CHAPTER XXXIX.
OBSOLETE PARIS SHOPS.
The Old Wooden Stalls of Forty Years Ago—The “Lucky Fork”—The Cobblers’ Shops—The Old Cafés.
THE quays on the left bank of the Seine were at one time remarkable for their shops; and the book-stalls of the Quai Voltaire are still celebrated. It was on one of the quays of the left bank that the old curiosity shop stood, so picturesquely described by Balzac, in which the hero of the “Peau de Chagrin,” who had entered the shop merely to pass the time until it should be dark enough for him to throw himself from the Pont Neuf without attracting too much attention, purchased his fatal talisman.
Thirty or forty years ago Paris contained thousands of antique little shops or covered stalls, of which now very few specimens remain. They were painted wooden structures, six feet high by three feet broad, picturesquely situated at the corners of squares or public monuments, by the side of churches or city houses, with plank roofs through which a stove-chimney protruded, and with the street pavement for their floor.
The extermination of these quaint establishments necessarily accompanied the general improvement of the city; they were an eyesore when the thoroughfares had become elegant. By degrees the keepers of these huts, who were once the gaiety and life of the streets, disappeared. They took refuge for the most part in overcrowded houses which had escaped the pickaxe of the architectural improver, though this removal was only a prelude to their final departure. These petty shopkeepers were often intellectually superior to the proprietors of the finest shops on the boulevard, for many a scholar who found that the art or science to which he had sacrificed his life proved ungrateful, would for the sake of his daily bread set up in one of these street huts as a “public writer,” there, as set forth in a previous chapter, writing love-letters for domestic servants or grooms who could not express the sentiments of their bosom with a pen. Schoolmasters without pupils, students who had been plucked at their examinations, and professors without chairs, formed a large proportion of this hut-inhabiting population.
Amongst these primitive establishments were a number of fried-potato shops, which were besieged by street urchins in quest of the traditional halfpennyworth of tritters. In the Rue de la Vieille-Estrapade flourished a shop well known under the sign or title of the “Lucky Fork.” Here might be beheld an enormous metal cauldron, in which constantly simmered a dark-coloured broth of somewhat too odoriferous a character. Floating in this gigantic vessel, tossed hither and thither by the bubbling of the hot liquid, were pieces of tripe, pork, and other even less inviting viands, which the customer had to make a stab at with a sharp fork of huge dimensions. Yet although the aspect of these establishments was not altogether appetising, cleanliness was by no means a quality in which they were deficient. For a halfpenny the consumers had the privilege of a stab with the fork. The patrons of these shops were numerous and varied: porters, workmen, students, tinkers, artists. The poet Berthauld, author of the “Fille du Peuple,” was famed for his skill with the weapon in question; Chartelet the painter and Fourier the philosopher frequently tried their hand with it, not to mention other votaries of the arts and sciences who, unknown at that time, were destined to become celebrated. It used to be a source of great amusement to watch the customers, whatever their trade or profession might be, as, with keen gaze, they awaited some unusually big morsel which was floating towards them, and then suddenly made a thrust at it like eel-spearers. The piece of meat, incessantly dancing and revolving as it was, frequently eluded the prongs of the fork, whereupon cries of irony would escape from the attentive crowd; but when, at the first stab—for a halfpenny, that is to say—one of the combatants had secured a bulky morsel, this victor paraded through the ranks of the spectators, who, as they made way for him, applauded vociferously. Many, however, of the vanquished went to bed on nothing but water and a crust of bread.
There were fruit-stalls, where apples, pears, and even peaches, were sold at prices which have quintupled since then; and huts kept by knife-grinders, who, at a later period, resumed their daily pilgrimage through those quarters of Paris[{266}] where blunt instruments were most likely to be requiring a cheap edge. There was a bird-shop on the island of Saint Louis where the feathered stock was confided to the care of two enormous white cats, besides other like establishments, unprovided with cats, which were numerous enough in that space which is to-day occupied by the square of the Louvre. Then there were cobblers who, within their little pavement cabins, had no bills to deliver, no rent to pay, no reproaches to bear, no masters whose caprices must be humoured, since their toil from one hour to another produced immediate payment. The spirit of independence which was a characteristic of these artists in leather dated back, indeed, to ancient times. Simon of Athens, the friend of Socrates and the author of the thirty-three dialogues, in which a system of philosophy is set forth with great lucidity, received from Pericles an invitation to quit his shop and go to live with that magnate. “I would not sell my liberty for all the treasures in Greece,” was the reply.
The street cobblers of Paris have frequently given heroic instances of devotion and patriotism. During the massacre of St. Bartholomew they saved many Protestants from the edge of the sword. Their little shops were divided into two compartments, of which the upper one, approached by a small ladder, served as lumber-room for a mass of leather scraps and old shoes. It was here that more than one of the companions of Admiral Coligny found safety.
Some time afterwards, defying the terrible edicts of Richelieu, a Paris cobbler transmitted some vitally important correspondence to the prisoners in the Bastille, by cleverly sewing the letters between the soles of shoes. Later on his shop became a sort of literary rendezvous. Politics were indeed talked there; but it was the latest prose and the latest verse which chiefly occupied the frequenters. The cobbler was at that period accustomed to combine with his leathern functions those of “public-writer.”
French authors and poets have always had a kindness for the cobbler. François Villon wrote what is considered the best of his odes in honour of the “Povres Housseurs,” makers, that is to say, of a species of boots worn in the fifteenth century. It is known that the great Corneille did not think it beneath his dignity to make an intimate friend of the cobbler of the Rue d’Argenteuil.