A small lane, the name of which I have forgotten, or do not choose to remember, slants suddenly off from Chatham Street, (before that headlong thoroughfare reaches into the Park,) and retreats suddenly down towards the East River, as if it were disgusted with the smell of old clothes, and had determined to wash itself clean. This excellent intention it has, however, evidently contributed towards the making of that imaginary pavement mentioned in the old adage; for it is still emphatically a dirty street. It has never been able to shake off the Hebraic taint of filth which it inherits from the ancestral thoroughfare. It is slushy and greasy, as if it were twin brother of the Roman Ghetto.
I like a dirty slum; not because I am naturally unclean — I have not a drop of Neapolitan blood in my veins — but because I generally find a certain sediment of philosophy precipitated in its gutters. A clean street is terribly prosaic. There is no food for thought in carefully swept pavements, barren kennels, and vulgarly spotless houses. But when I go down a street which has been left so long to itself that it has acquired a distinct outward character, I find plenty to think about. The scraps of sodden letters lying in the ash-barrel have their meaning: desperate appeals, perhaps, from Tom, the baker’s assistant, to Amelia, the daughter of the dry-goods retailer, who is always selling at a sacrifice in consequence of the late fire. That may be Tom himself who is now passing me in a white apron, and I look up at the windows of the house (which does not, however, give any signs of a recent conflagration) and almost hope to see Amelia wave a white pocket-handkerchief. The bit of orange-peel lying on the sidewalk inspires thought. Who will fall over it? who but the industrious mother of six children, the eldest of which is only nine months old, all of whom are dependent on her exertions for support? I see her slip and tumble. I see the pale face convulsed with agony, and the vain struggle to get up; the pitying crowd closing her off from all air; the anxious young doctor who happened to be passing by; the manipulation of the broken limb, the shake of the head, the moan of the victim, the litter borne on men’s shoulders, the gates of the New York Hospital unclosing, the subscription taken up on the spot. There is some food for speculation in that three-year-old, tattered child, masked with dirt, who is throwing a brick at another three-year-old, tattered child, masked with dirt. It is not difficult to perceive that he is destined to lurk, as it were, through life. His bad, flat face — or, at least, what can be seen of it — does not look as if it were made for the light of day. The mire in which he wallows now is but a type of the moral mire in which he will wallow hereafter. The feeble little hand lifted at this instant to smite his companion, half in earnest, half in jest, will be raised against his fellow-beings forevermore.
Golosh Street — as I will call this nameless lane before alluded to — is an interesting locality. All the oddities of trade seem to have found their way thither and made an eccentric mercantile settlement. There is a bird-shop at one corner, wainscoted with little cages containing linnets, waxwings, canaries, blackbirds, Mino-birds, with a hundred other varieties, known only to naturalists. Immediately opposite is an establishment where they sell nothing but ornaments made out of the tinted leaves of autumn, varnished and gummed into various forms. Farther down is a second-hand book-stall, which looks like a sentry~box mangled out flat, and which is remarkable for not containing a complete set of any work. There is a small chink between two ordinary~sized houses, in which a little Frenchman makes and sells artificial eyes, specimens of which, ranged on a black velvet cushion, stare at you unwinkingly through the window as you pass, until you shudder and hurry on, thinking how awful the world would be, if every one went about without eyelids. There are junk-shops in Golosh Street that seem to have got hold of all the old nails in the Ark and all the old brass of Corinth. Madame Filomel, the fortune-teller, lives at No. 12 Golosh Street, second story front, pull the bell on the left-hand side. Next door to Madame is the shop of Herr Hippe, commonly called the Wondersmith.
Herr Hippe’s shop is the largest in Golosh Street, and to all appearance is furnished with the smallest stock. Beyond a few packing~cases, a turner’s lathe, and a shelf laden with dissected maps of Europe, the interior of the shop is entirely unfurnished. The window, which is lofty and wide, but much begrimed with dirt, contains the only pleasant object in the place. This is a beautiful little miniature theatre — that is to say, the orchestra and stage. It is fitted with charmingly painted scenery and all the appliances for scenic changes. There are tiny traps, and delicately constructed “lifts,” and real footlights fed with burning-fluid, and in the orchestra sits a diminutive conductor before his desk, surrounded by musical manikins, all provided with the smallest of violoncellos, flutes, oboes, drums, and such like. There are characters also on the stage. A Templar in a white cloak is dragging a fainting female form to the parapet of a ruined bridge, while behind a great black rock on the left one can see a man concealed, who, kneeling, levels an arquebuse at the knight’s heart. But the orchestra is silent; the conductor never beats the time, the musicians never play a note. The Templar never drags his victim an inch nearer to the bridge, the masked avenger takes an eternal aim with his weapon. This repose appears unnatural; for so admirably are the figures executed, that they seem replete with life. One is almost led to believe, in looking on them, that they are resting beneath some spell which hinders their motion. One expects every moment to hear the loud explosion of the arquebuse — to see the blue smoke curling, the Templar falling — to hear the orchestra playing the requiem of the guilty.
Few people knew what Herr Hippe’s business or trade really was. That he worked at something was evident; else why the shop? Some people inclined to the belief that he was an inventor, or mechanician. His workshop was in the rear of the store, and into that sanctuary no one but himself had admission. He arrived in Golosh Street eight or ten years ago, and one fine morning, the neighbors, taking down their shutters, observed that No. 13 had got a tenant. A tall, thin, sallow~faced man stood on a ladder outside the shop-entrance, nailing up a large board, on which “Herr Hippe, Wondersmith,” was painted in black letters on a yellow ground. The little theatre stood in the window, where it stood ever after, and Herr Hippe was established.
But what was a Wondersmith? people asked each other. No one could reply. Madame Filomel was consulted, but she looked grave, and said that it was none of her business. Mr. Pippel, the bird-fancier, who was a German, and ought to know best, thought it was the English for some singular Teutonic profession; but his replies were so vague, that Golosh Street was as unsatisfied as ever. Solon, the little humpback, who kept the odd-volume book-stall at the lowest corner, could throw no light upon it. And at length people had to come to the conclusion, that Herr Hippe was either a coiner or a magician, and opinions were divided.
Last updated Monday, December 22, 2014 at 10:53