tassels - that his pea-green jerkin was not after the fashion of those
worn by the common class of restaurateurs at that day- that the sleeves
were something fuller than the reigning costume permitted - that the cuffs
were turned up, not as usual in that barbarous period, with cloth of the
same quality and color as the garment, but faced in a more fanciful manner
with the particolored velvet of Genoa - that his slippers were of a bright
purple, curiously filigreed, and might have been manufactured in Japan,
but for the exquisite pointing of the toes, and the brilliant tints of the
binding and embroidery - that his breeches were of the yellow satin-like
material called aimable - that his sky-blue cloak, resembling in form a
dressing-wrapper, and richly bestudded all over with crimson devices,
floated cavalierly upon his shoulders like a mist of the morning - and
that his tout ensemble gave rise to the remarkable words of Benevenuta,
the Improvisatrice of Florence, "that it was difficult to say whether
Pierre Bon-Bon was indeed a bird of Paradise, or rather a very Paradise of
perfection." I might, I say, expatiate upon all these points if I pleased,
- but I forbear, merely personal details may be left to historical
novelists,- they are beneath the moral dignity of matter-of-fact.

I have said that "to enter the Cafe in the cul-de-sac Le Febvre was to
enter the sanctum of a man of genius" - but then it was only the man of
genius who could duly estimate the merits of the sanctum. A sign,
consisting of a vast folio, swung before the entrance. On one side of the
volume was painted a bottle; on the reverse a pate. On the back were
visible in large letters Oeuvres de Bon-Bon. Thus was delicately shadowed
forth the two-fold occupation of the proprietor.

Upon stepping over the threshold, the whole interior of the building
presented itself to view. A long, low-pitched room, of antique
construction, was indeed all the accommodation afforded by the Cafe. In a