The _cénacle_ broke up towards 1833 and its members scattered. All Bohemian _coteries_ must be short-lived, but this one was specially doomed to a quick dissolution. It was, I will not say too romantic, but too romantically ritualistic, too much concerned with the vestments and incense and celebrations incident to the profession of "Hugolâtry." It is not hard to imagine how the too mystic significance given to its gatherings, its feasts, and even its individual actions became to some of the brethren, now that Romanticism was firmly established, either unreal or merely tiresome: divergences of taste and opinion began to creep in till, in the end, this attempted Bohemia became a deserted shrine. But the Bohemian spirit could not thus be quenched; indeed, it was only then fully kindled. The deacons and acolytes, whom the mere symbolism had mainly attracted, were gone; paid off the Swiss Guard whom the return of peace called back to civil life. Those who remained, the most advanced of the initiated, saw that the time had come for the casting away of symbols and the cessation of noisy worship. Bohemia had originated in a literary creed, but in its consummation it was to pass beyond the letter and take hold of human life. This consummation came with extraordinary rapidity; there were no feeble tentatives, no half-successes. A new community arose in Paris, almost out of the ashes of the _cénacle_, vastly different though it was from the obscure group in Jehan du Seigneur's humble studio. It was animated by all that was best in Romanticism--its disregard for academic convention, its colour, its joyousness, its warmth of feeling, and its sympathy with all human passions; but, unlike the _cénacle_, it did not trammel itself with Romantic convention, it set creation above imitation, and--greatest of all differences--it was no society meeting at intervals for spiritual and corporeal refreshment, but a genuine life in common lived just for the sake of living by a set of high-spirited, joyous young men, most of them true artists, neither maniacs, nor ne'er-do-wells, nor idlers. The _cénacle_ was dead, but _la vie de Bohème_ was born, and its golden age came first. The brotherhood of the Impasse du Doyenné was, in A. Delvau's words, "une Bohème dorée, avec laquelle celle de Schaunard n'a que des rapports très éloignés."[20] Delvau, who was of Murger's generation, knew well how quickly the glory departed. Yet at least Murger's Bohemians had this connexion with what Gérard de Nerval named _la Bohème galante_ that they could look back to it as the Romans to the reign of Saturn. It was constituted informally, even fortuitously; it existed without self-advertisement, but it remained, in the phrase of another French writer, "la patrie de toutes les Bohèmes littéraires."