species of fossil soles about an inch thick, studded with thick
nails, resembling the door of a prison and hard as a horse's hoof, the
actual skeletons of shoes whose other component parts have long since
been consumed by the devouring hand of Time. Yet all this mouldy, dried
up accumulation of decaying rubbish will find a willing purchaser, an
extensive body of merchants trading in this particular line.
Then there are the vendors of gimps, fringes, bindings, cords, tassels,
and edgings of silk, cotton, or thread, arising out of the demolition of
curtains past all cure and defying all reparation. Other enterprising
individuals devote themselves to the sale of females' hats and bonnets,
these articles only reaching their emporium by the means of the dealers
in old clothes, and after having performed the strangest journeys and
undergone the most surprising transformations, the most singular changes
of colour.
In order that the article traded in may not take up too much room in a
warehouse ordinarily the size of a large box, these bonnets are
carefully folded in half, then flattened and laid upon each other as
closely as they can be packed, with the exception of the brim. They are
treated in every respect the same as herrings, requiring to be stowed in
a cask. By these means it is almost incredible what a quantity of these
usually fragile articles may be accommodated in a small space of about
four feet square.
Should a purchaser present himself, the various specimens are removed
from the high pressure to which they have been exposed, the vendor, with
a _degage_ air, gives the crown a dexterous blow with his fist, which
makes the centre rise to its accustomed situation, then presses the
front out upon his knee, concluding by holding up, with an air of
intense satisfaction at his own ingenuity, an object so wild, so
whimsical, and withal so irresistibly striking, as to remind one of
those traditional costumes ascribed for ages past to fishwomen,
apple-women, or any whose avocation involves the necessity of carrying a
basket on the head.
Public-domain text, read in full here on John Shaqi.
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