of its livelihood: it lived next door to that special world composed of actors and actresses. Yet, though Bohemians went to supper with Mademoiselle Mars, Dumas was very much at home with Marie Dorval, Roger de Beauvoir played pranks with Bache, and Rodolphe had a love affair with Mademoiselle Sidonie, the two worlds were definitely separated. In fact, the life of dramatic artists, whatsoever Bohemian flavouring it may have, has always had a mysterious taste of its own, incapable of mixture with any other blend of artistic life, so that, interesting as it may have been in Paris during these years, its omission from these pages has been intentional. [Illustration: Bal Masqué à l'Opéra] The one other amusement--a pure pastime involving no material profit--which was particularly popular in Bohemia was dancing. In this respect Bohemia was no exception from the rest of Parisian society, for in all classes there was an inextinguishable passion for the dance. But the Bohemian, obeying only his own laws of social propriety, was in a more favourable position for taking full advantage of all public opportunities for this exercise and of all the _agréments_ in the way of casual intercourse with both sexes which it implied. All the year round there were public balls given in Paris, at which the Bohemian was in his element, giving rein to his inventive humour, his high spirits, and his gift of seductive gallantry. During the first few years after 1830, the golden age of Bohemia, the balls at the Opéra were the most frequented, especially in the days of the carnival. There masks and dominoes covered dancers of every rank in society, for even the _femme du monde_ slipped in unbeknown to her husband. This scene of utmost gaiety and brilliance, of which Balzac gives a picture at the opening of "Splendeurs et Misères des Courtisanes," was closely rivalled by the ball at the Variétés, at which a still more feverish excitement reigned. Or if the Bohemian preferred to make sure of a _grisette_ as a partner he went to the Prado, the site of which was opposite the Palais de Justice, where, under Pilodo, the famous conductor, he could join Louise la Balocheuse, Angelina l'Anglaise, or Ernestine Confortable in the giddy whirl. The waltz was recognized at this period, but the quadrille easily held the place of honour, especially as it lent itself more freely to individual invention, such as Ourliac's magnificent variation depicting the grandeur and fall of Napoleon. It was through this licence in the figures of the quadrille that the _chahut_ and the _cancan_ were introduced by the rakish set among the _viveurs_ which included Charles de la Battut, Alton-Shee, Monnier, and the famous Chicard--a leather-merchant who made a name by his grotesque costumes and wild dances, the term _chicard_, which degenerated into _chic_, becoming a general denomination for his imitators. I have not been able to arrive at the difference between the _chahut_ and the _cancan_, but both were