Since the above was written, coffee, far from dying out, has become more and more popular, and musical cafés, theatrical cafés, and literary cafés have been everywhere established in Paris. There are financial cafés, too, chiefly, of course, in the region of the Bourse; and among the cafés by which the Bourse is partly surrounded used to be one which owed its notoriety to the fact that Fieschi's mistress--in the character of "dame du comptoir"--was exhibited there to the public. Two days after the execution of the would-be regicide and actual maker of the famous infernal machine, a crowd of people might have been seen struggling towards the doors of a café on the Place de la Bourse, which was already as full as it could hold. "Those," says an eye-witness, "who performed the feat of gaining admission, saw, gravely seated at a counter, adorned with costly draperies, an ordinary-looking woman, blind of one eye, and possessing in fact no external merit but that of youth: It was Nina Sassave. There she was, her forehead radiant, her lip quivering with delight, her whole expression that of unmingled pride and pleasure at the eager homage thus offered to her celebrity. A circumstance eminently characteristic of the epoch! Here had a creature, only known to the world as a base and treacherous informer, as the mistress of an assassin, been caught up for a show by a shrewd speculator. And what is more remarkably characteristic still, the public took it all as a perfect matter of course, and amply justified the speculator in his calculations." On the same side as the Café Turc, but further on towards the Rue du Temple, stood the tennis ground of the Count d'Artois (afterwards Charles X.), built by the architect Belanger, one of the most intimate and faithful friends of the famous Sophie Arnould. [Illustration: A PARISIAN CAFÉ.] On the site of the Count d'Artois' tennis ground was erected, at the beginning of the Second Empire, a theatre, called in the first instance Folies-Meyer, but which, after various changes of title, became at last the Théâtre Déjazet, under the direction of the celebrated actress of that name, already seventy years of age, or nearly so, but still lively and graceful. For this theatre in 1860 Victorien Sardou wrote his first successful piece, "M. Garat," in which Déjazet herself played the principal part, supported by Dupuis, who was afterwards to become famous in opera-bouffe as the associate of Mademoiselle Schneider.