Carnaud was succeeded by the famous Bullier, who altered the name to the Closerie des Lilas and replaced the simple marquee by an Oriental palace with a garden, Moorish pavilions, billiard tables, swings, and a pistol-shooting gallery. A decent orchestra was installed and four admirable waiters. With these improvements the balls, held every Sunday, Monday, and Thursday, began to attract the _beau monde_ of the Quartier Latin, and several of the dancers gained the coveted honour of a _sobriquet_. There were Jeanne la Juive, for instance, Maria les Yeux Bleus, Joséphine Pochardinette, and the literary Clémentine Pomponnette, who used to show her admirers a farce she had written "dans les loisirs que lui laissait l'amour." This transformation took place about 1847, and it was then that one of the Moorish pavilions was especially consecrated to Murger's Bohemian set. It is needless to say that the name of Bullier still remains in the Bal Bullier of to-day. One other popular ball must be mentioned, the Bal Mabille, which for so long was one of the sights of Paris. This public ball was instituted by Mabille, a dancing-master, in the Champs Elysées. The price of entrance at first was fifty centimes, with an extra fee for each quadrille, and in 1843 the whole of the dances were included in an initial sum of two francs. The fame of the Bal Mabille was due first to its polkas, a dance which became the rage at the time, and secondly to the most celebrated of polka-dancers, Elise Sergent, known as La Reine Pomaré. Her dancing was a revelation of fire and passion which won her recognition on the very first evening of her appearance. Crowds came to see her dance, articles were devoted to her by the journalists of the day, and Privat d'Anglemont wrote a sonnet to her. Paris, in fact, went mad about her, and she had many lovers, among whom, it is said, was Alphonse Karr, which brings her into some kind of connexion with Bohemia. But Reine Pomaré and her rival, Céleste Mogador, who also made her _début_ at Mabille, were too much on the plane of _grandes cocottes_ for any real relation with the Bohemia of their day. They might have danced for love at the Impasse du Doyenné, but Schaunard and Marcel had nothing to offer them to compare with the splendour of the _viveurs_ which was laid at their feet. Bohemia found its pleasure at less expense and with less restraint in the company of Mimi and Musette in a Moorish pavilion at the Closerie des Lilas, where Colline's bad puns found appreciative listeners and Schaunard's _pas de fascination_ were greeted with rapturous applause. XII THE PARIS OF BOHEMIA _Paris sombre et fumeux,_ _Où déjà, points brillants au front de maison ternes,_ _Luisent comme des yeux des milliers de lanternes;_ _Paris avec ses toits déchiquetés, ses tours_ _Qui ressemblent de loin à des cous de vautours,_ _Et ses clochers aigus à flèche dentelée,_ _Comme un peigne mordant la nue échevelée._