Omaha daily bee., 1910-03-02
Some Things You Want to Know
Historic New Orleans.

today the auction blocks upon which negro
slaves we're once set up for sale.
Old customs still exist In New Orleans.
the legacies Of 'befo' de wah," as the
negro mammies love TO say. But many OF
them have passed away in recent years,
and others seem on the point OF extinction.
The pretty habit Of giving 'lagniappe" is
one Of those which has gone. "Lagniappe''
Is n French word Of Spanish extraction.
meaning a sort Of bonus In kind given with
every purchase. For generations It was
the practice IN the New Orleans markets
or corner groceries to supplement every
purchase with a vegetable or two in one
case, or a cookie or some candy in the
other. The economical Creole housewife,
marketing in the old days, eked out her
purchases, say OF soup meat, with
'lagniappe' of suet; or at the fruit-stand
obtained "iagniappe" Of pepper or parsley
and in that way saved any a "~picayune."
But a few years ago the retail grocers of
the city determined TO abolish this pleasant
custom, and their influence has now prac-
tically caused its disappearance.
So, too, the 'Marchand Rabais" of other
days has gone. His glass-topped wheel
barrow, with its innumerable rawer full
of spools Of thread. laces, needles and
other small articles. was erstwhiles a
familiar sight in the French quarter. The
shril horn of the bottle man is stnl
heard there, though not as often now as
formerly. He is usually a negro with a
little hand-wagon, partly filled with
trumpery jewelry and partly with old
bottles. His business is to trade the one
for the other. and he executes an ear
splitting fanfare on his tin horn to sum-
mon the children of the neighborhood, his
chief customers, to trade their old bottles
for his glittering but valueless stores. Few
OF the old mulatto vendors Of rice-cakes
and pecan candy survive; and the volumin-
ously-fat old turbaned mammies who used
to sit in picturesque rows along the side
walk, in Canal street near Royal and
Bourbon, selling boutonieres OF violets from
vast, odorous hampers, have disappeared
altogether.
One may still see, however, the death no.
tices tackled to the telegraph poles on the
street corners. This Is a distinctive New
Orleans custom. Whenever a member Of
a French speaking family departs this
life the fact Is printed upon a small square
of black-bordered paper and tackled about
the town on poles wherever friends or ac-
quaintances are likely to see 1t. These
notices always close with the announce
ment of the hour and place Of the funeral,
at which the friends and acquaintance
are prayed to assist" Nor has New Or
leans lost the pretty, r~everential custom
Of lifting the hat whenever a man Of the
Catholic faith passes a church Of his de-
nomination.
New Orleans Is the one American city
whic has supported a French opera com
pany year in and year out for over 100
years. Beginning towards the close Of the
eighteenth century, with rather humble
performances by companies of singers
from San Domingo, the opera has grown
in Importance and dignity until nowadays
1t is the barometer of New Orleans social
life. Society is dormant until the opera
opens, and when its doors close on the
first day Of Lent the social activities Of
the city come to an end. The opera house
dates from 1859. 1t lie a stately old build
ing on Bourbon street, in what was a very
fashionable quarter when iteWas built, but
which is now fashionable in no respect
for the existence there Of this fine
old temple OF the lyric art. Every year a
company Of singers arrives from France;
men and women who have made successes
on the stage Of Brussels, Lyons or Mar
settles. Every year the standard repertory
is repeated and then the artists dispense.
Nor has a success in New Orleans ceased
to be coveted by ambitious French sing
ers. Constantine began his American ca
reer here. On the stage OF this old opera
Patti sang in her glorious youth.
There the elder Calve, Jenny Lind and q
score Of other celebrities have performed
to delighted audiences.
The social feature of the French opera
is its chief charm for New Orleans. There
are long ntermissions between the acts.
Then the men, in evening dress, make the
circuit of the glittering horseshoe" pay
ing their respects to the fair occupants of
the boxes. There is no more attractive
scene in the United States than this old
building on the night Of some important
production. When the curtain falls after
the first act the chatter begins in
and '1oge ~decouverte.' The
dresses Of young women, the sparkle
Of Jewels, the fragrance Of flowers and
the charm of feminine loveliness all com
bine to make the hour one of veritable
enchantment. To Bee the opera house on
an occasion is to see New Orleans
at its best-to see 1t as it likes to be seen
It leaves upon the beholder a lasting
Of the charm Of this rare old
city.
BIZ FREDARTC J. HAsKrN.
accommodating Gum Industry.