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“Tu sais bien que je t’ai-ai-me.”

Still we linger; soon we admire a group of women and children whose home is on the barges of the river bank. Barefoot, with shining black eyes and black hair, bright shawls and handkerchiefs, they add to the picturesqueness of the spectacle as they wander to and fro with wicker-work wares. A graceful English girl presents the children with grapes, and the children smile, displaying the whitest teeth. The women pounce upon stray slips of salad, broken atoms of cauliflower, and are watched suspiciously by the market-people. The foreigner sketches them; the painter evidently intends to include them in his scene—and we, also fascinated, would follow them, were we not tempted to listen to a noisy fellow who, flourishing a scrap of soap, boasts that it will blot out every stain.

How simple, how easy is it to stain your coat, he cries; then proceeds to point out stains on various coats. Fear not, however. Be not cast down. He is here, he, the enemy of stains—he with “The Miraculous Tablet.”