In January, 1843, Baudelaire finds himself in possession of a fortune of seventy-five thousand francs. With his incurable restlessness, his incurable desire of change, he is always moving from one place to another. He takes rooms at Quai de Bethune, 10, Isle-Saint-Louis; rue Vanneau, faubourg Saint-Germain; rue Varenne, quai d'Anjou; Hôtel Pimodan, 17; Hôtel Corneille; Hôtel Folkestone, rue Lafitte; Avenue de la République, 95; rue des Marais-du-Temple, 25; rue Mazarine; rue de Babylone; rue de Seine, 57; rue Pigalle, 60; Hôtel Voltaire, 19 quai Voltaire; rue Beautrellis, 22; Cité d'Orléans, 15; rue d'Angoulême-du-Temple, 18; Hôtel Dieppe, rue d'Amsterdam, 22; rue des Ecuries-d'Artois, 6; rue de Seine, l'Hôtel du Maroc, 35. With a certain instinct for drawing Baudelaire haunts many painter's studios: Delacroix's, whose genius he discovers, giving him much of his fame, becoming his intimate friend; Manet's, whose genius he also divines and discovers; Daumier's, to whom he attributes "the strange and astonishing qualities of a great genius, sick of genius." So also, from the beginning, Baudelaire's judgments are infallibly right; so also his first book, _Le Salon de_ 1845, has all the insolence of youth and all the certitude of a youth of genius. But his fame is made, that is to say, as an imaginative critic, with _Le Salon de_ 1846; for, after the prelude, the entire book is fascinating, paradoxical, and essentially æsthetical; a wonderful book in which he reveals the mysteries of colour, of form, of design, of technique, and of the enigmas of creative works. Here he elaborates certain of his mature theories, such as his exultant praise--in which he is one with Lamb and with Swinburne; his just disdain, and his grave irony, in which he is one with Swinburne; and, above all, that passionate love of all forms of beauty, at once spiritual and absolute, which is part of the quintessence of his genius.