“The deuce! Are they so fashionable?”
“Fashionable! I should say so! I can hold the foot of a well-grown Parisian woman in the hollow of my hand. And when they walk they don’t touch the pavement! You could make shoes for a Parisian girl out of whipped cream, and they’d hold together! If you were to fit her with a pair of ordinary woman’s beetle-crushers she’d jump straight into the sewer!”
“Well, I’m damned!” The master is hastily cutting some leather to shape. “The devil she would!”
Never did any one make himself at home more easily; Garibaldi draws a seat up to the table and is at once in full swing. No rummaging about after tools; his hand finds his way to the exact spot where the thing required lies, as though an invisible track lay between them. These hands do everything of themselves, quietly, with gentle movements, while the eyes are elsewhere; gazing out into the garden, or examining the young master, or the work of the apprentices. To Pelle and the others, who always have to look at everything from every side in turn, this is absolutely marvelous. And before they have had time to look round Garibaldi has put everything in order, and is sitting there working and looking across the room at the master, who is himself sewing to-day.
And then Jeppe comes tumbling in, annoyed that no one has told him of Garibaldi’s arrival. “’Day, master—’day, craft-master!” says Garibaldi, who stands up and bows.
“Yes,” says Jeppe self-consciously, “if there were craft-masters still, I should be one. But manual work is in a wretched case to-day; there’s no respect for it, and where shall a man look for respect if he doesn’t respect himself?”
“That’s meant for the young master, eh?” says Garibaldi laughing. “But times have altered, Master Jeppe; knee-straps and respect have given out; yes, those days are over! Begin at seven, and at six off and away! So it is in the big cities!”
“Is that this sosherlism?” says Jeppe disdainfully.
“It’s all the same to me what it is—Garibaldi begins and leaves off when it pleases him! And if he wants more for his work he asks for it! And if that doesn’t please them—then adieu, master, adieu! There are slaves enough, said the boy, when he got no bread.”
The others did not get very much done; they have enough to do to watch Garibaldi’s manner of working. He has emptied the bottle, and now his tongue is oiled; the young master questions him, and Garibaldi talks and talks, with continual gestures. Not for a moment do his hands persist at their work; and yet the work progresses so quickly it is a revelation to watch it; it is as though it were proceeding of itself. His attention is directed upon their work, and he always interferes at the right moment; he criticizes their way of holding their tools, and works out the various fashions of cut which lend beauty to the heel and sole. It is as though he feels it when they do anything wrongly; his spirit pervades the whole workshop. “That’s how one does it in Paris,” he says, or “this is Nuremberg fashion.” He speaks of Vienna and Greece in as matter-of-fact a way as though they lay yonder under Skipper Elleby’s trees. In Athens he went to the castle to shake the king by the hand, for countrymen should always stand by one another in foreign parts.