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32
FLORENTINE NIGHTS.

business world[1]—a whole Olympus of bankers and similar millionaires, the gods of coffee and sugar, with their plump wife-goddesses, Junos of the Wandrahm and Aphrodites of Dreckwall. There was a holy quiet in all the hall. Every eye was turned to the stage, every ear prepared to hear. My neighbour, an old huckster in furs, took the cotton from his ears, the better to take in the expensive tones, which cost two dollars entrance-money. At last there appeared on the stage a dark figure, which seemed to have risen from the under-world. It was Paganini, in his black dress suit;[2] the black evening coat and black waistcoat, of an appalling cut, were probably such as are prescribed by infernal etiquette at the court of Proserpine, while the loose trousers flapped vexatiously on the thin legs of the maestro. His long arms seemed to grow yet longer, as he held the violin in one hand, the bow down in the other, and almost bowed to the ground as he bestowed on the public his unheard-of reverence. In the angular bending of his body there was a fearful woodenness, and at the same time something foolishly brute-like, which would have caused laughter at his salutation; but

  1. Die ganze gebildete Handelswelt.
  2. At the time here in question an entire suit of black for anyone not in mourning was unusual enough to attract attention. Dumas mentions it as something distingué in the Count of Monte Christo.