He was about to resume his walk, when there came in, or more strictly speaking, there shot in, a young, auburn-curled, blue-eyed man, whose adolescent buoyancy, as much as his delicate, silver-buckled feet and clothes of perfect fit, p.r.o.nounced him all-pure Creole. His name, when it was presently heard, accounted for the blond type by revealing a Franco-Celtic origin.

"'Sieur Frowenfel'," he said, advancing like a boy coming in after recess, "I 'ave somet'ing beauteeful to place into yo' window."

He wheeled half around as he spoke and seized from a naked black boy, who at that instant entered, a rectangular object enveloped in paper.

Frowenfeld's window was fast growing to be a place of art exposition. A pair of statuettes, a golden tobacco-box, a costly jewel-casket, or a pair of richly gemmed horse-pistols--the property of some ancient gentleman or dame of emaciated fortune, and which must be sold to keep up the bravery of good clothes and pomade that hid slow starvation--went into the shop-window of the ever-obliging apothecary, to be disposed of by _tombola_. And it is worthy of note in pa.s.sing, concerning the moral education of one who proposed to make no conscious compromise with any sort of evil, that in this drivelling species of gambling he saw nothing hurtful or improper. But "in Frowenfeld's window" appeared also articles for simple sale or mere transient exhibition; as, for instance, the wonderful tapestries of a blind widow of ninety; tremulous little bunches of flowers, proudly stated to have been made entirely of the bones of the ordinary catfish; others, large and spreading, the sight of which would make any botanist fall down "and die as mad as the wild waves be," whose ticketed merit was that they were composed exclusively of materials produced upon Creole soil; a picture of the Ursulines'

convent and chapel, done in forty-five minutes by a child of ten years, the daughter of the widow Felicie Grandissime; and the siege of Troy, in ordinary ink, done entirely with the pen, the labor of twenty years, by "a citizen of New Orleans." It was natural that these things should come to "Frowenfeld's corner," for there, oftener than elsewhere, the critics were gathered together. Ah! wonderful men, those critics; and, fortunately, we have a few still left.

The young man with auburn curls rested the edge of his burden upon the counter, tore away its wrappings and disclosed a painting.

He said nothing--with his mouth; but stood at arm's length balancing the painting and casting now upon it and now upon Joseph Frowenfeld a look more replete with triumph than Caesar's three-worded dispatch.

The apothecary fixed upon it long and silently the gaze of a somnambulist. At length he spoke:

"What is it?"

"Louisiana rif-using to hanter de h-Union!" replied the Creole, with an ecstasy that threatened to burst forth in hip-hurrahs.

Joseph said nothing, but silently wondered at Louisiana's anatomy.

"Gran' subjec'!" said the Creole.

"Allegorical," replied the hard-pressed apothecary.

"Allegoricon? No, sir! Allegoricon never saw dat pigshoe. If you insist to know who make dat pigshoe--de hartis' stan' bif-ore you!"

"It is your work?"

"'Tis de work of me, Raoul Innerarity, cousin to de disting-wish Honore Grandissime. I swear to you, sir, on stack of Bible' as 'igh as yo' head!"

He smote his breast.

"Do you wish to put it in the window?"

"Yes, seh."

"For sale?"

M. Raoul Innerarity hesitated a moment before replying:

"'Sieur Frowenfel', I think it is a foolishness to be too proud, eh? I want you to say, 'My frien', 'Sieur Innerarity, never care to sell anything; 'tis for egs-hibby-shun'; _mais_--when somebody look at it, so," the artist cast upon his work a look of languishing covetousness, "'you say, _foudre tonnerre!_ what de dev'!--I take dat ris-pon-sibble-ty--you can have her for two hun'red fifty dollah!'

Better not be too proud, eh, 'Sieur Frowenfel'?"

"No, sir," said Joseph, proceeding to place it in the window, his new friend following him about spanielwise; "but you had better let me say plainly that it is for sale."

"Oh--I don't care--_mais_--my rillation' will never forgive me!

_Mais_--go-ahead-I-don't-care! 'T is for sale."

"'Sieur Frowenfel'," he resumed, as they came away from the window, "one week ago"--he held up one finger--"what I was doing? Makin' bill of ladin', my faith!--for my cousin Honore! an' now, I ham a hartis'! So soon I foun' dat, I say, 'Cousin Honore,'"--the eloquent speaker lifted his foot and administered to the empty air a soft, polite kick--"I never goin' to do anoder lick o' work so long I live; adieu!"

He lifted a kiss from his lips and wafted it in the direction of his cousin's office.

"Mr. Innerarity," exclaimed the apothecary, "I fear you are making a great mistake."

"You tink I ha.s.s too much?"

"Well, sir, to be candid, I do; but that is not your greatest mistake."

"What she's worse?"

The apothecary simultaneously smiled and blushed.

"I would rather not say; it is a pa.s.sably good example of Creole art; there is but one way by which it can ever be worth what you ask for it."

"What dat is?"

The smile faded and the blush deepened as Frowenfeld replied:

"If it could become the means of reminding this community that crude ability counts next to nothing in art, and that nothing else in this world ought to work so hard as genius, it would be worth thousands of dollars!"

"You tink she is worse a t'ousand dollah?" asked the Creole, shadow and sunshine chasing each other across his face.

"No, sir."

The unwilling critic strove unnecessarily against his smile.

"Ow much you tink?"

"Mr. Innerarity, as an exercise it is worth whatever truth or skill it has taught you; to a judge of paintings it is ten dollars' worth of paint thrown away; but as an article of sale it is worth what it will bring without misrepresentation."

"Two--hun-rade an'--fifty--dollahs or--not'in'!" said the indignant Creole, clenching one fist, and with the other hand lifting his hat by the front corner and slapping it down upon the counter. "Ha, ha, ha! a pase of waint--a wase of paint! 'Sieur Frowenfel', you don' know not'in'

'bout it! You har a jedge of painting?" he added cautiously.

"No, sir."

"_Eh, bien! foudre tonnerre_!--look yeh! you know? 'Sieur Frowenfel'?

Dat de way de publique halways talk about a hartis's firs' pigshoe. But, I ha.s.s you to pardon me, Monsieur Frowenfel', if I 'ave speak a lill too warm."

"Then you must forgive me if, in my desire to set you right, I have spoken with too much liberty. I probably should have said only what I first intended to say, that unless you are a person of independent means--"

"You t'ink I would make bill of ladin'? Ah! Hm-m!"

"--that you had made a mistake in throwing up your means of support--"

"But 'e 'as fill de place an' don' want me no mo'. You want a clerk?--one what can speak fo' lang-widge--French, Eng-lish, Spanish, _an'_ Italienne? Come! I work for you in de mawnin' an' paint in de evenin'; come!"

Joseph was taken unaware. He smiled, frowned, pa.s.sed his hand across his brow, noticed, for the first time since his delivery of the picture, the naked little boy standing against the edge of a door, said, "Why--," and smiled again.