survival, but so unbearable in the _ensemble_ of their heyday. It would be a mistake, however, to imagine this Paris as sleepy, stagnant, or unpricked by the progressive spirit; on the contrary, she was exceedingly wide-awake. But, whereas the Englishman at once translates his progressive idea into mechanism, the Frenchman prefers to let the first thorough ferment take place in his mind alone, allowing it, if need be, to inspire in him the primitive actions of attack and defence, but leaving more complicated handiwork to a later date, when the logic of change has been worked out, according to which he then acts rigorously. In this light the Paris of Bohemia must be regarded--picturesquely stagnant externally, seething inwardly--and of this condition Bohemia was the type. Its extravagant or tattered dress, its Rabelaisian speech and self-indulgence, the antiquated splendours of the Impasse du Doyenné and the equally antiquated hovels and garrets of its poverty, its disregard of public convenience and its real antagonism to democracy, were externals voluntarily or of necessity adopted from an earlier age; they were the old bottles which served for a moment to hold and to flavour with a distinctive tang the new wine of the Romantic vintage. Other vintages of equal potency have quickened men's hearts since then, and every new age, whether its ideals be artistic or social, will have its particular ferment that will find its appropriate vessels, but the past can never return any more than the first delirious headiness can be restored to an old wine that now charms with its matured delicacy. Bohemia is a thing of the past with that irrevocable Paris with its tortuous, noisy streets, its high gables, its wide skirts and embroidered waistcoats, its _Fashionables musqués, gueux à mine incongrue,_ _Grisettes au pied leste, au sourire agaçant,_ _Beaux tilburys dorés comme l'éclair passant--_ the Paris of Balzac, the Paris of Roger de Beauvoir and Alfred de Musset, the Paris of Théophile Gautier and Gérard de Nerval, the Paris of Rodolphe, Schaunard, and Marcel, the Paris, in fine, which was the only home of _les vrais Bohémiens de la vraie Bohème_. INDEX Names of characters in fiction are printed in italics. A ABRANTÈS, Duchesse d', 71 Alton-Shee, _see_ Aulnis, Duc d' Ampère, Jean-Jacques, 36, 37, 51 Amusements of _Bohème_, 176-178, 182-186, 198-200, 214, 215, 252-281 Ancelot, Madame, 71, 72, 95 Anglemont, Privat d', 224-228, 262, 278, 279, 280 Anglomania in Paris, 87, 88 Arsouille, Milord, _see_ Battut, Charles de la _Arthez, Daniel d'_, 14, 15, 127-129, 298 Artois, Comte d', 23 Arvers, Félix, 102 Asselineau, Charles, 56, 58, 59, 61, 109 Aulnis, Duc d', 70, 78, 79, 80, 91, 275 B BADOUILLARDS, LES, 224, 225 Bal Bullier, 279, 280 Mabille, 280 Bal Musard, 270, 276