The principal fair-ground—though the occasion crammed the whole city with revelers—was just outside the gate. It was a veritable town in miniature, with a pattern of checker-board streets—Columbine street, Polichinelle street, Avenue des Parades, Place des Parades, Street of the Chanson, and the like. There were more than five hundred booths, all numbered—shops and restaurants. There were the Salon Curtius, the Ménagerie Bidel, the Bal Mabille, the Café Bataclan, the American Tavern. From one of the little costumers' shops, Charles—with a higher evincement of antiquarian taste than I should have expected—managed to bear away a pattern of wall-paper, which I afterward conferred on Mary Ashburleigh with great applause: it was Parisian of 1824, the epoch of Charles Dix, and was entirely covered with giraffes in honor of that puissant and elegant monarch. The above establishments were near the entrance, to the right.
At the left were more attractions: another menagerie, a heap of ostensible gold representing the five milliards paid by France, a gallery of astonished wax soldiers representing the Franco-Prussian war, a cook-shop with "mythologic" confectionery. Farther on, in the Théâtre Casti, was exposed the "renowned buffoon Peppino," breveted by His Majesty the "king of Egypt;" then came the Chiarini Theatre; then the Théâtre Adrien Delille, an enchantingly pretty structure, where receptions were given by a little creature who should have sat under a microscope: she was "the Princess Felicia, aged thirteen, born at Clotat, near Marseilles, weighing three kilogrammes and measuring forty-six centimètres—a ravishing figure, admirably proportioned in her littleness and tout à fait sympathique!"
The announcements were heard, it was thought by Charles, to the very centre of the city. A low-browed animal with rasped hair was shouting, "Messieurs and ladies, come and see—come and see the theatre of the galleys! The only one in the world! This is the place to view the real instruments of torture used on the prisoners—-chains four yards long and balls of thirty-five pounds. All authentic, gentlemen and ladies. You will see the poisoners of Marseilles, Grosjon who killed his father, Madame Cottin who ate her baby. Come in, come in, gentlemen and ladies! Fifteen centimes! 'Tis given away! You enter and go out when you like. Come in! It is educational: you see vice and crime depicted on the faces of the criminals!"
In another place a malicious Flemish Figaro explained the analogy betwen een spinnekop and eene meisie, the perspiration streaming over his face; and my ancient minnesinger's blood stirred within me at the report of the pleasantries which were improvised by this Rabelais of the people, and I remembered that I too was a Flemming.
The bands belonging to the different booths tried to play each other down, forming a stupefying charivari, with tributary processions that quite overflowed the city. The house of "confections" yielded me no broadcloth of a cut or dimension suitable to my figure. But my two friends chose me a hat, a light pale-tot (my second purchase in that sort on this eventful journey), a scented cambric handkerchief, a rosebud, and a snowy waistcoat, in which, as in a whited sepulchre, I concealed the decay of my toilet. These changes were judged to be sufficient for my accoutrement. They might have done very well, but on my way back I paused at a lace-shop window to inspect some present for Francine. A band, with many banners and figures in masquerade, swept past, followed by a shouting crowd. My friends lost me in a moment, and I lost my way. I turned into a street which I was sure led to the hotel, gave it up for another, lost that in a blind alley, and finally brought up in a steep, narrow cañon, where I was forced to ask a direction. The passer-by who obliged me was a man bearing a bag of charcoal. He answered with a ready intelligence that did honor to his heart and his sense of Progressive Geography. But he left on my white waistcoat, alas! a charcoal sketch, full of chiaroscuro and coloris, representing his index-finger surrounded with a sort of cloud-effect. My waistcoat had to be given over in favor of the elder garment buttoned up in the all-concealing overcoat.
The ceremonies of the day, I soon found, were to consist in an early and informal breakfast at the house of Frau Kranich; then the civil wedding at the mayor's office, followed by the usual church-service, from which the Protestant godmother of Francine begged to be excused; the day to wind up with a general dinner at a place of resort outside the city at four o'clock, the usual dining-hour in old Brabant.
The early breakfast gave a renewal of my friendship with good Frau Kranich and a glimpse of the bride, with her sweet, patient, dewy face shadowed like a honey-drop in the gauzy calyx of her artisanne cap; for she was in the simplest of morning dresses—something gray, with a clean white apron. The quaint, old-fashioned house where we met was decorated with exquisite trifles, the memorials of the mistress's old fashionable taste, but scattered over the tables also were lecture programmes, hospital reports and photographs of eminent philosophers. As I took up for a plaything a gold pen-case, well used, which rested on a magnificent old fan, the Kranich said, with just a reminiscence of her former vivacity, "You find me much changed, Mr. Flemming. I used to be the grasshopper in the fable—now I am the ant."
"I bless any change, ma'am," said I, "which increases your kindness toward this charming girl."