When the half hour struck, there were people everywhere. All along the footways endless lines of eager spectators were pressed against the quay parapets. A sea of human heads, which was continually surging, filled the Place de l'Hôtel de Ville. Opposite, in the dark gaps of the open windows of the old houses on the Quai Napoléon, faces were thickly crowding, and even in the gloomy alleys leading to the river, the Rue Colombe, the Rue Saint Landry and the Rue Glatigny, women's caps, with ribbons streaming in the breeze, could be seen leaning forward. The bridge of Notre Dame displayed a serried row of sight-seers, whose elbows rested on the stone parapet, as on the balustrade of some colossal balcony. Further down, the Louis Philippe bridge swarmed with little black figures; and even the most distant windows streaking the grey and yellow house-fronts were every now and then brightened by some gay dress. There were men on the roofs among the chimney stacks. People, who could not be distinguished, were looking through telescopes from their terraces on the Quai de la Tournelle. And the sunlight spreading over all seemed like the very quiver of the crowd; it bore afar the laughter of those surging heads, while gay, mirror-like parasols reflected the glow, showing as planets amidst all the medley of skirts and coats. But there was one thing that was visible from every side, from the quays and bridges and windows, and that was a fresco painting of a colossal grey overcoat on the blank wall of a six-storeyed house on the isle of St. Louis. The sleeve of this coat was bent at the elbow as though the garment still retained the shape and attitude of a body that had disappeared from within it. In the bright sunshine, above all the swarming sight-seers, this gigantic advertisement presented a most conspicuous appearance.[5]