Chapter IX: Part 9

Another typical specimen of the Paris I am describing is to be seen in that curious confluence of three narrow streets, the Rues de la Lune, Beauregard, and de Cléry, just off the Boulevard Bonne Nouvelle. The Rue de la Lune is dominated by the forbidding portals of a gloomy church, and its cobble-stones are quite deserted even when the activity of the neighbouring boulevard is at its height. No flight of imagination is needed to realize its appropriateness as the scene of that tragic close to "Illusions Perdues," where in a garret Lucien writes drinking songs over the corpse of his wretched Coralie to pay the expenses of her burial. This street and the two others, which meet at an extraordinarily acute angled building, diverge into the squalor of the Rue Montorgueil. It is easier to see the conditions in which _la vie de Bohème_ was passed in such spots as these than in the regions towards Montmartre. The Rue de la Tour d'Auvergne still exists, but to search there for the garret of Murger and Champfleury is disappointing. One ascends the cheerful Rue des Martyrs from Notre Dame de Lorette, with its prospect of the Sacré Cœur standing out against the open heavens, and on turning along the Rue de la Tour d'Auvergne one is confronted by a respectable, clean, sleepy street that might grace any neat provincial town in France. All suggestion of Bohemianism is remarkably absent, even on the top floors. In Murger's day this quarter was far less civilized, as may be seen from a water-colour sketch by Victor Hugo which hangs in the Carnavalet Museum. This represents the view southwards from the Rue de la Tour d'Auvergne--a wild foreground of uncultivated land with sombre trees and dilapidated fences, and in the distance all Paris spread out in panorama.

The left bank has changed no less than the right. The luxurious quarter of the Faubourg Saint-Germain has spread immeasurably, and even where old streets remain, as many do in the Quartier Latin, their houses have been rebuilt. Many a Bohemian could probably have told a parallel to Champfleury's touching story of how, long after his mistress had left him, he witnessed by chance the demolition of an old wall of a house in the quarter, and there on the topmost story was laid bare the room, with its very wallpaper unchanged, where they spent so many happy months of youth and love. In particular, this part of Paris was cleared and aired by the construction of those two very important thoroughfares, the Boulevard Saint-Germain, which broke through a host of little streets, including the rampageous Rue Childebert, and the Boulevard Saint-Michel, which replaced and widened the straggling old Rue de la Harpe. Before these were made, the Quartier Latin had not a single main street, though it was not quite so uncivilized as the Halles quarter, nor so large. Southwards by the gardens of the Luxembourg it soon became comparatively _bourgeois_ and spacious with pleasant houses and gardens, built originally for rich nobles and prelates, but relinquished at the dictation of fashion to prosperous tradespeople and officials like the Phellions and Thuilliers of Balzac's "Les Petits Bourgeois." Searches for vestiges of Bohemia in general on either side of the Boulevard Saint-Germain are fruitful enough; many an _hôtel garni_ recalls that in which Lucien first hid his diminished head, or the early home of Arsène Houssaye, when Nini Yeux Noirs was his divinity and revolution his creed. Specific quests, however, are apt to be disappointing. The Rue des Quatre Vents, the headquarters of d'Arthez' _cénacle_, in Balzac's time "one of the most horrible streets in Paris," remains blamelessly near Saint-Sulpice as dull and decent as the Rue de la Tour d'Auvergne; and the Rue Vaugirard, where the second _cénacle_, headed by Pétrus Borel, held its frantic orgies round the punch-bowl and where Murger wrote his "Scènes de la Vie de Bohème," is devoid of any spark of romance. On the other hand, a visit to the delightful Cour de Rohan, just off the Boulevard Saint-Germain, will land you _en pleine Bohème_, as will certain streets leading up towards the Church of Saint-Etienne du Mont, or the narrow passages by the Church of Saint-Séverin. It is just too late to see another unmistakable relic of Balzac's Paris, for the Maison Vauquer of "Père Goriot" has just been pulled down. Yet to make a pilgrimage to its site gives a very good impression of the gloominess which Bohemian high spirits had usually to combat. The Maison Vauquer stood near the junction of the Rue des Postes and the Rue Neuve Sainte-Geneviève, now the Rue Lhomond, and the Rue Tournefort, south of the Panthéon. I have walked down the Rue Lhomond at three on a sunny autumn afternoon, yet I met no soul in this dingy street, which seemed to catch not a ray of the sun's illumination. It is crossed by two sinister little lanes, the Rue Amyot, at the corner of which Cérizet, in "Les Petits Bourgeois," carried on the business of a small usurer in a loathsome, grimy house, and the Rue du Pot de Fer, before coming to which one passes a high, dark barrack, heavy iron bars shielding its dirty lower windows, the "Institution Lhomond pour l'éducation des jeunes filles"--poor _jeunes filles_! When the Rue Tournefort meets the Rue Lhomond there is a very steep descent, accurately described by Balzac, into the Rue de l'Arbalète. Almost any of the mournful dwellings with weedy gardens on this slope might have been the hideous _pension_ where Goriot died, while at the corner of the Rue de l'Arbalète there is a veritable dungeon, only two tiny windows in cracked frames piercing its high, blank wall. If you proceed into the narrow Rue Mouffetard, one long, smelly vegetable market, you will then realize the general state of all but the best of Louis Philippe's Paris.

It was part of the old world, unconscious of its impending reformation in the light of the new ideals of comfort and sanitation which were to become the accented notes of modernity. It was a provincial city of small compass with no industrial suburbs, no railways--let alone trams or river steamboats--and a population of considerably less than a million concentrated for the most part in its overcrowded quarters by the river banks, where the excitement of its spiritual life made up for the deficiencies of its material well-being. There were few public buildings of recent construction; the Louvre was still disfigured by the _débris_ of the Place du Carrousel; the Hôtel de Ville, Notre Dame, and the Palais de Justice were hemmed in by crabbed streets and thickly clustering old houses. Private gardens were many, but public squares were few. Except for the boulevards the streets had medieval paving with central gutters, from which all and sundry were liberally splashed, so that for well-dressed persons to venture in them on foot was an impossibility. An American writing in 1835 says of them: "They are paved with cubical stones of eight or ten inches, convex on the upper surface like the shell of a terrapin; few have room for side-walks, and where not bounded by stores they are as dark as they were under King Pepin. Some seem to be watertight."[37] They were seldom swept, never flushed, and primitively lit. The noise, too, except on the boulevards, was deafening and incessant. Not only did the eternal rumbling of wheels over cobblestones and the sharp clatter of stumbling hoofs assail the ear, but also the ringing of bells, the rattle of water-carriers' buckets, the din of barrel-organs and itinerant singers, and all those street cries of fish-sellers, clothes-merchants, rag and bone men, glaziers, umbrella menders, and fruit-vendors so picturesque in isolated survival, but so unbearable in the _ensemble_ of their heyday. It would be a mistake, however, to imagine this Paris as sleepy, stagnant, or unpricked by the progressive spirit; on the contrary, she was exceedingly wide-awake. But, whereas the Englishman at once translates his progressive idea into mechanism, the Frenchman prefers to let the first thorough ferment take place in his mind alone, allowing it, if need be, to inspire in him the primitive actions of attack and defence, but leaving more complicated handiwork to a later date, when the logic of change has been worked out, according to which he then acts rigorously. In this light the Paris of Bohemia must be regarded--picturesquely stagnant externally, seething inwardly--and of this condition Bohemia was the type. Its extravagant or tattered dress, its Rabelaisian speech and self-indulgence, the antiquated splendours of the Impasse du Doyenné and the equally antiquated hovels and garrets of its poverty, its disregard of public convenience and its real antagonism to democracy, were externals voluntarily or of necessity adopted from an earlier age; they were the old bottles which served for a moment to hold and to flavour with a distinctive tang the new wine of the Romantic vintage. Other vintages of equal potency have quickened men's hearts since then, and every new age, whether its ideals be artistic or social, will have its particular ferment that will find its appropriate vessels, but the past can never return any more than the first delirious headiness can be restored to an old wine that now charms with its matured delicacy. Bohemia is a thing of the past with that irrevocable Paris with its tortuous, noisy streets, its high gables, its wide skirts and embroidered waistcoats, its

_Fashionables musqués, gueux à mine incongrue,_
_Grisettes au pied leste, au sourire agaçant,_
_Beaux tilburys dorés comme l'éclair passant--_

the Paris of Balzac, the Paris of Roger de Beauvoir and Alfred de Musset, the Paris of Théophile Gautier and Gérard de Nerval, the Paris of Rodolphe, Schaunard, and Marcel, the Paris, in fine, which was the only home of _les vrais Bohémiens de la vraie Bohème_.

INDEX

Names of characters in fiction are printed in italics.

A

ABRANTÈS, Duchesse d', 71

Alton-Shee, _see_ Aulnis, Duc d'

Ampère, Jean-Jacques, 36, 37, 51

Amusements of _Bohème_, 176-178, 182-186, 198-200, 214, 215, 252-281

Ancelot, Madame, 71, 72, 95

Anglemont, Privat d', 224-228, 262, 278, 279, 280

Anglomania in Paris, 87, 88

Arsouille, Milord, _see_ Battut, Charles de la

_Arthez, Daniel d'_, 14, 15, 127-129, 298

Artois, Comte d', 23

Arvers, Félix, 102

Asselineau, Charles, 56, 58, 59, 61, 109

Aulnis, Duc d', 70, 78, 79, 80, 91, 275

B

BADOUILLARDS, LES, 224, 225

Bal Bullier, 279, 280
Mabille, 280

Bal Musard, 270, 276

Balzac, Honoré de, 44, 45, 67, 71, 72, 73, 78, 81, 99, 129, 164, 165,
258, 285, 286, 302
characters in the novels of, 14, 15, 16, 49, 59-61, 62, 67-69, 75, 76,
78, 80-86, 99, 102, 111-114, 127-129, 163-165, 256, 261, 262, 264, 268,
271, 274, 290, 292, 294, 295, 296, 298, 299

Banville, Théodore de, 33, 73, 104, 109, 226, 227, 233, 277

Barbara, Charles, 248-250, 265, 269

_Barbemuche, Carolus_, _see_ Barbara, Charles

Barrière d'Enfer, Bohemian colony at the, 239-243

Barrière, Théodore, 244

Bastide, Jules, 36, 37

Battut, Charles de la, 90, 91, 275, 276

Baudelaire, Charles, 13, 15, 33, 57, 61, 66, 230-233, 261

Beauvoir, Roger de, 13, 44, 73, 76, 93-97, 101, 102, 106, 168,
169, 177, 186, 187, 212, 255, 256, 259, 273, 284, 302

Belgiojoso, Prince, 71, 93, 102
Princess, 13, 71, 86

Béquet, 101, 106

Béranger, 23, 24

Berlioz, Hector, 73, 122, 269

Berry, assassination of the Duc de, 23

Bisson, the brothers, 236, 237

_Bixiou_, 82, 84-86, 99

Blanche, Doctor, 190

Bœuf Enragé, Cabaret du, 227

Bohème, La, meaning of the term, 1-12
its place and period, 12-20
rise and fall, 1830-1848, 21-34
general characteristics of, 111-129
Romanticism of, 25, 26, 29-31, 40-50, 56-64, 131-159, 200-204, 272
its place in Parisian society, 65-68, 73, 76, 77, 110
amusements of, 176-178, 182-186, 198-200, 214, 215, 252-281
drama in, 132-136, 140, 141, 175, 176, 272-274
life of, 126-251
love in, 173-176, 178-182, 213-218, 246-248
music in, 249, 250

Bohème, La, the Paris of, 282-302
smoking in, 151, 152 _See also_ Cénacle, the Second: Bohème Galante;
Buveurs d'Eau; Gautier; Murger, &c.
Galante, La, 158-193, 194, 203, 205, 206, 207, 210, 216, 221
_see_ Doyenné, Impasse du

Boissard, 231

Borel, Pétrus, 15, 41, 43, 57, 58, 61, 133, 135, 136-140, 144, 149-155,
169, 177, 201, 298

Bouchardy, Joseph, 136, 140, 152, 155, 156, 218, 272

Bouffé, 101

Bouginier's nose, 223, 224

Bouilhet, Louis, 230

Boulevard des Italiens, 74, 112, 121, 288, 292, 293

"Bousingots," 55, 62, 144

Briffaut, 101, 106

Brot, Alphonse, 136, 137

Bullier, 279
Bal, 279, 280

Burnett, George, 17

Buveurs d'Eau, Société des, 212, 233-242, 266-268

Byron, Lord, influence of on Bohème, 35-37, 64, 125, 134, 151

C

CABANON, Emile, 97, 101, 102, 106

Cabaret du Bœuf Enragé, 227

Cabaret Dinochan, 261, 262
of Mère Cadet, 263
of Mère Saguet, 129, 130

Cabot, 237, 238

Cadet, Cabaret of Mère, 263

Café Anglais, 91, 96, 259, 260
Hardy, 96, 259, 260
Momus, 198, 204, 246, 248, 265-268
de l'Odéon, 261
d'Orsay, 181
de Paris, 79, 86, 87, 91, 169, 259, 260
Riche, 259, 260
Tortoni, 13, 86, 259

Camp, Maxime du, 40-42, 94, 95, 132, 134, 142, 150, 153, 154, 156, 222,
228-230, 284

Cancan, The, 80, 91, 275, 276

Carnaud, 278, 279

Carnival, 80, 89-91, 274-276

Cénacle, the first, 129-132
the second, 126-157, 158, 159, 203, 271, 272, 298
of the Rue des Quatre Vents, 127-129

Cercle des Étrangers, 269

Chahut, The, 275

Champfleury, 98, 99, 101, 102, 219, 235, 238, 243-250, 256, 262, 266-268, 272,
296, 297

Chanteraine, Salle, 221, 222

Charles X, 23, 24, 200

Chartreuse, La, _see_ Closerie des Lilas

Chassériau, 185, 193

Châteaubriand, Duc de, 37, 71

Châtillon, 169, 185, 193

Chaudesaigues, 103

Chaumière, La, 97, 177, 204, 225, 242, 277, 278

Chicard, 275, 276

Chintreuil, 237, 238, 243

Childebert, La, 222-225

Cloître Saint-Merri, insurrection of the, 27, 59, 128, 161

Clopet, Léon, 136, 137, 152

Closerie des Lilas, La, 97, 277-281

Coleridge, S. T., 10, 17, 18

_Colline_, 126, 198-218, 238, 241, 250, 263, 265-267, 281

Colon, Jenny, 174-176, 190

Cormenin, Louis de, 230

Corot, 185, 193

Courbet, 201, 250

Courtille, Descente de la, 90

Cretaine, Boulangerie, 262, 273

Cydalise, 179, 180, 193, 213, 257

D

DAGNEAUX'S Restaurant, 230, 263

Dancing, 80, 91, 155, 177, 178, 181-185, 204, 225, 270, 274-281

Delacroix, 48, 122, 169, 184

Delvau, Alfred, 159, 160, 227, 235, 238, 245, 247, 248, 261-263, 267, 268

Desbrosses, the brothers, 237-241, 243, 290

Dinochan, Cabaret, 261, 262

Dondey, Théopile, _see_ O'Neddy, Philothée

Doré, Gustave, 192

Dorval, Marie, 13, 273

Doyenné, Impasse du, Bohemian brotherhood in, 158-193, 203, 206,
210, 213, 214,
229, 257, 276, 301
Priory of, 166
Rue du, 164, 165, 168

Doze, Mademoiselle, 106

Drama in Bohème, 140, 141, 175, 176, 221, 222, 272-274; _and see_ "Hernani"

Dress of the Romantic period, 92, 96, 131, 139, 141, 145, 151, 239, 234-259

Dumas, Alexandre, 13, 55, 76, 155, 184, 190, 198, 226

Duponchel, 97

Duras, Duchesse de, 71

Dyer, George, 17

E

"ÉCOLE de bon sens," 201, 203

F

FAUBOURG Saint-Germain, 69, 70, 297

Fauchéry, 245, 246, 262, 277

Flaubert, Gustave, 33, 201, 228-230

Flicoteaux's Restaurant, 264, 265

Fontenay-aux-Roses, 200, 216

Frascati, 269

Fraser, Major, 91, 92

G

GAMBLING, _see_ Paris

Gautier, Théophile, 13, 15, 16, 20, 33, 44, 45, 50, 55, 56, 76, 110,
122, 126, 129, 132-157, 160, 162, 164-173, 177-180, 183-189,
193, 194, 201, 207, 212, 218, 253, 269, 272, 282, 287-289, 302

Gavarni, 13, 169, 256, 259

Gay, Delphine, 72, 73, 93
Sophie, 72, 73

Gigoux, Jean, 61

Gilbert, 53

Girardin, Delphine de, _see_ Gay, Delphine
Emile de, 30, 103

Goncourt, the brothers de, 201

Graziano's Restaurant, 136, 147, 148

Grisettes, 216-218, 250, 258-259, 274, 277-280

Guichardet, 262, 263

Guigard, Joannis, 267

Guilbert, 237

Guizot, 200

H

HABENECK, 269

Hardy, Café, 95, 259, 260

Haricots, Hôtel des, 279

Heine, Heinrich, 275

"Hernani," performance of in 1830, 25, 26, 28, 132-136, 201, 221, 255, 272

Hill's Tavern, 261

Houssaye, Arsène, 76, 116, 158, 160-163, 168-175, 177-189, 194,
207, 244, 256, 261, 269, 272, 298

Hugo, Madame, 72
Victor, 13, 25, 28, 31, 32, 45-48, 55, 62, 72, 73, 122, 129-132,
144, 201, 285, 297
worshipped in Bohème, 25, 45-48, 52, 122, 132-136, 148,
152, 153, 156, 158,
184, 201, 244

I

IMPASSE du Doyenné, _see_ Doyenné

J

JANIN, Jules, 189, 196, 203, 273

"Jeune-France" section of Romanticists, the, 45, 57, 58, 61, 94, 95, 139, 142, 150-153

Johnson, Samuel, 10

Jonson, Ben, 10

Jouy, de, 236

K

KARR, Alphonse, 238, 280

Kock, Paul de, 285, 287

L

LAFAYETTE, 24

Lamartine, 52, 53, 55, 73

Lamb, Charles, 11, 17, 173, 174

Lassailly, 44

Lautour-Mézéray, 103

Leconte de l'Isle, 233

Legendre, Madame, 222, 223

Leleux, Adolphe, 184

Lelioux, 235, 240

Le Poitevin, 230

Louis, XVIII, 23

Louis Philippe, 13, 22, 24, 26, 27, 59, 79, 200, 201

Love in Bohème, 173-176, 178-182, 213-218, 246-248

Lucas, Le Petit, 261

M

MABILLE, Bal, 280

Mackeat, Augustus, 136, 141, 155, 272

Magny's Restaurant, 263

Maison d'Or, La, 96

"Mal du Siècle," Le, 35-64, 252, 253, 255

"Mal Romantique," _see_ "Mal du Siècle"

Malitourne, Armand, 101, 106

Maquet, Augustus, _see_ Mackeat

_Marcel_, 15, 16, 21, 119, 120, 126, 198-218, 244, 248, 250,
254, 265-267, 271, 277, 280, 282

Marilhat, 169, 185

Maurier, George Du, 7-9

Mediævalism, worship of by French Romantics, 43-46, 94, 95,
134, 141, 142, 150-153, 201, 210, 211, 221, 224

Mercœur, Elisa, 29

Meyerbeer, 175, 176, 270

_Mimi_, 213-218, 246-248, 258, 259, 277, 281

Mogador, Céleste, 280

Momus, Café, 198, 204, 246, 248, 265-268

Monnier, Henri, 97-101, 275

Monselet, Charles, 226, 233, 262

Montmartre, 67, 216, 288-290, 296, 297

Moreau, Hégésippe, 29, 53, 261

Murger, Henry, 15, 16, 33, 194-197, 232-251, 256,
261, 262, 266-268, 269, 272, 277, 280, 290, 296, 298
"Scènes de la Vie de Bohème," 1, 11, 12, 15, 16, 21, 33,
34, 119, 120, 126, 147, 159, 160, 194-218, 219, 237,
238, 241-249, 254, 263, 265-267, 272, 273, 277, 298
Bohemian generation of, 64, 200-251, 263, 266-268, 270,
271, 277-281

Musard, 14, 269, 270, 276
Bal, 270, 276

_Musette_, 213-218, 246, 247, 254, 258, 259, 277, 281

Music in Bohème, 249, 250
in Paris, 13, 14, 71, 73, 269-271

Musset, Alfred de, 13, 17, 48, 71, 76, 92, 93, 102, 106, 115, 184, 202, 244, 302

N

NADAR, 233, 235, 237, 238, 242, 262, 266-268

Nanteuil, Célestin, 133, 136, 141, 142, 149, 155, 169, 184

Nerval, Gérard de, 13, 16, 18, 133-136, 143-146, 148, 149,
154, 155, 160, 162-193, 207, 212, 227, 253, 272, 295, 302

Nodier, 42, 72, 73

Noel, 235, 237, 238

O

O'NEDDY, Philothée, 40, 56, 124, 125, 136, 137, 141, 150-153, 155

Opéra, 79, 96, 97, 104, 270, 271, 293
Bal de l', 204, 245, 274, 276

Ourliac, Edmond, 76, 169-172, 177, 186, 187, 272, 275

P

PALAIS Royal, 268, 289

_Palfèrine, Comte de la_, 14, 102, 111-114, 262

Paphos, 269

Paris, 11, 12-15, 24, 27, 66, 67, 105, 116, 282-302
balls in, 155, 177, 178, 181-185, 204, 225, 270, 274-281
Café de, 79, 86, 87, 91, 169, 259, 260
drama in, 221, 222, 271-274; _and see_ "Hernani"
gambling in, 268, 269
literary _salons_ in, 70-73
music in, 13, 14, 71, 73, 269-271
restaurants, &c., in, 121, 129, 130, 136, 147, 148, 169,
177, 181, 198, 204, 211, 225, 227, 230, 246, 248,
259-268; _and see_ Cabaret; Café
Society in, 65-86, 107, 108
student life in, 221-225, 231; _and see under_ Bohème

Pelloquet, Théodore, 197, 251

Petit Lucas, Le, _see_ Lucas
Moulin Rouge, _see_ Graziano

_Phèmie Teinturière_, 213-217, 247, 266

Pilodo, 275

Pimodan, Hôtel, 231

Piton, le _pâtissier_, 262

Planche, Gustave, 229

Pomaré, Reine, 280

Ponsard, 201

Pottier, 237

Prado, 275

Privat d'Anglemont, _see_ Anglemont

Punch, a Romantic drink, 150

Q

QUARTIER Latin, the, 8, 22, 75, 160, 170,
221-227, 231-233, 249, 250, 262-265, 276-280, 297-299

R

_Rastignac_, 14, 75, 78, 80-82, 256, 261

Récamier, Madame, 36, 37, 71

Restaurants, _see under_ Paris

Revolution of 1830, the, 22, 24-34, 200

Rocher de Cancale, Le, 121, 211, 260, 261

_Rodolphe_, 15, 119, 120, 126, 198-218, 236,
237, 241, 242, 244, 248, 253, 265-267, 273, 277, 302

Rogier, Camille, 101, 102, 145, 167-172, 177-180,
184, 187, 193, 256

Romantic Period in France, the, 12, 16, 20
_salons_ of, 70-73

Romanticism, 25, 26, 28-32, 35-64, 129-159, 201-203,
221-224, 252, 253, 255, 284, 301, 302

Romieu, 97, 98, 102

Roqueplan, Camille, 169
Nestor, 13, 17, 104, 105, 111, 162, 169, 212

Rousseau, 185

_Rubempré, Lucien de_, 14, 16, 62, 75, 76, 85, 256, 264, 271

Rue de la Tour d'Auvergne, 210-212, 240, 242, 243, 296, 297
de la Vieille Lanterne, 192, 295
Saint-Germain-des-Prés, Bohemian colony in, 187, 188

S

SAGUET, Cabaret of Mère, 129, 130

Sainte-Beuve, 13, 17, 28, 52, 53, 122, 129-132, 157

Saint-Victor, Paul de, 191, 192

Sand, George, 16, 17, 93

Sandeau, Jules, 188, 189

"Scènes de la Vie de Bohème," _see under_ Murger

Schann, 232, 237, 238, 242, 245, 248, 249, 266-268, 269

_Schaunard_, 15, 16, 126, 159, 198-218, 232, 238, 248, 250,
253, 263, 265-268, 271, 280, 281, 302

Seigneur, Jehan du, 136, 137, 139-141, 148-153, 155

Sénancour, 37

Seymour, Lord, 79, 88-90

Shakespeare, 10

Smoking in Bohème, 151, 152

Staël, Madame de, 37

Steele, Richard, 17

Students, life of Parisian, 221-225, 231

Sue, Eugène, 70, 285

T

TABAR, 237

Tattet, Alfred, 102, 103, 106

Thackeray, 264

Théâtre Bobino, 263, 271
Français, 133-136
du Luxembourg, _see_ Théâtre Bobino
Montparnasse, 263
des Variétés, ball at, 274

Thom, Napoléon, 136

Tolstoi, Monsieur de, 236, 240

Tortoni's Café, 13, 86, 259

Tournachon, F., _see_ Nadar

"Tout Paris," Le, 73-76

"Trilby," 7, 8

Trois Frères Provençaux, Les, 121, 169

V

VABRE, Jules, 56, 133, 136-138, 140, 155

Vastine, 237

Vauquer, La Maison, 14, 16, 81, 298, 299

Vernet, Horace, 203

Véron, Doctor, 103, 104

Vigny, Alfred de, 17, 28, 52, 53, 55, 73

Villain, 237

Villiers de l'Isle Adam, 233

Vincent, Charles, 241, 242

Viot's Restaurant, 263

Vitu, 277

"Viveurs," Les, 70, 76-108, 204, 231, 275, 276

W

WALLON, Jean, 238, 250, 266-268

Wattier, 185, 193

PRINTED AT THE BALLANTYNE PRESS LONDON ENGLAND

* * * * *

The following typographical errors were corrected by the etext transcriber:

Célestin Nauteuil=>Célestin Nanteuil {8}

Les Champs Elisées=>Les Champs Elysées

Gerard de Nerval=>Gérard de Nerval

"Les Jeune France."=>"Les Jeunes France."

Elie Wildmannstadius=>Elie Wildman-stadius

decorated thus because a lew _louis d'or_=>decorated thus because a few _louis d'or_

nor ne'er-do-weels=>nor ne'er-do-wells

Charles Mouselet says in his preface to "Paris Anecdote,"=>Charles Monselet says in his preface to "Paris Anecdote,"

Pimodan, Hotel, 231=>Pimodan, Hôtel, 231

* * * * *

FOOTNOTES:

[1] "Les Enfants Perdus de Romantisme."

[2] A. Cassagne: "La Théorie de l'art pour l'art en France chez les derniers romantiques et les premiers réalistes."

[3] "Essais de Psychologie contemporaine," the chapter on Flaubert.

[4] Philothée O'Neddy: "Feu et Flamme."

[5] See René Canat: "Du Sentiment de la Solitude morale chez les romantiques et les parnassiens."

[6] See Chapter VII.

[7] Asselineau: "Bibliographie Romantique."

[8] "Causeries sur les artistes de mon temps."

[9] Mrs. Trollope: "Paris and the Parisians in 1835."

[10] "Derniers Jours de Bohème."

[11] "Les Salons de Paris."

[12] Challamel: "Souvenirs d'un Hugolâtre."

[13] "Paris in 1829 and 1830."

[14] Major Fraser's name appears in many memoirs of the time, but I owe the above account to "An Englishman in Paris," by A. D. Vandam.

[15] "Vignettes Romantiques."

[16] Léon Séché tells his story in "La Jeunesse Dorée sous Louis Philippe."

[17] "Histoire du Romantisme."

[18] Jules Claretie: "Pétrus Borel."

[19] Maxime du Camp: "Théophile Gautier."

[20] "Gérard de Nerval."

[21] "Portraits contemporains." The article on the artist Marilhat.

[22] "La Bohème Galante."

[23] Arsène Houssaye: "Les Confessions."

[24] Gérard, to be precise, quotes an earlier and more cruel version:

_...La_ reine du Sabbat
_Qui, depuis deux hivers, dans vos bras se débat,_
_Vous échapperait-elle ainsi qu'une chimère..._

[25] See Chapter xi for a further account of Bohemia's amusements.

[26] In a preface to Gérard de Nerval's "Œuvres."

[27] "Les Confessions."

[28] The following account combines much of the information given in three books: Champfleury's "Souvenirs et Portraits de Jeunesse"; "Henri Murger et la Bohème," by A. Delvau; and the curious little "Histoire de Murger pour servir à l'histoire de la Vraie Bohème," par trois Buveurs d'Eau, the anonymous authors of which are known to be his friends, Lelioux, Nadar, and Noel. It is in the last named that some of Murger's letters are given. There is a certain amount of conflict between the dates given in these different books, but since they are all equally likely to be inaccurate, I have chosen to ignore the discrepancies, which are not very important.

[29] This appears in Charles Monselet's diary printed in the memoir by A. Monselet.

[30] "Histoire anecdotique des Cafés et Cabarets de Paris."

[31] In the summer they took place in the Champs Elysées.

[32] M. Henri d'Alméras in "La Vie Parisienne sous Louis Philippe," from whose book other details of these balls are taken.

[33] The popular term for the prison in which refractory members of the Garde Nationale were confined.

[34] Now printed in his "Portraits Contemporains."

[35] The preface to George Cain's "Coins de Paris."

[36] See "Les Comédiens sans le savoir."

[37] Sanderson: "Paris in 1835."