fair visitors conformity to fashion was anything but a trifle. To deck
themselves fittingly was their constant amusement, and one in which they
took good care that their swains should be sharers. The female dress of
the time is well known to us from early pictures of Queen Victoria and
the paintings of Winterhalter; there are few, too, who at one time or
another have not seen some of Gavarni's beautiful fashion plates. The
Empire style had entirely disappeared, and the accent was in 1830 laid
chiefly on the waist. The shoulders were sloping and wide, the sleeves
so voluminous that by 1836 they were like miniature balloons, the skirt
very wide and full, ending above the ankles. The waist and head were
made to seem very small in proportion, so that two loaves placed one on
top of the other would have made a very good caricature of a woman's
figure at any time during the golden age of Bohemia. The hair was
elaborately done to frame a pretty face daintily under a large
poke-bonnet. It was pre-eminently the day of "fragile" women: nothing in
their costume seemed made for hard wear. Cydalise or Victorine, as she
swung in the hammock among the gallants of the Impasse du Doyenné, would
have kicked a little cross-laced foot out from ethereal folds of
flowered muslin, and gathered a gauzy scarf enticingly round bare
shoulders. Fashions were indeed expensive for a fond lover's pocket, but
at least he was never at a loss what to buy for his mistress, so many
were the little accessories to the Graces' toilet. He was never wrong,
for instance, in offering a piece of gay ribbon, for there were bows
everywhere, on the bosom, on the sleeves, and, with long dazzling
streamers, round the waist. There was no end to their variety and
combination of colours, brilliant and pale; even the crudest Scottish
tartans were not considered amiss, as a certain dress in the London
Museum will show the incredulous. If ribbon was too paltry, a man in a
really generous mood would present a cashmere shawl, an expensive and
much appreciated luxury. The manipulation of shawls on frail, rounded
little persons, who, in England at least, still fainted at will and
indulged in the vapours, was a matter of some art. Balzac, in one of his
short stories, asserts that a _femme du monde_ could be distinguished
from the actress or the _grisette_ by the handling of her _cachemire_
alone. There was only one great change in woman's dress between the
earlier and later days of Bohemia, and that was in the sleeves, which
dwindled suddenly as if the balloons had been pricked, and became either
closely fitting or almost disappeared into two little frilly bands. In
fact, during the forties, before skirts began to be exaggerated on
horse-hair paddings and verge upon the crinoline, female costume was as
nearly natural as it can be if corsets be granted. Nothing can be more
charming than the appearance of the Queen of the Belgians in her
portrait by Winterhalter which hangs in the gallery at Versailles. She
wears a red velvet dress, cut simply as to the _corsage_, with the skirt
reaching the ground in full, stately folds: there is no extravagance of
bows and frills, only a little lace at the bosom and sleeves. So, if we
would picture Mimi or Musette, as they were dressed for that memorable
day at Fontenay-aux-Roses, in the new muslin frocks made by their own
hands, we must imagine dainty little women, looking as if a breath would
blow them away, their pretty cheeks showing between two bewitching
clusters of ringlets, straw bonnets with not too large brims upon their
heads, tied with a coquettish ribbon, gowns of flowered muslin, light,
simple, and flowing, and scarfs pinned round their sloping shoulders or
held in place by mittened hands. Gavarin drew them to the life time and
time again, and they were considerably more attractive than any would-be
_Bohémiennes_ of our time in their rough, untidy tweeds or amorphous
"rational" dress.
From the amusement of clothing the body it is an easy transition to that
of refreshing it. Eating and drinking, like dress, may from a certain
point of view come under the head of necessities, but indulgence in good
cheer when possible is a habit of young people of which a Bohemian was
by no means contemptuous. A word, therefore, about his particular haunts
among the thousand _cafés_ and restaurants of Paris will not be out of
season. After 1830 the great houses in the Palais Royal had fallen out
of fashion, and the four leading restaurants of Paris were on the
boulevard. Bohemians, it is true, were not often to be found within
them, but in the golden age, when Bohemia was nearer to the dandies and
_viveurs_, it would at least have been possible that in a moment of
extravagance some Bohemian friend should have accompanied Roger de
Beauvoir into the Café de Paris, the Café Riche, the Café Hardy, or the
Café Anglais. The Café de Paris was opposite Tortoni's, which stood at
the end of the Rue Taitbout. Besides being the home of the aristocratic
_petit cercle_, it was renowned for its witty conversation and its
general air of luxury. Since it was favoured by the aspirants to
smartness, as well as the perfect examples, its society was less select
than that of the Café Riche, at the corner of the Rue Lepeletier, or the
Café Anglais, which still remains in its old position. There was a quiet
solidity about the Café Anglais, in particular, which gave it a peculiar
air of distinction, though its company was gay enough at supper-time. It
was especially famous for its roast meat and its grills, though in these
matters the Café Hardy, at the corner of the Rue Laffitte, ran it close.
Hardy was an English cook who invented the _déjeuner à la fourchette_,
and popularized it by setting up the first silver grill in Paris.
Customers chose their own cutlet or steak and saw it cooked before their
eyes. At all these four the prices were very high, and with regard to
two of them it was said: "On doit être riche pour dîner au Café Hardy,
et hardi pour dîner au Café Riche." However, the chief haunt for
Bohemians with money to spend was the Rocher de Cancale, where it was
easier to be uproarious without offending the proprieties. This famous
restaurant still stands in the dirty, provincial Rue Montorgueil, in the
midst of small shops whose wares overflow on to the pavement. The
stately ornamentation of dark painted wood is still visible on its upper
stories, but the specimens of edibles in its ground-floor windows tell
too plainly to what depths it has sunk. It is no longer a possible home
for Rastignac and his boon companions, nor would it tempt Arsène
Houssaye to entertain there the brethren of _la Bohème galante_, for it
merely plies the trade of the convenient _marchand de vin_ in a rather
squalid quarter. The Rocher de Cancale had declined already during the
later days of Bohemia, and in Murger's day they repaired on _jours de
liesse_ to the Café de l'Odéon, Hill's Tavern in the Boulevard des
Capucines, or the Cabaret Dinochan at the corner of the Rue de Navarin.
The first of these was, in particular, the haunt of Baudelaire and his
friends, where the unfortunate Hégésippe Moreau made his brief
acquaintance with the main stream of Bohemia towards the end of his
days, which had been mainly passed in a backwater. Hill's Tavern was one
of the many chop-houses in the English style that flourished in Louis
Philippe's Paris--only the Petit Lucas, a charming place for a quiet
dinner, remains to-day--to cater for the down-at-elbows Englishmen,
jockeys, and trainers, of whom there was always a certain number. At
supper-time, however, it was invaded by Bohemia, and was often so full
that its doors had to be closed. One of its peculiarities was that its
private rooms were named after Shakespeare, Byron, and other great
poets. The Café Dinochan, according to Delvau,[30] was the ground on
which a great many small papers of the day were started. Monselet,
Nadar, Fauchéry, and Champfleury were among its customers, and Murger
died in debt to its proprietor for twelve hundred francs, for it was
said of this worthy creditor: "On dîne très-bien chez lui quand on a
quarante sous dans une poche--et dix francs dans l'autre." Yet the full
apparatus of a restaurant was not necessary to the gaiety of Bohemian
suppers, for in scanty days they made just as merry in the shops of one
or two bakeries on rolls and warm milk. The Boulangerie Cretaine in the
Quartier Latin was famous for its milk rolls and for the brilliant
conversation of Privat d'Anglemont, who, though it was against his
principle to get into debt, ran up a bill there for halfpenny rolls of
six hundred francs. The other famous baker was the _pâtissier_ Pitou, by
the Porte Montmartre, where a crowd of Bohemians used to congregate
after the midnight closing of the _cafés_. In the back shop was a table
running round three sides of the square, and at this "piano," as it was
called, the quaint figure of Guichardet presided. Guichardet, whose "nez
vermeil et digne" was celebrated in one of Banville's triolets, was a
Bohemian of the type of Balzac's Comte de la Palférine, one who had
voluntarily dropped out of the race of life while preserving all his
dignity and pride. He passed his days in amiable vagabondage, but
preserved "a perfume of exquisite politeness and witty impertinence
which made him the most delightful companion in the world." So says
Delvau, according to whom he was the only man left in France who really
knew how to say "Femme charmante!"
So far I have mainly mentioned the haunts of Bohemians with the means
and inclination for a certain amount of self-indulgence. But in Bohemia
occasions preponderated when indulgence in anything beyond bare
necessities was an impossibility. The left bank swarmed with cheap
refuges for those who had hearty appetites and only a few pence. There
was Viot's for the poorest of the poor; Dagneaux's or Magny's in the Rue
Contrescarpe-Dauphine--rather superior houses where it was possible to
procure a semblance of good cheer; and the Cabaret of Mère Cadet outside
the Barrière Montparnasse, where Schaunard had his first meeting with
Colline over the stewed rabbit with two heads. This last had a garden
which ran along the Montparnasse cemetery, and under the shade of its
dusty shrubs not only literary Bohemians but nearly all the young actors
and actresses of the Théâtre Montparnasse and the Théâtre du Luxembourg
made their scanty meals. You might as well have asked for sphinx there
as chicken, says Delvau, the staple dishes being stewed rabbit and
_choucroute garnie_. To give a longer catalogue of such places would be
neither instructive nor amusing, and their types are easily enough found
in the Paris of to-day. There are two, however, that call for special
mention, for fiction has carried their fame beyond the days of their
material existence. No reader of Balzac's "Illusions Perdues" can have
forgotten the description of the cheap eating-house at the corner of the
Place de la Sorbonne and the Rue Neuve de Richelieu, with the small
panes of glass of its front window, its comforting announcement of _pain
à discrétion_, its long tables like those of a monastic refectory, its
varieties of cow's flesh and veal, and the hurried air of its diners,
who came there to eat and not to loiter. This famous house, where a
dinner of three dishes with a _carafon_ of wine or a bottle of beer cost
ninepence, where Lucien de Rubempré met Lousteau and made the
acquaintance of d'Arthez and his virtuous friends, was the restaurant of
Flicoteaux, no product of Balzac's imagination, but a name known to all
the strugglers for fame and fortune. It was a sure ground on which to
observe Bohemia, not indeed in its greatest indigence, but on the days
when there was at least no margin. Thackeray mentions it in his "Paris
Sketch-Book," and there is a passage in Lytton Bulwer's "France" which
vividly gives the impression produced by Flicoteaux on an English eye:
"Enter [he says] between three and four o'clock, and take your seat
at one of the small tables, the greater number of which are already
occupied. To your right there is a pale young man: his long hair,
falling loosely over his face, gives an additional wildness to the
eye, which has caught a mysterious light from the midnight vigil;
his clothes are clean and threadbare; his coat too short at the
wrists; his trousers too short at the legs; his cravat of a rusty
black, and vaguely confining two immense shirt collars, leaves his
thin and angular neck almost entirely exposed. To your left is a
native of the South, pale and swarthy: his long black locks, parted
from his forehead, descend upon his shoulders; his lip is fringed
with a slight moustache, and the semblance of a beard gives to his
meditative countenance an antique and apostolic cast. Ranged round
the room, with their thin, meagre portions of meat and bread, their
pale decanter of water before them, sit the students, whom a youth
of poverty and privation is preparing for a life of energy or
science."
Flicoteaux has long been swept away, and buildings of the Sorbonne now
occupy its site. Gone, too, these many years, is the Café Momus, which
stood in a back street by the old church of Saint-Germain l'Auxerrois,
the hostelry celebrated by so many exploits of Murger's four heroes in
"Scènes de la Vie de Bohème." It was here that Schaunard and Colline
collected Rodolphe for the Bohemian brotherhood, and it became their
home, not so much for meals, though it was the scene of their reckless
Christmas Eve supper which introduced the saviour Barbemuche, but rather
for the lighter _consommations_ over which, by the French custom, they
could spend unlimited hours--a precious privilege when a cold garret was
the only alternative. There was nothing fictitious about the Café
Momus; it was a real establishment serving some respectable shopkeepers
of the quarter, when by some mischance, from the good M. Momus' point of
view, it attracted the Bohemian horde of Murger, Champfleury, Nadar,
Schann, Wallon, and many of the other "Buveurs d'Eau." Even on Murger's
testimony, they must be admitted to have abused their privileges without
shedding any very great glory in return, and we may take as fairly true
the list of grievances which was drawn up by the proprietor against
Rodolphe and his friends, from which it appears that they spent the
whole day there from morning to midnight, making a desert round them
with their strident voices and extravagant conversation; that Rodolphe
carried off all the papers in the morning and complained if their bands
were broken, and that by shouting every quarter of an hour for _Le
Castor_, a journal of the hat trade edited by Rodolphe, the companions
had forced a subscription on the proprietor; that Colline and Rodolphe
played _tric-trac_ all day, refusing to give up the table to other
people; that Marcel set up his easel in the _café_, and even went so far
as to invite models of both sexes; that Schaunard had expressed his
intention of bringing his piano there, and that Phémie Teinturière never
wore a bonnet when she came to meet him; that, not content with ordering
very little, the four friends presumed to make their own coffee on the
premises; and that the waiter, corrupted by their influence, had seen
fit to address an amatory poem to the _dame du comptoir_. Murger puts a
touch of exaggeration into this complaint, but it is to be feared,
nevertheless, that no trifling _dossier_ of misdemeanours could have
been compiled against the originals of Rodolphe, Marcel, and the rest.
We have it on Delvau's authority, at all events, that the profit of
their custom was quite disproportionate to its assiduity, when he tells
of their stratagem for obtaining asylum at small cost. The smallest
possible order was a _demi-tasse_, which consisted of a small cup of
coffee, four lumps of sugar, and a thimbleful of cognac; this cost five
sous, a sum of importance in Bohemia. The practice, therefore, was that
a certain student, Joannis Guigard, who was of the band, went in first,
ordered a _demi-tasse_, and went upstairs to consume it. Murger would
then arrive, ask if Guigard were upstairs, and run up. The rest followed
in succession with the same question till the _cénacle_ was complete and
in a position to have a sip of coffee and some hours of warmth for
nothing. After a short while Momus grew tired of these troublesome
customers and formally gave them notice to quit. They accepted the
intimation, but vowed revenge. Accordingly, a few days later, one of the
band turned up with six wet-nurses in his train, while another brought
six funeral mutes. The rest of the band then arrived, and the Bohemian
spokesman, probably Schann, delivered a flowery discourse upon the
affinity of life and death, with allusions to their guests' professions.
He wound up by telling the mutes to bury the Café Momus and take the
nurses as a reward. To make matters worse, he directed that the milk and
beer which had been ordered should be warmed as a mixture. The mutes and
nurses, furious at being thus deceived and insulted, broke into angry
expostulations, and, aided by the jests of the Bohemians, the
proceedings ended in a tremendous disturbance. Schann and two others
were arrested, and the next day Momus sold his business.
The extent to which Bohemia, at its different phases, shared in the
various pastimes of Paris cannot be determined with any accuracy, so
much depended on individual taste and individual wealth. It is certain,
however, that after 1837 gambling was not a Bohemian distraction, for in
that year the public gaming-houses were closed. Before that time they
were such a popular institution that the early Bohemia cannot be
conceived to have entirely eschewed it. At the beginning of "La Peau de
Chagrin" Balzac draws a powerful picture of the wretched crowd that
haunted the Palais Royal, where Raphael de Valentin lost his last gold
coin at a single coup. There were no less than four gaming-houses in the
Palais Royal, Nos. 9, 113, 124, and 129, where the minimum stake was two
francs for roulette and five francs for trente-et-un. Besides the
Palais Royal, there were Paphos, Frascati, and the select Cercle des
Étrangers. The popularity of gambling can be judged from the fact that
the Treasury profited annually by it to the extent of five and a half
million francs. Yet there is no record that the truly artistic members
of Bohemia, like Gautier or Houssaye, so wasted time or money, while
Murger and his friends were spared the temptation. In music, too,
Bohemia played no very great part, in spite of the devotion of
Champfleury, Barbara, and Schann to Beethoven's quartets. There was
plenty of fine music to be heard in Paris during the time: Habeneck was
introducing Beethoven's symphonies, Berlioz was revolutionizing
orchestration, while Liszt, Chopin, Paganini, Vieuxtemps, and de Bériot
were among the soloists. Certainly those Bohemians of the golden age who
had access to the _salons_ of the Princess Belgiojoso or Madame de
Girardin must often have heard these great artists, but it is not to be
supposed that they were great supporters of concerts, unless it were of
the Concerts Musard. These concerts, which won great fame through the
personality of Musard, the conductor, began in 1833 in the Salle
Saint-Honoré;[31] their programmes were excellent and the prices low
enough to attract the least well off. Musard had a genius for making
_pot-pourris_ of operatic tunes and for introducing new effects,
especially into dance music. His electric style of conducting made the
Bals Musard far more popular than the great balls at the Opéra. He
contrived a wonderful quadrille, for instance, out of "Les Huguenots,"
during which red lights were lit, tocsins pealed, tom-toms boomed,
screams resounded, and the whole illusion of a massacre was thrillingly
kept up. He also composed a _contre-danse_ in the finale of which he
broke a chair, and his triumph was a certain galop in which he
discharged a pistol. This was thoroughly in keeping with the Romantic
spirit, and after its first performance he was publicly chaired round
the hall by the excited dancers. So far as pure music was concerned,
however, it appealed most to Parisians in the form of opera. Meyerbeer's
"Robert le Diable" and "Les Huguenots" produced frenzies of enthusiasm:
no Romantic, consequently no Bohemian of Gautier's day, could afford not
to have listened to them. Rossini's great vogue began at the same time,
while Donizetti and Auber shared the honours of light opera till
Offenbach appeared to carry all before him. Musical Bohemia was well
educated, if not in composition, at least in execution, when it was
possible to hear Duprez, Rubini, Lablache, Tamburini, Grisi, Mario,
Persiani, and Pauline Viardot-Garcia. The ballet, too, with Carlotta
Grisi, Taglioni, and Fanny Elssler, was an additional attraction at the
Opéra. The devotion of _la Bohème galante_ to the _corps de ballet_ has
appeared in an earlier chapter, and it was a devotion shared by most
masculine society. Murger's Bohemia flourished after the greatest
operatic enthusiasms, which its more classically inclined members
probably despised; but their exchequers were not of the sort to allow
for tickets at the grand opera, though they turned up in force at the
light operas of the Théâtre Bobino. At this little theatre, more
properly called the Théâtre du Luxembourg, there was a continuous uproar
made by Bohemians and students. When this grew too unbearable the
manager would appear in his dressing-gown and protest that the police
would arrive if the respectable inhabitants of the quarter were
disturbed; whereupon the whole audience struck up as one man Grétry's
air "Où peut-on être mieux qu'au sein de la famille?" accompanied by the
wheezy orchestra and conducted by the manager himself. At such a scene
Schaunard and Marcel must often have assisted.