A Romance of the Republic. Lydia Maria Child
pointed out one of them, nestled in flowers and half encircled by an orange-grove, and said, "That is my home. When I first came here, the place where it stands was a field of sugar-canes; but the city is fast stretching itself into the suburbs."
They approached the dwelling; and in answer to the bell, the door was opened by a comely young negress, with a turban of bright colors on her head and golden hoops in her ears. Before the gentlemen had disposed of their hats and canes, a light little figure bounded from one of the rooms, clapping her hands, and exclaiming, "Ah, Papasito!" Then, seeing a stranger with him, she suddenly stood still, with a pretty look of blushing surprise.
"Never mind, Mignonne," said her father, fondly patting her head.
"This is Alfred Royal King, from Boston; my namesake, and the son of
a dear old friend of mine. I have invited him to see you dance. Mr.
King, this is my Floracita."
The fairy dotted a courtesy, quickly and gracefully as a butterfly touching a flower, and then darted back into the room she had left. There they were met by a taller young lady, who was introduced as "My daughter Rosabella." Her beauty was superlative and peculiar. Her complexion was like a glowing reflection upon ivory from gold in the sunshine. Her large brown eyes were deeply fringed, and lambent with interior light. Lustrous dark brown hair shaded her forehead in little waves, slight as the rippling of water touched by an insect's wing. It was arranged at the back of her head in circling braids, over which fell clusters of ringlets, with moss-rose-buds nestling among them. Her full, red lips were beautifully shaped, and wore a mingled expression of dignity and sweetness. The line from ear to chin was that perfect oval which artists love, and the carriage of her head was like one born to a kingdom.
Floracita, though strikingly handsome, was of a model less superb than her elder sister. She was a charming little brunette, with laughter always lurking in ambush within her sparkling black eyes, a mouth like "Cupid's bow carved in coral," and dimples in her cheeks, that well deserved their French name, berceaux d'amour.
These radiant visions of beauty took Alfred King so much by surprise, that he was for a moment confused. But he soon recovered self-possession, and, after the usual salutations, took a seat offered him near a window overlooking the garden. While the commonplaces of conversation were interchanged, he could not but notice the floral appearance of the room. The ample white lace curtains were surmounted by festoons of artificial roses, caught up by a bird of paradise. On the ceiling was an exquisitely painted garland, from the centre of which hung a tasteful basket of natural flowers, with delicate vine-tresses drooping over its edge. The walls were papered with bright arabesques of flowers, interspersed with birds and butterflies. In one corner a statuette of Flora looked down upon a geranium covered with a profusion of rich blossoms. In the opposite corner, ivy was trained to form a dark background for Canova's "Dancer in Repose," over whose arm was thrown a wreath of interwoven vines and orange-blossoms. On brackets and tables were a variety of natural flowers in vases of Sevres china, whereon the best artists of France had painted flowers in all manner of graceful combinations. The ottomans were embroidered with flowers. Rosabella's white muslin dress was trailed all over with delicately tinted roses, and the lace around the corsage was fastened in front with a mosaic basket of flowers. Floracita's black curls fell over her shoulders mixed with crimson fuchsias, and on each of her little slippers was embroidered a bouquet.
"This is the Temple of Flora," said Alfred, turning to his host. "Flowers everywhere! Natural flowers, artificial flowers, painted flowers, embroidered flowers, and human flowers excelling them all,"—glancing at the young ladies as he spoke.
Mr. Royal sighed, and in an absent sort of way answered, "Yes, yes." Then, starting up, he said abruptly, "Excuse me a moment; I wish to give the servants some directions."
Floracita, who was cutting leaves from the geranium, observed his quick movement, and, as he left the room, she turned toward their visitor and said, in a childlike, confidential sort of way: "Our dear Mamita used to call this room the Temple of Flora. She had a great passion for flowers. She chose the paper, she made the garlands for the curtains, she embroidered the ottomans, and painted that table so prettily. Papasito likes to have things remain as she arranged them, but sometimes they make him sad; for the angels took Mamita away from us two years ago."
"Even the names she gave you are flowery," said Alfred, with an expression of mingled sympathy and admiration.
"Yes; and we had a great many flowery pet-names beside," replied she.
"My name is Flora, but when she was very loving with me she called me
her Floracita, her little flower; and Papasito always calls me so now.
Sometimes Mamita called me Pensée Vivace."
"In English we call that bright little flower Jump-up-and-kiss-me," rejoined Alfred, smiling as he looked down upon the lively little fairy.
She returned the smile with an arch glance, that seemed to say, "I sha'n't do it, though." And away she skipped to meet her father, whose returning steps were heard.
"You see I spoil her," said he, as she led him into the room with a half-dancing step. "But how can I help it?"
Before there was time to respond to this question, the negress with the bright turban announced that tea was ready.
"Yes, Tulipa? we will come," said Floracita.
"Is she a flower too?" asked Alfred.
"Yes, she's a flower, too," answered Floracita, with a merry little laugh. "We named her so because she always wears a red and yellow turban; but we call her Tulee, for short."
While they were partaking of refreshments, she and her father were perpetually exchanging badinage, which, childish as it was, served to enliven the repast. But when she began to throw oranges for him to catch, a reproving glance from her dignified sister reminded her of the presence of company.
"Let her do as she likes, Rosa dear," said her father. "She is used to being my little plaything, and I can't spare her to be a woman yet."
"I consider it a compliment to forget that I am a stranger," said Mr. King. "For my own part, I forgot it entirely before I had been in the house ten minutes."
Rosabella thanked him with a quiet smile and a slight inclination of her head. Floracita, notwithstanding this encouragement, paused in her merriment; and Mr. Royal began to talk over reminiscences connected with Alfred's father. When they rose from table, he said, "Come here, Mignonne! We won't be afraid of the Boston gentleman, will we?" Floracita sprang to his side. He passed his arm fondly round her, and, waiting for his guest and his elder daughter to precede them, they returned to the room they had left. They had scarcely entered it, when Floracita darted to the window, and, peering forth into the twilight, she looked back roguishly at her sister, and began to sing:—
"Un petit blanc, que j'aime,
En ces lieux est venu.
Oui! oui! c'est lui męme!
C'est lui! je l'ai vue!
Petit blanc! mon bon frčre!
Ha! ha! petit blanc si doux!"
The progress of her song was checked by the entrance of a gentleman, who was introduced to Alfred as Mr. Fitzgerald from Savannah. His handsome person reminded one of an Italian tenor singer, and his manner was a graceful mixture of hauteur and insinuating courtesy. After a brief interchange of salutations, he said to Floracita, "I heard some notes of a lively little French tune, that went so trippingly I should be delighted to hear more of it."
Floracita had accidentally overheard some half-whispered words which Mr. Fitzgerald had addressed to her sister, during his last visit, and, thinking she had discovered an important secret, she was disposed to use her power mischievously. Without waiting for a repetition of his request, she sang:—
"Petit blanc, mon bon frčre!
Ha! ha! petit blanc si doux!
Il n'y a rien sur la terre