But the salary was the barest pittance. How could a young man of twenty live, in Paris, on two francs a day? Moreover, there was no prospect whatever of any "rise." At the expiration, therefore, of two months,--after trudging a couple of miles twice a day between the "Docks" and the Quartier Latin, passing on the road the great Central Markets, whose wondrous life he now began to observe,--Zola threw up this employment; and from the beginning of March, 1860, till the end of that year, then all through 1861, and the first three months of 1862, he led a life of dire Bohemian poverty. On arriving in Paris in February, 1858, he had lived with his mother at 63, Rue Monsieur-le-Prince. Thence, in January, 1859, they had moved to 241, Rue St. Jacques, a narrow and ancient thoroughfare, long one of the main arteries of Paris, intimately associated, too, with the student history of the original Quartier Latin. But in April, 1860, at the time when Zola quitted the "Docks," he and his mother found a cheaper lodging at 35, Rue St. Victor, another old street, on the slope of the "Montagne Ste. Geneviève," towards the Halle aux Vins and the Jardin des Plantes. Here Zola's room was one of a few lightly built garrets, raised over the house-roof proper, and constituting a seventh "floor"; the leads in front forming a terrace whence the view embraced nearly all Paris. While Zola was lodging here, living very precariously and trying by fits and starts to secure some remunerative work, his friend Paul Cézanne arrived from Aix with the hope of making his way in the art world of the capital. Cézanne was more fortunately circumstanced than Zola, having a small monthly allowance to depend upon; and it was perhaps by way of helping his friend that he at first took up his residence with him in that seventh-floor garret. Zola was wonderfully cheered by the companionship; before long he again became as enthusiastic as Cézanne, and the two friends dreamt of conquering Paris, one as a poet, the other as a painter. When the summer arrived they often laid a paillasse on the terrace outside their attic, and spent the mild and starry night in discussing art and literature. Moreover, while Cézanne began to paint, Zola wrote another poem _à la_ Musset, which he entitled "Paolo"; as well as a tale, "Le Carnet de Danse," which was subsequently included in "Les Contes à Ninon." But there was no improvement in his position. Indeed, things went from bad to worse; and in the autumn of the year, as he had too much delicacy to sponge on Cézanne, whose allowance, moreover, was only just sufficient for himself, they ceased to live together, though they remained close friends.