Nooks and Corners of Old Paris Part 8

Since that day Monsieur Vitry had given her the cold shoulder.

In the reign of Charles VI., under pretext of purifying the quarter--the pretext and the Vicar of Saint-Merri's complaint being only too well grounded--these "hot streets" were cleared of the majority of low, lewd people who had taken up their domicile in them. But, if morality had its claims, business also had its interests; and the worthy shopkeepers of the neighbourhood, deeming these of more importance than decency, energetically protested against the measure so prejudicial to their petty commerce. They gained the day, and, on the 21st of January 1388, Parliament reversed the Provost's decision, the result being that the merry band returned in triumph to their old haunts, celebrating the event with feasting and banqueting.

[Ill.u.s.tration: THE RUE DES PROUVAIRES AND THE RUE SAINT-EUSTACHE ABOUT 1850 _Water-colour by Villeret_ (Carnavalet Museum)]

In his _Chronicle of the Streets_, our learned friend, Beaurepaire, librarian of the City of Paris, a.s.serts that the Rue Pirouette, near Saint-Eustace's Church, owes its singular name to the "Market Stocks that stood at this spot. It was an octagonal tower with lofty ogival windows, in the centre of which was an iron wheel pierced with holes for the head and arms of vagabonds, murderers, panders, and blasphemers, who were exposed thus to public derision. On three consecutive market-days, for two hours each day, they were fastened in the stocks and turned every half-hour in a different direction. In other words, they were forced to 'pirouette,' whence the name of the street."

After doing penance there, in the olden times, malefactors betake themselves thither to-day to sup. The "Guardian Angel," a thieves'

restaurant, exhibits its signboard almost at the corner of the street: in it rogues laugh, drink and sing, and hatch their morrow's exploits. The Staff of the army of vice make it their meeting-place. It is the fashionable resort, a sort of burglars' "Maxim-restaurant," where Paris hooligans deem it elegant to appear. Casque-d'or and his pals reign there, and the scoundrel who has just committed an evil deed is certain to secure good lodging within, and all else he requires. But it is not only knights of the blood-letting industry who inhabit this n.o.ble dwelling; other lords come there to eat snails and drink champagne: suspicious-looking young men with plastered hair, who noisily spend their money gained by blackmailing or some other reprehensible action.

The place is a disgrace to the Capital. The landlord affirms that there are honest folk among his customers. The thing is possible--anyway, they must find themselves in very bad company.

Quite close, almost next door, at No. 5, is the "Helmet Courtyard,"

which gives us a striking impression of what ancient dwellings were. It was, in fact, once a sumptuous fourteenth-century mansion; to-day, it is only a hand-cart repository, where shafts point up to the old ceilings with their projecting beams, shafts shiny with use, and a fishmonger's warehouse, in which Burgundy snails, and cooked or raw lobsters are sold. The nook is a quaint one, and the quarter also, with its remains of the Rue de la Grande-Truanderie, where, on the 10th of May 1797, one of the ancestors of Communism, Baboeuf, was arrested.

[Ill.u.s.tration: THE CENTRAL MARKET FOOT-PAVEMENT, NEAR THE CHURCH OF SAINT-EUSTACHE, IN 1867 _Drawn by A. Maignan_]

Not far away used to be the Rue de la Tonnellerie, where Moliere lived.

This street disappeared when the Rue Turbigo was cut.

[Ill.u.s.tration: THE CENTRAL MARKET IN 1828 _Canella, pinxit_]

In the Central Market quarter, where every one works, where each shop offers to Paris gourmands the best victuals, the freshest vegetables, the daintiest fruits, where, every night, long files of market gardeners' carts bring in loads of provisions of all sorts, each street has, so to speak, its speciality. Housewives know where to find their poultry, crayfish, cheese, or oranges. All the little streets, skirting the Halles, are full of astonishing shops contrived in door-corners, or cellar-corners, all of which for generations have been kept by worthy husbandmen, petty dealers, hucksters, or basket-hawkers, having their own line, their own customers. In the curious Rue Montorgueil, old abodes that amaze one are still to be found; for instance, between Nos.

64 and 72, the ancient Golden Compa.s.s Inn, which was the calling place for so many generations of carriers. Its double entrance, blocked up with small butchers', tripe-dealers', and poulterers' stalls, opens on a huge yard, where fowls peck on heaps of golden dung, where ducks quack, and goats bleat under the eyes of some thirty horses, peaceful tenants of the ground floor, with their inquisitive heads thrust over the half-doors, through the low windows or open air-holes. At the back, beneath the s.p.a.cious shed, the carriages and carts are put up, 'midst a healthy country smell of verdure and hay; and it really is a curious sight to see such a silent nook, with its farmyard, at the back of the noisy, populous, crowded street, full of workmen, pedlars, and shouts or cries of bubbling life and movement.

[Ill.u.s.tration: THE CENTRAL MARKET IN 1822 _Canella, pinxit_]

What is left of the Rue Quincampoix, behind the old Tower of Saint-Jacques-la-Boucherie, emphasises the strangeness of this neighbourhood, in which the exterior, though renewed, has been partly preserved, but which has been more modified and transformed as regards inhabitants and customs than perhaps any other quarter. It was, in fact, in the Rue Quincampoix that the famous Law established his offices of the Mississippi Bank. There, all Paris suffered the fever of speculation. The madness was general. For months nothing but folly and ruin reigned. All gambled--d.u.c.h.ess, priest, philosopher and courtier, shopkeeper and ballet-actress, peer and lackey, excise-farmer and his clerk. In order to profit by proximity to the celebrated stock-jobber, each shop, room and cellar even, rented at foolishly high prices, was turned into a gaming establishment; and the case is quoted of a cobbler who hired for a hundred livres a day his stall stinking with wax and old leather; the gold mania had broken down all distinctions. And then the fatal crisis came, the panic, the crash. In the Rue Quincampoix one saw none but despairing faces. Every day there was a series of murders, suicides, attacks of lunacy. On one single occasion, twenty-seven bodies of suicides or murdered people were fished out of the river at the nets of Saint-Cloud. To speculate still, money at any price was needed.

Highway robbery was practised, and the footpads were of all cla.s.ses of society. One of these, the young Count de Horn, a relative of the Regent, and already notorious through his follies, hired two rascals of his own kind, enticed a rich young stock-jobber into an inn of the Rue de Venise, stabbed him and took his money. The scandal was enormous!

Both Court and City lost their heads. Would justice at last act and severity be shown? There was a good deal of intriguing and excitement; but, finally, the Lieutenant for criminal affairs, acting on the orders of the Regent, arrested the Count de Horn, on the 22nd of March 1720; and, four days after, the latter was broken on the wheel and executed in the centre of the Greve Square, amidst the applause of all Paris.

[Ill.u.s.tration: MOLIeRE'S HOUSE IN THE RUE DE LA TONNELLERIE _Water-colour by Hervier_]

The Rue Quincampoix likewise contains some few old mansions now inhabited by certain "medical specialists," cheese-dealers, eau-de-seltz makers, &c. At Nos. 58, 28, 14, 15, and, notably, at No. 10, are seen remnants of forged iron, broken balconies, chipped grotesque masks of stone.... But the whole is tumbling to pieces, and to ruin, and only by a strong effort of the imagination can one reconst.i.tute, out of these wretched fragments, the life of luxury, fever and stock-jobbing that once filled this old street, now foul with chemical smells and rancid odours of fried potatoes.

Colle's prophecy has been fulfilled: "One no longer belongs to Paris when one belongs to the Marais!"

Trade has laid hold of the fine mansions of yore; druggists have set up their distilleries in them, toy-makers sell their puppets in them, and the hawker with his Paris article is the monarch that governs them.

The population at present is poor, laborious, yet intelligent and active; and the contrast between it and the transformed dwellings wherein it dwells is not without interest and grace. A visit to the Archives, Marais and Saint-Merri quarters is certainly something no one should omit.

The picturesque line of central boulevards extends from the Bastille to the Madeleine Church. There Paris life may be studied under the most varied aspects, as well as the most elegant.

To speak of there being a general characterisation of the boulevards would be hardly correct, inasmuch as each of them has its special physiognomy.

[Ill.u.s.tration: THE TOWER OF SAINT-JACQUES-LA-BOUCHERIE ABOUT 1848 _Lithographed by A. Durand_]

The Beaumarchais Boulevard has an atmosphere of middle-cla.s.s tranquillity about it. Nothing has survived of the fine mansion, surmounted with a feather-shaped weather-c.o.c.k and flag, which was built there by the author of the _Mariage de Figaro_, nor yet of the famous gardens, once the wonder of Paris, which could only be visited with a special card signed by Beaumarchais himself and given but to few.

Yet some one of our own generation has known them, and penetrated into what for a while remained of the gorgeous abode; and that some one is Victorien Sardou. Did he have a presentiment that, in talent and wit, he would one day be the successor of the Beaumarchais whose property he thus intruded on? Anyway, in 1839, Victorien Sardou, aged seven, was living with his parents in the Place de la Bastille. With his little companions he used to play at ball or with hoop round the elephant and the ca.n.a.l banks. At the entrance to the Beaumarchais Boulevard of to-day some long, worm-eaten palisades bordered a piece of waste ground. On the palisades were hung halfpenny pictures of actors, actresses, and soldiers; and no one was fonder of looking at them than the little Sardou.

One day, while enjoying his open-air picture-gallery, he caught a glimpse of a huge garden through the interstice between two of the palings. "What was this garden?" "Suppose he entered!" So he and another urchin of his own age wrenched away a paling with the sticks of their hoops, and in a delight of terror slipped into the unknown domain. What an amazement! They found themselves in a Sleeping Beauty's realm.

Weeds, lianes, branches, trees had grown over everything. It was a flora and fauna of the virgin forests; rabbits, birds and b.u.t.terflies were its denizens; and Robinson Crusoe was not more surprised in exploring his island than these two youngsters in wandering about this jungle.

Sardou vaguely remembers there being a ruined pavilion and some tumble-down old walls; what he recollects better are the banks, ditches, and slopes where he and his companion had such delightful escapades; and nothing is more interesting than to hear this witty and charming talker relate his stories of the bygone Paris which he regrets so much and remembers so well.

The old dwellings have disappeared. A single one still exists at the corner of the Rue Saint-Claude, No. 1. It is the celebrated abode in which the talented charlatan, Cagliostro, installed his furnaces, his crucibles, his alembics, his transformation machines, all the weird utensils that served for his magic sittings.

The house has not been much altered. It remains, as always, strange, enigmatical, mysterious, with its staircases constructed in the body of the walls, its secret corridors, its mechanical ceilings, its cellars of many exits. The greatest lords, the n.o.blest dames frequented this abode.

Cardinal de Rohan was a familiar guest. The report ran that gold was made there, and that Cagliostro, the great Copht, had discovered the secret of the philosopher's stone! He offered, continued the legend, repasts of thirteen covers at which the guests were enabled to call up the dead, which was why Montesquieu, Choiseul, Voltaire and Diderot had taken part at Cagliostro's last supper.

All that made a stir; there were murmurs; the thing was proclaimed a scandal. Louis XVI. shrugged his shoulders and Marie Antoinette forbade any one to "speak to her of this charlatan." But every one tried to obtain entrance into the "divine sorcerer's house," and Lorenza, his wife, was obliged to open a cla.s.s of magic for the benefit of the ladies of the upper circles.

Then came the affair of the necklace. Cagliostro, being compromised with Cardinal de Rohan and Madame de Lamotte, was arrested and thrown into the Bastille; and it was not until ten months later, on the 1st of June 1787, that he was able to return to the house in the Rue Saint-Claude, escorted by a crowd of eight to ten thousand persons, blocking the Boulevard, the courtyard of the house and the staircases. He was cheered, embraced, carried in triumph. This grand day was a climax. A few hours after it, a King's order banished him from France, and the house was shut up. Only in 1805 were its doors reopened for the sale of the furniture; and the sight must have been a curious one! In 1855, the building was repaired; the leaves of the entrance gate were changed; those to-day opening into the Rue Saint-Claude came from the ancient buildings of the Temple; so that the gates of Louis XVI.'s prison give access now to the mansion where Cagliostro once performed his marvels.

In the Filles-du-Calvaire Boulevard stands the Winter Circus, still unchanged, with its Icarian Games and its equilibrists, its smiling horse-women who for so many years have leaped through the same paper-filled hoops and made the same pleased bow to the worshipping crowd. But, if the spectacle is not much varied, the public of youngsters is constantly renewed, and the laughs we heard in our childhood still welcome the same clowns' grimaces. Only Monsieur Loyal is no longer there, the admirable, imposing Monsieur Loyal, tight-b.u.t.toned in his fine blue coat, who, with such n.o.ble gesture and slashing whip, restrained the mocking clown's quips and quirks or the shyings of the mare Rigolette exhibited at liberty.

[Ill.u.s.tration: ALEXANDER'S GRAND CAFE ROYAL ON THE TEMPLE BOULEVARD _Water-colour by Arrivet_]

Would any one now believe that for more than a century the Temple Boulevard was the centre of Paris gaiety? A charming engraving by Saint-Aubin shows us it joyous, smart, and full of life. Coaches, cabs, and other vehicles pa.s.s and repa.s.s; grand ladies and fashionably dressed women rival with each other in grace, manners and toilet, the latter of the strangest names; and the draughtsman Briou can write below a fashion engraving of the period: "The provoking Julia reposing on the Boulevard, while awaiting a stroke of good fortune; she is in morning gown with a Diana hat that flying hearts adorn." At Alexander's Cafe Royal, there is supper and dancing; people crowd to listen to Nicolet's patter; and a circle of hearers surround Fanchon, the hurdy-gurdy player. On the same Boulevard, Curtius sets up his luxuriously arranged wax-work saloons; and, later, the parades of Bobeche and Galimafre will be the joy of Paris; for a long time, the fair will continue.

[Ill.u.s.tration: FANCHON, THE HURDY-GURDY PLAYER _Original drawing_ (Ch. Drouet Collection)]

The Ambigu, the Historic Theatre, the Gaiety, the Funambules, the Olympic Circus, the Little-Lazari, the Dela.s.s.e.m.e.nts Comiques,--ten theatres or so will add to the excitement with their strange, nervous, grandiloquent, noisy companies of actors. The gay apprentices, at all times fond of plays, will cheer as they go by the heroes of all these dramas and melodramas, so numerous that popular slang had nicknamed as Crime Boulevard the thoroughfare where, at twelve each evening, so much blood flowed on the boards of these theatres. There were Madame Dorval, Mademoiselle George, Mademoiselle Dejazet, Messieurs Bocage, Melingue, Bouffe, Dumaine, Saint-Ernest, Boutin, Colbrun, Lesueur, Deburau--the ideal Pierrot--and also Gobert, so like Napoleon I., as was Taillade, who, thin and nervous, was incarnating Bonaparte. It was the period when the Bonapartist epopee turned people's heads to such an extent that the poor comedian Briand, who, in one of the many Napoleon plays, was acting the ungrateful part of Sir Hudson Lowe, said: "I shall never have a similar success. Yesterday, I was waited for at the theatre door and thrown into the Chateau-d'Eau ca.n.a.l basin!"

[Ill.u.s.tration: VIEW OF THE AMBIGU-COMIQUE ON THE TEMPLE BOULEVARD _Lallemand, del._ (Carnavalet Museum)]

All the quarter waxed enthusiastic about its favourite actors, espoused their quarrels, repeated their witticisms or their adventures: Frederic Lemaitre especially, a tragic, dare-devil, drinking, extravagant yet talented artist, decking himself in private life, as well as on the stage, in the frayed-out plumes of Don Caesar de Bazan, had his own story. People went into ecstasies over his amours with Clarisse Miroy, interwoven with thrashings and fond tenderness. On the day after one of these noisy quarrels, Frederic is said to have rung at his lady-love's door, which was opened by Clarisse's mother. The good dame, frightened at the brutal actor's appearance, raised her arm instinctively as if to ward off a blow.... "I beat you, I!" thundered Frederic in Richard d'Arlington's tones, "I beat you! Why?... Do I love you?"

[Ill.u.s.tration: THE FUNAMBULES THEATRE ON THE TEMPLE BOULEVARD _Water-colour by Martial_ (Carnavalet Museum)]

The Historic Theatre subsequently became the Lyric Theatre, and the wonderful Madame Miolan-Carvalho, the queen of song, was there to create, with her magnificent art, _Faust_, _Mireille_, _Jeannette's Wedding_, _Queen Topaz_, &c. About 1861, the celebrated composer Ma.s.senet, yet a pupil at the Conservatory and on the point of obtaining his Rome prize, discharged in the theatre orchestra the duties of kettle-drummer, for the modest salary of forty-five francs a month.

[Ill.u.s.tration: THE AMBIGU THEATRE AND BOULEVARD ABOUT 1830 _Canella, pinxit_]

Others to perform there were the Davenport brothers and the conjurer Robin, with their amusing seances of hypnotism and white magic. On this always-to-be-remembered Temple Boulevard were to be met the various fashionable authors: Dennery, Theodore Barriere, Victor Sejour, Paul Feval, Gounod, Berlioz, A. Adam, Clap.i.s.son, Saint-Georges, the Cogniard brothers, Clairville; and the great Dumas used to pa.s.s in triumph, shaking hands with everybody as he went. The coffee-houses had to turn customers away; orange-sellers made fortunes, while boys sold checks, conveyed nosegays to pretty actresses, and hailed cabs. People called to each other, shouted, disputed, laughed above all, under the indulgent eye of the police and to the noise of liquorice-water-seller's bell: it was the golden age!

In 1862, a regrettable decision of Baron Haussmann, the Prefect of the Seine, suppressed this bit of Paris, so lively and gay; and, on the ruins of all these theatres, which brought money and mirth to the quarter, were built Prince Eugene's barracks, the ugly Hotel Moderne, and the wretched monument of the Republic Square. Of all this fine, artistic past nothing is left except the tiny Dejazet Theatre, at the corner of the Vendome Pa.s.sage, and the Turkish Coffee-house; the latter different far from what it was when Bailly depicted it under the Directory. Elegant dames, the Merveilleuses, the Incroyables used to frequent it for the purpose of nibbling an ice or sipping little pots of cream, while listening to cithern concerts. Young Savoyards made their marmots dance in presence of "sensitive souls," and thrifty burgesses of the quarter took their family to get an idea of the high Parisian life which made the Turkish Coffee-house one of its favourite meeting-places.

Restaurants were numerous, being souvenirs of coffee-houses formerly renowned, like the G.o.det and Yon cafes. There one found singing and dancing, and, now and again, plotting. It was at the Burgundy Vintage Restaurant in the Temple faubourg, the ordinary rendezvous of Paris wedding-breakfasts or National Guard love-feasts, that--on the 9th of May 1831, at the end of a banquet given to celebrate the acquittal of Guinard, Cavaignac, and the Garnier brothers, charged with plotting against the State--evariste Gallois, with a knife in his hand, proposed in three words this threatening toast: "To Louis-Philippe!"

The great Flaubert lived on the Temple Boulevard at No. 42. There, on Sundays, he gathered his disciples at noisy lunches--Zola, Goncourt, Daudet, de Maupa.s.sant, Huysmans, Ceard, George Pouchet--a few yards away from a building of tragic fame. No. 50, in fact, was the wretched house whose third-story Venetian blinds concealed Fieschi and the twenty-five pistol barrels loaded with bullets which const.i.tuted his infernal machine. A train of powder pa.s.sed over twenty-five lights. The discharge of grapeshot to be vomited by this dreadful instrument of death was terrible. The grocer Morey, who had helped to prepare the monstrous crime, had even taken the useful precaution to damage four of the gun-barrels, whose explosion was to suppress Fieschi himself.

Pepin, another accomplice, had been careful to walk his horse several times past the fatal window; and from behind the Venetian blinds, Fieschi, who was an excellent shot, had been able at his ease to regulate the aim of his horrible slaughtering-machine. It was intended that Louis-Philippe, who had ten times escaped the a.s.sa.s.sin's hand, should, on this occasion, be struck by it. The conspirators, however, had not calculated that the King, when reviewing the National Guard, would avoid the middle of the Boulevard, which sloped down towards the sides for draining purposes, and would keep to the lower portions, along which the troops were stationed. The rain of bullets therefore pa.s.sed over the King's head, touching only the top of his c.o.c.ked-hat, and mowed down women, children, officers and other spectators that were on the King's left. It was a frightful butchery; the Boulevard streamed with blood. More than forty victims lay on the road, among them being the glorious Marshal Mortier, who expired on one of the marble tables in the Turkish Coffee-house, whither the dead and wounded had been transported.

Fieschi, who was wounded, was arrested in the backyard of the next house, while trying to fly through the Rue des Fosses-du-Temple. On the 19th of February 1836, he ascended the scaffold with his accomplices, Pepin and Morey.

At the corner of the Temple Boulevard, to the right, in front of the first house in the Voltaire Boulevard, the barricade was raised where Delescluze was killed in May 1871. At this spot, formerly stood the Gaiety Theatre; while the Lyric Theatre opened its doors on the present site of the Metropolitan railway station in the Republic Square.

[Ill.u.s.tration: THE PORTE SAINT-MARTIN _Houbron, pinxit_ (G. Cain Collection)]

The Saint-Martin Boulevard, where Paul de k.o.c.k took up his abode, in order to study from his windows, which were on the first story, near the Porte Saint-Martin, the seething life of the Capital, now has no animation except in the evening. Four theatres--the Folies-Dramatiques, the Ambigu, the Porte Saint-Martin, and the Renaissance--add life and movement to it then; and nothing is more amusing than the hour following the end of the performances. The coffee-houses fill with visitors, cigarettes are lighted, newspaper-vendors shout the latest news; people hustle, and touts run after carriages, in which one sees a rapidly pa.s.sing vision of pretty women in light-coloured dresses and opera-cloaks. Afterwards issue the actors, with blue chins and turned-up collars, and often looking cross. Last of all, come the handsome actresses, who quickly step into their brougham, inside which may frequently be seen, dimly outlined behind the red point of a cigarette, the form of an expectant friend.