long Paris night was at an end. It was so characteristic of Harland and
his joy in the humorous and the absurd that I do not quite see why he
did not let his Mademoiselle Miss share it. Outside the _Rat Mort_, in
the early hours of the next morning, we picked up an old-fashioned
one-horse, closed cab, built to hold two people, and of a type almost as
extinct in Paris as the three-horse omnibus. It was the only cab in
sight and we packed into and outside of it, not two but eight. As it
crawled down one of the steep streets from _Montmartre_ there was a
creak, the horse stopped and, as quickly as I tell it, the bottom was
out of the cab and we were in the street. Harland, as if prepared all
along for just such a disaster, whisked the top hat so conspicuous in
everything we did from the astonished Architect's head, handed it round,
made a pitiful tale of _le pauvr' cocher_ and his hungry wife and
children, and implored us to show, now or never, the charitable stuff we
were made of. Considering it was the end of a long evening, he collected
a fairly decent number of francs and presented them to the _cocher_ with
an eloquent speech, which it was a pity someone could not have taken
down in shorthand for him to use in his next story. The _cocher_, the
least concerned of the group, thanked us with a broad grin, drew up his
broken cab close to the sidewalk, took the horse from the shaft,
clambered on its back, rode as fast as he could go down the street, and
disappeared into the night. A _sergent-de-ville_, who had been looking
on, shrugged his shoulders; in his opinion, _cet animal là_ was in luck
and probably would like nothing better than the same accident every
night, provided at the time he was driving ladies and gentlemen of such
generosity. _Allez!_ Didn't we know the cab was heavily insured, all
Paris cabs were, we had made him a handsome present--_Voilà tout!_
And so wonderful is it to be young and in Paris that we laughed our way
back as we trudged on foot through the now dark and empty and silent
streets between _Montmartre_ and our rooms. I doubt if I could laugh now
at the fatigue of it. Of all the many ghosts that walk with me along the
old familiar ways, the one keeping most obstinately at my side is that
of my own youth, reminding me of the prosaic, elderly woman I am, who,
even if the zest for adventure remained, would be ashamed to be caught
plunging into follies like those of the old foolish nights in Paris that
never can be again, or who, if not ashamed, would be without the energy
to see them through to the end.
VII
In Paris, as in London, a further ramble down those crowded, haunted,
resounding Corridors of Time would lead me to many other nights of
gaiety and friendliness and loud persistent talk.
Again, I would have my Whistler nights, the background now not our
chambers, but the memorable apartment in the Rue du Bac
_rez-de-chaussée_ opening upon the spacious garden where, in the
twilight, often we lingered to listen to the Missionary Monks in their
spacious garden on the other side of the wall, singing the canticles for
the Month of Mary so dear to me from my convent days--nights in the
dining-room with its beautiful blue-and-white china, the long table and
the Japanese "something like a birdcage" hanging over it in the centre,
many once-friendly faces all about me, Whistler presiding in his place
or filling the glasses of his guests as he passed from one to the other,
always talking, saying things as nobody else could have said them,
witty, serious, exasperating, delightful things, laughing the gay laugh
or the laugh of malice that said as much as his words;--nights in the
blue and white drawing-room, with the painting of Venus over the mantel,
and the stately Empire chairs, and the table a litter of papers among
which was always the last correspondence to be read, interrupted by his
own comments that to those who heard were the best part of it--nights
that will never perish as long as even one man, or woman, who shared in
them lives to remember;--Whistler nights even after Whistler had left us
for the land where there is neither night nor day: nights these with the
old friends who had loved him, with the painter Oulevey and the sculptor
Drouet who had been his fellow students, with Théodore Duret who had
been faithful during his years of greatest trial, friends who rejoiced
in talking of Whistler and of all that had gone to make him the great
personality and the greater artist; but of the Whistler nights in Paris,
as in London, I have already made the record with J. The story of them
is told.
And along the same rich Corridors, I would come to nights only less
worth preserving in the studios of artists, American and English, who
studied and worked and lived in Paris--nights that have bequeathed to me
the impression of great space, and lofty ceilings, and many canvases,
and big easels, and bits of tapestry, and the gleam of old brass and
pottery, and excellent dinners, and, of course, vehement talk, and a
friendly war of words--nights with men irrevocably in the movement,
whose work was conspicuous on the walls of the New _Salon_ and had
probably, a few hours earlier, kept us busy arguing in front of it and
writing voluminous notes in our note-books--nights not the least
stirring and tempestuous of the many I have spent in Paris, but nights
of which my safe rule of silence where the living are concerned forbids
me to tell the tale.
And one special year stands out when the little hotel in the Rue St.
Roch was deserted for the Grand Hotel, and when all the nights seemed
swallowed up in the International Society's business--not the
International Society of Anarchists, but the International Society of
Sculptors, Painters, and Gravers in London, which, in those terribly
enterprising Nineties, sent its deputation--J. included in it--to
collect all that was most individual and distinguished in the _Salons_
for its next Exhibition. It was a year of many wanderings in many
directions to many studios of French artists, or foreign artists working
in Paris--a year of many meetings of many artists night after night. But
this clearly is not a story for me to tell, since the International was
J.'s concern, not mine. In the hours away from my work I looked on, an
outsider, but an amused outsider, marvelling as I have never ceased to
marvel since the faraway nights in Rome, at the inexhaustible wealth of
art as a subject of talk wherever artists are gathered together.
And rambling still further into that past, I would stumble into
American nights--nights with old friends, established there or passing
through and run across by chance--nights of joy in being with my own
people again, of hearing not English, but my native tongue and having
life readjusted to the American point of view. Nobody knows how good it
is to be with one's fellow-countrymen who has not been years away from
them. But these also are nights that come within the forbidden zone--the
zone where Silence is Golden.
VIII
I have put down these memories of Paris nights and my yearly visit to
Paris in the year when, for the first time since I began my work in its
galleries, no _Salon_ has opened to take me there in the springtime.
With the coming of May the lilacs and horse-chestnuts bloomed with the
old beauty and fragrance along the _Champs-Elysées_ outside the _Grand
Palais_, but inside no prints and paintings were on the walls, no
statues in the great courts. To those admitted, the only exhibition was
of the wounded, the maimed, the dying. Does it mean, I wonder, the end
of all old days and nights for me in Paris, as the war that has shut
fast the _Salon_ door means the end of the old order of things in the
Europe I have known? Shall I never go to Paris again in the season of
lilacs and horse-chestnuts? Already I have ceased to meet my old friends
by day in front of the picture of the year and to quarrel with them over
it by night at a _café_ table, or in the peaceful twilight of the
suburban town and park and garden. Am I to lose as well the link with
the past I had in the _Salon_, am I to lose perhaps Paris? Who can say
at the moment of my writing, when the echo of shells and bullets is
thundering in my ears? The pleasure of what has been becomes the dearer
possession in the mad upheaval that threatens to sweep all trace of it
away, and so I cling to the remembrance of my Paris nights the more
tenderly and even with the hope, if far-fetched, that others may
understand the tenderness. Youth sees little beyond youth, but as the
years go on I begin to believe youth exists for no other end than to
supply the incidents that age transforms into memories to warm itself
by. If I have reached the time for looking back, I have my compensation
in the invigorating glow, for all its sadness, that I get from my new
occupation.
INDEX
Abbey, Edwin A., 54
Addiscombe, Henley's house at, 137, 145, 149
"Admiral Guinea," by Henley, 147
Albano, 66
Albergo del Sole, Pompeii, 67
"Allahakbarries," 214, 215
Aman-Jean, E., 261
American Consul at Venice, 86
American tourists, 91
American visitors, 221
Anthony, Venice, 97
Antica Panada, 76
"Arabian Nights' Entertainment," by Henley, 132
Arnold, at Venice, 86, 87
"Arrangement in Trousers," 96
Arrested, 29
Art critics in Paris, 227-229
Artists in Rome, 44-64
"Art Journal," London, 129
"Art Weekly," London, 202
"Association Books," 214
Astor, William Waldorf, 152, 153
"Atlantic Monthly," 83, 96
Augustine (Mme. Bertin), 218
Austen, Louis, 174
Ballantyne & Co., 125
Barnes, Henley's house at, 149
Barrie, J.M., 148, 214
Baseball, 87, 88
Bauer's, at Venice, 107
Beardsley, Aubrey, 138, 177-191, 197, 211, 228, 260-264
Beardsley's illness, 190
Beaux-Arts, Paris, 47
Beerbohm, Max, 185, 187
Befana Night, 66
Beggarstaff Brothers, 194
Belgian exiles, 222
Belgium, 17
Béraud, Jean, 239
Bibi-la-Purée, 276, 281
Bicycle, 17, 32, 254
Bisbing, Henry S., 102
Black magic, 89
Black and white at the Salons, 239
Blackburn, Vernon, 152
Blakie, W.B., 148
Blanche, J.E., 261
"Blast, The," 176
"Bodley Head," 187
Boer War, 219
Borghese, The, 29
"Boys, The," at Venice, 84, 88, 93, 95, 96, 102
Breton, Jules, 274
Bridge of Sighs, Venice, 75
Brillat-Savarin, 245
British Museum, 65
Bronsons, the, at Venice, 98
Brown, Horatio, at Venice, 98
Brown, Professor Fred, 203
Bruant, Aristide, 289-295
Buckingham Street, our rooms in, 117, 121, 125, 126, 129-223, 142, 158,
161, 172, 174, 179, 199, 220, 260
Buhot, Felix, 120, 199, 203
Bunney at Venice, 92
Burano, 111
Burlington House, 228
Burly, Stevenson's, 134
Burne-Jones, Sir Edward, 178
Bussy, Simon, 127
"Butterfly," the, 177, 198
Cabaret du Mirliton, Paris, 289, 295
Lyonnais, Paris, 252, 254
Café d'Harcourt, Paris, 273
de la Paix, Paris, 273
de la Régence, Paris, 273
de Venise, Rome, 41
Nazionale Aragno, Rome, 41, 43, 49, 52, 67, 121, 274
Orientale, Venice, 76, 82-97, 107, 113, 121, 274
Royal, London, 121, 176, 208
Cafés at Rome, 34, 40-44 at Venice, 76-113
Calcino, Venice, 77
Campagna, the, 33, 35, 65
Campanile, the, Venice, 75
Canaletto, 100
"Captain's Girl," 214
Carlyle, Thomas, 54
Carnavalet Museum, 285, 292
Carolus-Duran, 261
Carpaccio, 94
Casa Kirsch, Venice, 73, 74, 75,77
Casino de Paris, 280, 296
Cavour, the, Rome, 38, 43
Cazin, C., 262
Cézanne, Paul, 248, 249
Chamberlain, Dr., 62
Champ de Mars, 234
Champs-Elysées, 227, 243, 302
Chantrey bequest, 119
Charles V ball, at Munich, 105
Charpentier, E., 286
Chat Noir, the, Paris, 285-291
Chéret, Jules, 240
Cheshire Cheese, the, London, 38
Chioggia, 111
"Chronicle of Friendships," by Will Low, 165
Church of San Giorgio degli Schiavoni, Venice, 94
Cleopatra's Needle, 147
Clothes, 31-32, 44, 57, 76, 98, 123, 185, 193-194, 207, 255, 260, 261
Cole, Timothy, 221
Coleman at Rome, 61
Conder, Charles, 203, 241
Coney Island, 110
Constable, T. and A., 213
Cook, Clarence, 63
Cookery, the Author's articles on, 142, 149, 158, 186
Cooking books, 245
Corder, Rosa, 237
Cornford, Cope, 128
"Courrier Français," Paris, 203
Covent Garden, 125
Crane, Walter, 138, 204
Crawford, Marion, 60
Crockett, S.R., 157
Cubists, the, 248
Cust, Henry, 153
D'Ache, Caran, 240, 287
"Daily Chronicle," the, London, 170, 173, 174
"Daily News," London, 41
Davies, 59, 112
Dayrolles, Adrienne (Mrs. W.J. Fisher), 174
Debussy, Achille Claude, 286
Degas, H.G.E., 119, 296
Desboutin, 296
"Dial, The," London, 177
Dinners in Paris, 244-247
"Diogenes of London," 215
Discussions over art, 46-65
Dodge, Miss Louise, 65, 159
"Dome," the, London, 177
Donnay, Maurice, 286
Donoghue the sculptor, 48-49, 50, 53
Dowie, Ménie Muriel, 185
Drouet, C., 300
Ducal Palace, Venice, 75, 100
Duclaux, Madame, 129
Dumas's Dictionnaire de la Cuisine, 149, 245
Duret, Théodore, 300
Duveneck, Frank, 76-108
Edelfelt, 239
Eighteen-eighties, 27-114
Eighteen-nineties, 115-304
Their so-called decadence, 118
English tourists, 92
Etty, William, 123
"Evergreen," the, London, 177
Falcone, the, Rome, 37, 38, 43
Fig-Tree House, 130
Fighting nineties, 118
Finck, Henry T., 245
"Finsbury, Michael," 131, 132
Fisher, W.J., 174
Fitzgerald, Edward, 62
Flaubert, Gustave, 173
Florence, 29, 74, 84, 97
Florian's, Venice, 77, 82, 99
Florizel, Prince, 163, 168, 173, 232
Folies-Bergère, Paris, 280
Fontainebleau, Forest of, 271
Forain, 203, 240
"Forepaugh," 52-56, 89
Frederic, Harold, 156, 214, 215
Furse, Charles W., 200, 201, 211, 228, 269, 270
Futurists, the, 248
Garnett, Dr. Edward, 65
Gauguin, 249
Gautier, Theophile, 268
Gavarni, 257
"Gazette, Pall Mall," 153
"Gentle Art of Making Enemies, The," 85, 217
"Germ, The," 176
German tourists, 77, 270
Germany, 17
Ghetto, Rome, 30
Gigi, 53
Gosse, Edmund, 174, 188
Goupil Gallery, London, 119
Graefe, Meier, 204
Grahame, Kenneth, 148, 185, 213
Grand Palais, Paris, 302
"Graphic," the, London, 203
Great College Street office, Henley's, 130-137, 139, 149
"Greedy Autolycus," 186, 254
Guardi, 100
Guilbert, Yvette, 280
"Gypsy, The," 176, 281
Hamerton, Philip Gilbert, 188
Hamilton, Lord Frederick, 153
Harland, Henry, 160, 172-177, 197, 211, 228, 257, 258, 264, 265, 266,
290-294, 297
Harrison, Alexander, 250
Harte, Bret, 51
Hartrick and Sullivan, 196, 198, 222
Henley, Madge, 214
Henley, William Ernest, 118, 125-149, 163, 166, 196, 197, 211, 213, 240
Henley's "Young Men," 125, 133, 134, 142, 145, 149, 150, 176, 179, 196,
213, 214
Hill, L. Raven, 198
Hobbes, John Oliver (Mrs. Cragie), 185
"Hobby-horse," the, 176
Horne, Herbert P., 278
"Hospital Verses," 126, 147
Hostess, author as, 126, 198
Hotel de l'Univers et Portugal, Paris, 233
d'Italie, London, 185, 187
Howells, William Dean, 83, 109
Hueffer, Ford Madox, 209
Hugo, Victor, 268
Hunt, Holman, 204, 239
Hunt, Violet, 158
Huysmans, Joris Karl, 89, 238
Ibsen, 199, 251
Impressionism, 238
Indolence, 22, 60, 84, 86, 108, 112, 122
"Inland Voyage, An," 165
International Exhibitions, 19
International Society of Sculptors, Painters, and Gravers, 301
Italian Primitives, 204
Italy, 17, 29
Iwan-Müller, 154, 211
"J--" (Joseph Pennell), 13, 20, 24, 29, 40, 44, 45, 53, 73, 81, 85, 91,
98, 108, 113, 117, 120, 121, 122, 129, 130, 137,
154, 161, 174, 178, 179, 184, 204, 205, 210, 214,
217, 227, 228, 245, 254, 301
James, Henry, 188
Japanese art, 178
Jobbins, 90, 95, 111
Journalism, 19, 117, 228-229
Journeyings in Europe, 15-19
Kelly, FitzMaurice, 148
Kelmscott Press, 178, 213
Kennedy, E.G., 218, 219
Kensington Gardens, London, 52, 176
Khayyam, Omar, 62, 63
Khnopf, 240
Kipling, Rudyard, 148, 213
Kitchener, Lord, 155
La Pérouse, Paris, 247
Lagoon, the, Venice, 77, 107, 111, 112
Lamb, Charles, 22
"Land of the Dollar," 215
Lane, John, 185, 187
Lang, Andrew, 41, 63
"Lantern Bearers, The," 165, 173
Latin Quarter, 194
Lavenue's, Paris, 249
Le Puy, 18
Legge, James G., 159
Legrand, Louis, 203, 240
Leighton, Lord, 195
Leland, Charles Godfrey, 20, 56
Lhermitte, 239
Lido, the, 76, 88, 112
London, 38, 115-223, 253
"London Impressionists," 199
"London Voluntaries," by Henley, 147
Low, Will, 165
Lucca, 74
Luska, Sydney (Henry Harland), 173
Luxembourg, Paris, 103
MacColl, D.S., 201, 227, 241
"Mademoiselle Miss," 290, 294, 296
"Magazine of Art," London, 129
Manet, Edouard, 249, 280
Margherita, Queen, 66
Marguery's, Paris, 250
Marino, 66
Marriott-Watson, Rosamund, 157
Martin, at Venice, 86
May, Phil, 191-199, 211, 222
McFarlane, Venice, 97, 98, 100, 106, 107
Meissonier, J.L.E., 236
Merceria, the, Venice, 99
Meynell, Mrs. Alice, 158, 159
Millet, F.D., 54
Mistral, 65
Mitchell, Dr. S. Weir, 142
Monet, Claude, 238
Montepulciano, 42
Montmartre, 297
Moore, George, 159, 185, 215, 229
Morelli, 46
Morin, Louis, 287
Morris, William, 209
Morrison, Arthur, 148, 213
"Morte d'Arthur," illustrated by Beardsley, 178
Moulin Rouge, 280, 281, 296
Munich, 84, 97, 98, 102
Accident at ball, 105
Murano, 111
Mürger, Henri, 257
Music of "Carmen," the, 106
Naples, 66, 67, 74, 110
"Nation," the, London, 228, 229
"National Observer," London, 125, 128, 130, 135, 136, 137, 138, 141,
151, 155, 157, 211, 214, 229, 267
New English Art Club, London, 119, 199, 200, 201, 269
New Gallery, 227
New York "Times," 156
Nicholson, William, 127, 128, 194
Norman, Henry, 159
Norwegian at Rome, the, 60
Nouvelle Athènes, the, Paris, 249
"Observations in Philistia," by Harold Frederic, 156
Orvieto, 74
Ostia, 66
Oulevey, H., 300
"Pageant," the, London, 177
Palais Royal, 243
Pall-Mall, the, "Budget," "Gazette" and "Magazine," 142, 149, 152, 155,
161, 186, 227, 254
"Pan," London, 204.
Panada, the, Venice, 78-82
Paris, 19, 227-303
Studios, 102-103
"Parson and the Painter, The," 197
Parsons, Harold, 152
Paulus, 280
"Penn, William," 123, 157, 185
Philadelphia, 13, 23, 34, 37, 40, 50, 64, 137, 242, 255
Piazza Navona, Rome, 66
"Pick-me-up," 198
Pincian, the, Rome, 33, 59
Pisa, 74
Pistoia, 74
Pointillism, 238
Pollock, Wilfred, 152
Pompeii, 67
Porta del Popolo, Rome, 29
"Portfolio, The," 59
Posta, the, Rome, 43
Post-impressionism, 204, 248
Pre-Raphaelitism, 204, 207
Preston, Miss Harriet Waters, 65, 159
"Private Life of the Romans," 65
Prunier's, Paris, 252
Pryde, James, 194
Pulcinello, 67-69
"Punch," 213
"Rape of the Lock," illustrated by Beardsley, 182, 213
Rat Mort, Paris, 296
Renouard, Paul, 203
"Return of the O'Mahoney," 215
Reynière, Grimod de la, 245
Rico, 100
Rivière, 287
Robinson, Miss Mary, 129
Rocca di Papa, 66
Rodin, Auguste, 128, 240, 271, 284
Rome, 27-69, 121
Rooms at Rome, 33-34, 64
Roque, Jules, 203
Rosicrucianism, 238
Ross, Robert, 182
Rossetti, Dante Gabriel, 207, 209
Rossetti, William Michael, 209
Royal Academy, 77, 119, 200, 212, 227, 232
Rubaiyat, illustrated by Vedder, 62
Rubens, 101, 108
Ruskin, John, 46, 73, 77, 92, 94, 99, 100, 102, 110
Ruskin, never quoted by artists, 92
Sailing for Europe, 14
Salis, 285, 286, 287, 289, 291
Salisbury, Lord, 165
"Salome," illustrated by Beardsley, 213
Salons, the, Paris, 103
Sandro, 42, 43
Sandys, Frederick, 121, 204-208
San Francisco Exposition, 84, 97
San Giorgio, Venice, 75, 82
San Péladan, 238
"Saturday Review," London, 202
"Savoy, The," 189, 190, 198, 281
Schwabe, Carlos, 239
"Scots Observer," Edinburgh, 129
Shannon, J.J., 193
Shaw, George Bernard, 159, 215
Shinn, at Venice, 86
Sickert, Walter, 201
Simpson's, London, 253
Sisley, Alfred, 238
Sixties, illustrations of the, 205, 206, 208
Societies in the nineties, 134
Solferino's, London, 232, 233
South Kensington, London, 58, 90
"Speaker, The," London, 229
"Spectator," London, 202, 227
"Spring-heeled Jack," 160, 164
Spring in Venice, 108
"Standard," London, 83, 98
St. Cloud, Paris, 258, 259, 263
Steer, Wilson, 203
Steevens, George W., 154, 211, 213, 215
Steinlen, 240, 290
Stennis Brothers, 165
Stevenson, "Bob" (Robert Alan Mowbray), 160, 162, 170, 173, 197, 211,
227, 233, 237, 249, 250, 262
Stevenson, Robert Louis, 127, 128, 136, 146, 160, 163, 164, 167, 181,
249, 250, 263
Stewarts, London, 232
St. Mark's, Venice, 75, 86, 100, 109
St. Paul's, London, 147
Street, George S., 148, 213
"Strike at Arlingford, The," 215
Stuart, Jack, 152
"Studio, The," 178
Symbolism, 238
Symonds, John Addington, 77
Symons, Arthur, 183, 190, 278
"Talk and Talkers," 160
Talk on Thursday nights, 124-125
Thaulow, Fritz, 273
Théâtre Français, 220
Theosophy, 55
Thompson, Venice, 97
Thursday nights, our, 117, 122-125, 129, 142, 168, 177, 223, 255
"Times," London, 43
Tintoretto, 94, 108
Tivoli, 66
Tomson, Arthur, 202, 211
Tomson, Graham R., 157, 158, 214, 215
Tonks, 203
Torcello, 111
Toulouse-Lautrec, H. de, 240, 280, 291
Tour d'Argent, Paris, 251, 252
Trattoria Cavour, Rome, 38, 43
Falcone, 37-38, 43
Posta, Rome, 36-39, 43
"Treasure Island," 127
Tréteau de Tabarin, Paris, 284
Tricycle, 15, 16, 29, 254
Tudor classics, the, 214
Val di Chiana, 42
Vale Press, 213
Vance, the painter, 80
Van Dyke, John, 221
Van Gogh, 248, 249
Vedder, Elihu, 56-64
Velasquez, 132, 169, 173, 215
"Venetian Life," by W.D. Howells, 109
Venetian painting, 101
Venice, 66, 71-113
Verlaine, Paul, 276-277, 281
Versailles, 266, 267, 269, 270, 272
Vesuvius, 67, 69
Vibrism, 238
Victoria, Queen, 62
Victorian prejudice, 190, 199, 202, 204
"Views and Reviews," by Henley, 141
Voisin's, Paris, 246
"Volpone," illustrated by Beardsley, 182, 213
Vorticists, 248
"Wares of Autolycus," 158
Watson, Marriott, 151, 213-215
Wells, H.G., 148
Whibley, Charles, 128, 130, 151, 213, 227
Whibley, Leonard, 213
Whistler, James McNeill, 20, 91, 93, 94, 95, 100, 102, 119, 128, 139,
140, 142, 163, 200, 205, 208, 216, 218, 220,
221, 236, 237, 299, 300
Wilde, Oscar, 49
Willes, Adrian, 172
Willette, 240, 287
Willis, N.P., 222
Wilson, Edgar, 198
Worthing, Henley at, 126
"Wounded Titan, The," 126
"Wrecker, The," 165, 249
"Wrong Box, The," 131
"Yellow Book, The," 177,184, 185-190, 198
Zaehnsdorf, 214
Zola, Emile, 47, 215, 222
* * * * *
Transcribers Note
The following changes were made to the text:
Hobby-Horse to Hobby-horse. London--V--paragraph 6
Murger to Mürger. Paris--IV--paragraph 2
Index--(Church of San Giorgio degli) Schiaroni to Schiavoni.
Index--(Courrier) Francais to Français