A [Arcades, Magasins de Nouveautes, Sales Clerks]
The magic columns of these palaces Show to the amateur on all sides, In the objects their porticos display, That industry is the rival of the arts. —“Chanson nouvelle,” cited in Nouveaux Tableaux de Paris, ou Observa tions sur les moeurs et usages des Parisiens au commencement du XIX’ si'ecle (Paris, 1828), vol. 1, p. 27
For sale the bodies, the voices, the tremendous unquestionable wealth, what will never be sold. —Rimbaud1
“In speaking of the inner boulevards,” says the Illustrated Guide to Paris, a com plete picture of the city on the Seine and its environs from the year 1852, “we have made mention again and again of the arcades which open onto them. These arcades, a recent invention of industrial luxury, are glass-roofed, marble-paneled corridors extending through whole blocks of buildings, whose owners have joined together for such enterprises. Lining both sides of these corridors, which get their light from above, are the most elegant shops, so that the arcade is a city, a world in miniature □ Flaneur □, in which customers will find everything they need. During sudden rainshowers, the arcades are a place of refuge for the unprepared, to whom they offer a secure, if restricted, promenade—one from which the merchants also benefit.” D Weather □ This passage is the locus classicus for the presentation of the arcades; for not only do the divagations on the flaneur and the weather develop out of it, but, also, what there is to be said about the construction of the arcades, in an eco nomic and architectural vein, would have a place here. [Al,l]
Names of magasins de nouveautes: La Fille d’Honneur, La Yestale, Le Page Incon- stant, Le Masque de Fer
w
Dr in large inlaid letters—inlaid Names of arcades: Passage des Panoramas, Passage Vero-Dodat, Passage du Desir DOw ierungen aus Paris (Hamburg, (leading in earlier days to a house of ill repute), Passage Colbert, Passage Vivi lere is a grocery store; above its enne, Passage du Pont-Neuf, Passage du Caire, Passage de la Reunion, Passage de Arcades, A mopolite. ’ The individual char- l’Opera, Passage de la Trinite, Passage du Cheval-Blanc, Passage Pressiere
1 .” Kroloff, Schilderungen aus Panoramas was known at first as the Passage Mires.) [Ala,2] Magasins de Nouveautes, [A1,2] The Passage Vero-Dodat (built between the Rue de Bouloy and the Rue Grenelle- chase stock for a week and, to Saint-Honore) “owes its name to two rich pork butchers, Messieurs Vero and ithdraw to the entresol. In this Dodat, who in 1823 undertook its construction together with that of the adjacen [Al,3] buildings—an immense development. This led someone at the time to describe this arcade as a ‘lovely work of art framed by two neighborhoods.’” J. A. Dulaure, [ great poem of display chants its Histoire physique, civile et morale de Paris depuis 1821 jusqu’a nos jours (Paris, Sales Clerks tie to the Porte Saint-Denis.” Le 1835), vol. 2, p. 34. [Ala,3] ‘Les Boulevards de Paris”). [A1,4] The Passage Vero-Dodat had marble flooring. The actress Rachel lived there for a while. [Ala,4] ler Majesty Industry, queen of is said, Mercury, special god of No. 26, Galerie Colbert: “There, in the guise of a female glover, shone a beauty , knocked three times with his that was approachable but that, in the matter of youth, attached importance vore by the beard of Proserpine The word is used initially, how- only to its own; she required her favorites to supply her with the finery from which she hoped to make a fortune. . . . This young and beautiful woman under iveau Tableau de Paris (Paris, glass was called ‘the Absolute’; but philosophy would have wasted its time pursu es parisiennes”). [Al,5] ing her. Her maid was the one who sold the gloves; she wanted it that way.” 0 Dolls □ Prostitutes ]
Years of reckless financial speculation under Louis XVIII. With the dramatic signage of the magasins de nouveautes, art enters the service of the businessman. [Ala,9]
“After the Passage de Panoramas, which went back to the year 1800 and which had an established reputation in society, there was, by way of example, the gallery that was opened in 1826 by the butchers Vero and Dodat and that was pictured in the 1832 lithograph by Arnout. After 1800 we must go all the way to 1822 to meet with a new arcade: it is between this date and 1834 that the majority of these singular passageways are constructed. The most important of them are grouped in CnCO Arcades, A Magasins de Nouveautes, Sales Clerks
navalet, Paris. Photo copyright
>uis XVIII. With the dramatic le service of the businessman. [Ala,9] ick to the year 1800 and which i, by way of example, the gallery Dodat and that was pictured in pi - roo^and iron girders, Passage Vivienne. Photographer unknown. Collection of st go all the way to 1822 to meet Friedrich Geist; courtesy Prestel Verlag, Munich. See Ala,2. 1834 that the majority of these nportant of them are grouped in
an area bounded by the Rue Croix-des-Petits-Champs to the south, the Rue de la Grange-Bateliere to the north, the Boulevard de Sebastopol to the east, and the Rue Ventadour to the west.” Marcel Poete, Une vie de cite (Paris, 1925), pp. 373- > 374. [Ala,10]
Shops in the Passage des Panoramas: Restaurant Veron, reading room, musie^J \) shop, Marquis, wine merchants, hosier, haberdashers, tailors, bootmakers, ho-) siers, bookshops, caricaturist, Theatre des Varietes. Compared with this, the Pas-' sage Vivienne was the “solid” arcade. There, ,one found no luxury shops. □ Dream Houses: arcade as nave with side chapels. CL'b [A2 I ^ People associated the “genius of the Jacobins with the genius of the industrials,” but they also attributed to Louis Philippe the saying: “God be praised, and my shops too.” The arcades as temples of commodity capital. [A2,2]
The newest Paris arcade, on the Champs-Elysees, built by an American pearl king; no longer in business. □ Decline □ [A2,3]
“Toward the end of the ancien regime, there were attempts to establish bazaar-like shops and fixed-price stores in Paris. Some large magasins de nouveautes—such as Le Diable Boiteux, Les Deux Magots, Le Petit Matelot, Pygmalion—were founded during the Restoration and during the reign of Louis Philippe; but these were businesses of an inferior sort compared to today’s establishments. The era of the department stores dates, in fact, only from the Second Empire. They have undergone a great deal of development since 1870, and they continue to develop.” E
Arcades as origin of department stores? Which of the magasins named above were located in arcades? [A2,5]
The regime of specialties furnishes also— this said in passing—the historical-mat rialist key to the flourishing (if not the inception) of genre painting in the Forties of the previous century. With the growing interest of the bourgeoisie in matters of art, this type of painting diversified; but in conformity with the meager artistic appreciation initially displayed by this class, it did so in terms of the content, in terms of the objects represented. There appeared historical scenes, animal stud ies, scenes of childhood, scenes from the life of monks, the life of the family, the
The influence of commercial affairs on Lautreamont and Rimbaud should be wn artist, ca. 1810. Courtesy of looked into! [A2 7] U i 0 er characteristic deriving chiefly from the Directory [presumably until °und 1830??] would be the lightness of fabrics; on even the coldest days, one was A Arcades, Magasins de Nouveau tes, Sales Clerks ble to the Kranzlerecke. Speculator’s argot “in the period preceding the outbreak the preceding period the “in argot Speculator’s Kranzlerecke. the to ble In its importance for the affairs of the affairsof the for importance its In of the German war [of 1866]: the 3-percent interest was called called was interest 3-percent the 1866]: [of war German the of l’Opera.” Julius Rodenberg, Rodenberg, de Passage of the Julius front in collecting l’Opera.” there, down and up meander and boulevards akt”Tetr fl”wsfridnb h oie [A2,a,2] police. the by stock the was forbidden in “fall” term “Variations The fall, a of event market!” the In market!” stock the in “Rise prices, restau Peters of rooms dining famous the (with Princes des Passage the became is verse The Mathilde. Princess by given party dinner a at Dumas Alexandre same The Victoire. la a Calprenade, la a Iphigenie, la a Pretresse, paper takes the name name the takes paper never closing time; there was almost never night. When the Cafe Tortoni finally finally Tortoni Cafe the When night. never almost was there time; closing never .9. [A2a,l] 98. p. Cry of the vendors of stock-exchange lists on the street: In the event of a rise in in rise a of event the In street: the on lists stock-exchange of vendors the of Cry Rodenberg, trial rant).” scandalous the after name, whose profits—but are his losses convince to that order in is speak creditors to only Rothschild], of needs house who the Mires, from is, eloquent amazingly [that the furthermore extraction, same the “Of in Reported followed. silence Icy Grande- la a Figaro, la a Theodore, la a Tarare, for la a vocabulary the Hats provided fashion. days of those articles in theater the well, as respects other In nature had suddenly been transformed into an eternal paradise.”
□ Memoires du comte Horace de Viel-Castel sur le Viel-Castel sur de Horace comte du Memoires Fashion Fashion (ai) .xxv [A2,8] xxxiv. p. (Paris), coulisse, [A2,9] □ the Passage de l’Opera is compara is l’Opera de Passage the Lizg 1867), (Leipzig, Alphonsine; niaiserie (Leipzig, that the
F
risk of losing their skin, women land credit, le gros Ernest; the Italian revenue, le pauvre Victor; the credit for ID ter no longer existed, as though movables, le petit Jules.” In Rodenberg - lips to ear, passes almost imper- “Even women, who were forbidden to enter the Stock Exchange, assembled at the ng desk to nearby letterbox. The door in order to glean some indications of market prices and to relay their orders 1, and papers and envelopes for to brokers through the iron grating.” La Transformation de Paris sous le Second Arcades, A ologne and Augsburg have their Empire (authors Poete, Clouzot, Henriot) [A3,7] Magasins deNouveautes, i smaller scale, of the Passage du “We have no specialty”—this is what the well-known dealer in secondhand Montmartre, on the site of the goods, Fremin, “the man with the head of gray,” had written on the signboard d, “Vieux Paris,” Mercure de advertising his wares in the Place des Abbesses. Here, in antique bric-a-brac, [A3,l] reemerges the old physiognomy of trade that, in the first decades of the previous century, began to be supplanted by the rule of the speciality. This “superior 1 nowhere else, surmounted by a scrap-yard” was called Au Philosophe by its proprietor. What a demonstration and Sales Clerks hat each bear a number, on an demolition of stoicism! On his placard were the words: “Maidens, do not dally . From time to time, a doorway under the leaves!” And: “Purchase nothing by moonlight.” [A3,8] a small stairway leading to these this handwritten sign: Evidently people smoked in the arcades at a time when it was not yet customary to smoke in the street. “I must say a word here about life in the arcades, favored t door haunt of strollers and smokers, theater of operations for every kind of small ?d if, business. In each arcade there is at least one cleaning establishment. In a salon loor, that is as elegantly furnished as its intended use permits, gentlemen sit upon high immingit. stools and comfortably peruse a newspaper while someone busily brushes the dirt [A3,2] off their clothing and boots.” Ferdinand von Gall, Paris und seine Salons, vol. 2 <01denburg, 1845>, pp. 22-23. [A3,9] md, “Vieux Paris,” Mercure de A first winter garden—a glassed-in space with flower beds, espaliers, and foun tains, in part underground—on the spot where, in the garden of the Palais-Royal in 1864 (and today as well?), the reservoir was located. Laid out in 1788. [A3,10] e right [A3,3] “It is at the end of the Restoration that we see the first magasins de nouveautes: Les Vepres Siciliennes, Le Solitaire, La Fille Mai Gardee, Le Soldat Laboureur, rche—that is, “discount docks.” Les Deux Magots, Le Petit Saint-Thomas, Le Gagne-Denier In 1820 . . . the Passage Viollet and the Passage des Deux Pavilions were opened. op that was housed in arcades, These arcades were among the novelties of their day. The result of private initia arm a single space. They can be tive, they were covered galleries housing shops that fashion made prosperous. The ten in Frankreich, p. 34. [A3,5] most famous was the Passage des Panoramas, which flourished from 1823 to 1831. ^On Sundays,’ observed Musset, one went en masse ‘to the Panoramas or else to how the axiom, “Wfelcome the ^ 6 boulevards.’ It was also private initiative that created, somewhat hap- trie, 143 [1925], p. 6), leads to buifi1^^ ’ lbe housing developments known as cites, the short streets or dead ends ion of the department store Au at shared expense by a syndicate of property owners.” Lucien Dubech and r capital! [A3,6] te ^ Espezel, Histoire de Paris (Paris, 1926), pp. 355-356. [A3a,l] A Arcades, Magasins de Nouveautes, Sales Clerks peristyle, rlfrts ln te agn ad nes no atsi cmiain, ie the like combinations, fantastic into enters and margins the along proliferates the arcades the in Now, street. the of components two the aretraffic and Trade which runs along the second floor. . . . Thus, everything is linked by a series of series a by linked is everything Thus, . . . floor. second the along runs which is merchandise. merchandise. is Fourier, Fourier, . 44 [A3a,5] 14.4 p. help of heaters and ventilators.” E. Silberling, Silberling, E. ventilators.” and heaters the of to help thanks winter in comfortable and elegant, sheltered, are which passageways Monde industriel et societaire et industriel Monde ucede, Choiseul” and of the Cite For the first time in history, with the establishment of department stores, consum- 6 .sol, de l’lndustrie. . . . 1828 saw ers begin to consider themselves a mass. (Earlier it was only scarcity which ■— jravilliers and the beginnings of taught them that.) Hepce, the circus-like and theatrical element of commerce is > h replaced the wooden galleries quite extraordinarily heightened. [A4,l] ,[► d d’Espezel, Histoire de Paris, 2 If [Wi? [A3a,2] With the appearance of mass-produced articles, the concept of specialty arises. Its “ relation to the concept of originality remains to be explored. [A4,2] j de Paris, appeared at 174 Rue 1' “I grant that business at the Palais-Royal has had its day; but I believe that this stoire de Paris, p. 389. [A3a,3] &■ should be attributed not to the absence of streetwalkers but to the erection of new arcades, and to the enlargement and refurbishing of several others. I will mention in an arcade. There are a great the Passages de l’Opera, du Grand-Cerf, du Saumon, de Vero-Dodat, Delorme, de [ten cross through the blocks of Choiseul, and des Panoramas.” F. F. A. Beraud, Les Filles pubtiques de Paris et la 'ording welcome shortcuts. Here C/5 police qui les regit (Paris and Leipzig, 1839), vol. 1, p. 205. [A4,3] ice, and in bad weather or after 8 Q er promenades—and very popu- rT uard Devrient, Briefe aus Paris “I do not know if business at the Palais-Royal has really suffered from the absence [A3a,4] of femmes de debauche; but what is certain is that public decency there has im proved enormously. . . . It seems to me, furthermore, that respectable women now willingly do their shopping in the shops of the galleries . . . ; this has to be an t important feature of a Phalan- advantage for the merchants. For when the Palais-Royal was invaded by a swarm ion. . . . Street-galleries . . . are of practically nude prostitutes, the gaze of the crowd was turned toward them, and The street-gallery, or continuous the people who enjoyed this spectacle were never the ones who patronized the local lose who have seen the gallery of businesses. Some were already ruined by their disorderly life, while others, yield -gallery in Harmony.” E. Silber- ing to the allure of libertinism, had no thought then of purchasing any goods, even le (Paris, 1911), p. 386; citing necessities. I believe I can affirm . . . that, during those times of inordinate toler (1822), p. 462, and Le Nouveau ance, several shops at the Palais-Royal were closed, and in others buyers were 25, 272. In addition: Galerie.— rare. Thus, business did not at all prosper there, and it would be more accurate to rsed by means of a wide gallery say that the stagnation of business at that time was owing rather to the free circu 'erything is linked by a series of lation of the filles pubtiques than to their absence, which today has brought back mfortable in winter thanks to the into the galleries and the garden of this palace numerous strollers, who are far lictionnaire, pp. 197-198; citing more favorable to business than prostitutes and libertines.” F. F. A. Beraud, Les hese routiniere de Vassociation, Filles pubtiques de Paris (Paris and Leipzig, 1839), vol. 1, pp. 207-209. [A4,4] [A3 a, 5] The cafes are filled ies Miracles. Built in 1799 on the With gourmets, with smokers; iters of God. [A3a,6] The theaters are packed With cheerful spectators. The arcades are swarming 2 street. Now, in the arcades the With gawkers, with enthusiasts, -affic there is rudimentary. The And pickpockets wriggle it is wholly adapted to arousing Behind the flaneurs. to a standstill, the commodity Enn fantastic combinations, like the anc^ Lemoine, Paris la nuit, cited in H. Gourdon de Genouillac, Les Re- fic. Moreover, he is no buyer. He Baud 1 • ^ r«e ® 1870 (Paris, 1879), pp. 46—47.—To be compared with [A3 a, 7] e aire’s “Crepuscule du soir. ” [A4a, 1] A Arcades, Magnum de Nouveautes, Sales a find they wherever sleep They shelter? a . Clerks . . for pay cannot who those “And 5 peristyle, be three stories high with windows on one side. . . . The kitchens and some of of the some and kitchens The . . . side. one on windows with high stories three be dens, and the other looks out upon the street-gallery. The street-gallery, then, will then, street-gallery, The street-gallery. the gar upon out looks and fields other the the upon and out dens, looks rooms of row one en Thus, rooms. of carriage row adouble by wingscontain wings.of these All of its of each end the traversed to stretch be and edifice will tral building the of part lower the since floor, trances. . . . The street-galleries of a Phalanx wind along just one side of the cen the of side one along just wind Phalanx of a street-galleries .The . . trances. by a series of passageways which are sheltered, elegant, and comfortable in winter winter in comfortable and elegant, sheltered, are which of passageways series a by passages, elevated are there corridor spacious of this extremity each At building. thanks to the help of heaters and ventilators. . . . The street-gallery, or or street-gallery, .The .. ventilators. and of heaters help the to thanks connect which passages underground attractive also and columns, by supported whole the of floor second the along tra runs be which can gallery edificewide a of means central by the of versed portions All open or elements. the streets to outside no exposed has roadways Phalanx The . . . of Harmony. Palace a of features all the parts of the Phalanx and the adjoining buildings. Thus, everything is linked is linked everything Thus, buildings. adjoining the and of Phalanx the parts all the precious and charming most the of one are which street-galleries the us .describe Let . . party. his shelter would that roof a or porch a willhe still lacking be ;but .. . him for umbrella an hold to courtiers and footmen gooda the many in of rain, event hand, bourgeois on will have king petty the any Doubtless as wet shop. as his get to before cab aforced summons who are carriages, their of out or into get a porch in his Tuileries palace. The king, the queen, the royal family, when they they when family, royal the queen, the king, The palace. Tuileries his in porch a have even not doeshe of civilization; monarchs leading of isone the of king France building enor of another it that make double be would . . . would value passageways property ventilated Its and valuable/' mously heated, sheltered, its of ience sufficient to inspire disdain for the palaces and great cities of civilization. . . . The .The . . of civilization. cities great and palaces the for disdain be alone would toinspire which sufficient communication of internal mode a are street-galleries “The Poisson, E. size.” its cold, the castles and cities and our suffice would to make alone mud it the that so novel charm a about be would worrying without shoes colored and clothes light in seem detestable. If the Phalanstery were put to civilized uses, the mere conven mere the uses, civilized to put were Phalanstery the If detestable. seem visit to Phalanstery, a in day winter’s a spend “To street-galleries: the on Fourier scrupulous proprietor’s the of evidence door—unimpeachable a on prey of birds n d Lizg 88,p 6(DegosnSat”. [A4a,2] Stadte”).5 (“Die grossen 46 p. 1848), (Leipzig, ed. 2nd os) [A4a,3] opera the and theater the go to to elements, the to exposure without of it parts all rons”). Nadar, honesty.” like place in nailed mercilessly format, every in and of metal kind every in coins, “In all the shops, like a uniform, the oak counter is adorned with counterfeit counterfeit with adorned is counter oak the uniform, a like shops, the all “In Engels, Friedrich them leave undisturbed.” owners the and police the where corners in arcades, passages, in place, extends along the second story. It could not be placed on the ground ground the on placed be not could It story. second the along extends uandj’etaisphotographe Q Fourier [nhlg](ai,13) .14 [A4a,4] 144. 1932), p. (Paris, [Anthology] i Lg dr retne Kas i England, in Klasse arbeitenden der Lage Die (Paris <1900>),(Paris 294 envi et (“1830 p. continuous They sleep wherever they find a public halls will be located on the ground floor. There will also be trap doors in the Cn Dolice and the owners leave them floors of the dining rooms on the second story. Thus, the tables may be set in the irbeitenden Klasse in England, kitchens below and simply raised through the trap doors when it is time to eat. Arcades, A e”).5 [A4a,2] These trap doors will be particularly useful during festivities, such as the visits of traveling caravans and legions, when there will be too many people to eat in the ter is adorned with counterfeit ordinary dining rooms. Then double rows of tables will be set in the street-galler Magasins de Nouveautes, , mercilessly nailed in place like ies, and the food will be passed up from the kitchen. / The principal public halls e of the proprietor’s scrupulous should not be situated on the ground floor. There are two reasons for this. The first •is <1900>), p. 294 (“1830 et envi- is that the patriarchs and children, who have difficulty climbing stairs, should be [A4a,3] lodged in the lower parts of the huilding. The second is that the children should be kept in isolation from the nonindustrial activities of the adults.” Poisson, Fourier •r’s day in a Phalanstery, to visit [Anthology] (Paris, 1932), pp. 139-144.7 [A5] j go to the theater and the opera Sales Clerks tng about the mud and the cold, Yes, parbleu! You know the power of Tibet. ice to make our cities and castles Implacable enemy of proud innocence, Hardly does it appear than it carries away civilized uses, the mere conven- The bookkeeper’s wife and the burgher’s daughter, issageways would make it enor- The stern prude and the frigid coquette: ? double that of another building It signals the victory of lovers; 1932), p. 144. [A4a,4] For fashion tolerates no resistance, And not to have it puts one to shame. lunication which would alone be Its fabric, braving the current bon mot, ■eat cities of civilization. . . . The Softens in its folds the arrows of ridicule; Lvilization; he does not even have Seeing it, you think of a magical talisman: een, the royal family, when they It braces the spirits and subjugates the heart; et as wet as any petty bourgeois For it to appear is already a triumph, its coming a conquest; It reigns as conqueror, as sovereign, as master; tie king will have on hand, in the And treating its quiver as a burden quite useless, to hold an umbrella for him . . . ; Love has fashioned its bandeau of cashmere. ould shelter his party. . . . Let us he most charming and precious Edouard [d’Anglemont], Le Cachemire, one-act comedy in verse, performed for ix has no outside streets or open the first time in Paris at the Theatre Royal de l’Odeon, on December 16, 1826 of the central edifice can be tra- (Paris, 1827), p. 30. [A5a,l] jng the second floor of the whole idor there are elevated passages, Delvau on Chodruc-Duclos: “Under the reign of Louis Philippe, who owed him rground passages which connect nothing, he . . . did what he had done under the reign of Charles X, who in fact dings. Thus, everything is linked owed him something. . . . His bones took more time to rot than his name took to egant, and comfortable in winter erase itself from the memory of men.” Alfred Delvau, Les Lions du jour (Paris, The street-gallery, or continuous 1867), pp. 28-29. [A5a,2] dd not be placed on the ground UT. 1 be traversed by carriage en- was not until after the expedition to Egypt,8 when people in France gave nd along just one side of the cen- gM to expanding the use of precious cashmere fabric, that a woman, Greek by ings. All of these wings contain a tj1’ introduced it to Paris. M. Ternaux . . . conceived the admirable project of ioks out upon the fields and gar- worlT^ ^ n^U8tan* 6oats in France. Since then, . . . there have been plenty of ery. The street-gallery, then, will again t* l° tra^n an<^ tra ice against French shawls. . . . We ent the ridiculous fabric-designs of less and brilliant harmony of the look in which all these interesting 1 elegantly. L ’Histoire des schalls, acturers of Paris, is guaranteed to its author’s magnificent manufac- * French people’s infatuation with if shawls made of wool, cashmere, ing in price from 170 to 500 francs. . the graceful imitation of native- le Orient. Our praise would not be ould it render the high honor that long research and his talents. We and H. D., Notice sur Vexposition u a Douai en 1827 (Douai, 1827), [A6,l] epartment stores are created: Au Total sales for Au Bon Marche in had risen to 21 million.” Cisela ologique (manuscript, pp. 85-86); [A6,2] A branch of La Belle Jardiniere in Marseilles. From Le Monde illustre, March 28,1863. See A6,2. he end of the eighteenth century, a ■ons. . . . But with the extension of Sieur Ceccherini, who offered to patrons his newspapers and his books.” J. Lucas- lersed to all parts of the city. . . . Dubreton, L ’Affaire Alibaud, ou Louis-Philippe traque (1836; rpt. Paris, 1927), ;pted by the spirit of speculation pp. 114-115. [A6a,l] aint-Denis and the Cour des Mir- y where their true household gods On the occasion of disturbances associated with the burial of General Lamarque ar (Paris, 1844), p. 154. [A6,3] on June 5, 1832, the Passage du Saumon was the scene of a battle waged on barricades, in which 200 workers confronted the troops. [A6a,2] 'h, by way of three stone steps, ow corridor decorated with pilas- Martin: Business, you see, sir, . . . is the ruler of the world!—Desgenais: I am of ittered with garbage thrown from your opinion, Monsieur Martin, but the ruler alone is not enough; there must be jard—a tin salmon indicating the subjects. And that is where painting, sculpture, music come in. . . .—Martin: A 1 with the smell of fish . . . and also little of that is necessary, surely, . . . and . . . I myself have encouraged the arts. those arriving in Paris from the ^fiy> in my last establishment, the Cafe de France, I had many paintings on rough the doors of the shops, one allegorical subjects. . . . What is more, I engaged musicians for the evenings. . . . f mahogany furniture, the classic Finally, if I may invite you to accompany me . . . , you will see under my peristyle a ray of fight. Further on, a small selling products from the colonies tW0 very 'arSe> scantily attired statues, each with a light fixture on its head.—Des genais. A fight fixture?—Martin: That is my idea of sculpture: it must serve some ts, spices, and fruits; a ballroom Purpose. . . . All those statues with an arm or a leg in the air—what are they good aings; finally the reading room of A Arcades, Magasiru de Nouveautes, Sales Clerks h frt eatet trs per o e oee o oina bzas From bazaars. oriental on modeled be to appear stores department first The the Passage de l’Opera was the arms manufacturer Caron, the music publisher music the Caron, manufacturer arms the was l’Opera de in Passage found cafe . be Also to . a .the Later, arcade. the basement. in the in established was built l’Opera de Divan Hall, the called Idaba the in danced grisettes .The . . Restoration the of Barometre. du Galerie the in ‘Europama’ a inaugurate to person Galerie du Barometre. . . . The opening of the Opera on the Rue Le Peletier, in Peletier, Le Rue the on Opera the of opening The . . . the and Barometre. l’Horloge de du Galerie Galerie the galleries, two its with l’Opera, de Passage “The in with example, For atrium. cover the to to fashion leading staircases the the of was it balustrades the 1880, tapestries around least at that, sees one engravings rm h ya 15, n tme ppr A oe atce t te rae s like is arcade the Estampes. des Cabinet to lease.” for attached hotel “Property A boldface: In paper. wise represented. stamped on 1856, year the from 1821, brought this arcade into vogue, and in 1825 the duchesse de Berry came in came Berry de duchesse 1825the in and vogue, into arcade this brought 1821, h tr aldCt fSitDns aie e saps [A7,5] Estampes. des Cabinet Saint-Denis. of City called store the nshnstelnn [A7,2] linen. the hangs ings Donnier. Maison estabhshment, dry-cleaning was a there 32Brady Passage At No. aie e saps [A7,3] Estampes. des Cabinet Sketch and floor plan of the arcade at 36 Rue Hauteville, in black, blue, and pink, [A7,l] pink, and blue, in black, 36Hauteville, Rue at arcade of the floor plan and Sketch Empire: the from Engraving ceil the from windows; the through visible are numbers great in workers female Paris>. Nationale, r is? . . . What are they good for?” he Theatre du Vaudeville on De- ; set in 1839.] [A6a3] [A6a,4] is-Royal. He was a royahst, an omplaining of ingratitude under rags and letting his beard grow. [A6a,5] •ont in the Passage Vero-Dodat: -the purity of its lines; the pictur- ght globes, which are placed be- dering each shop; and finally the ate glass.” Cabinet des Estampes [A 7,1] l establishment, Maison Donnier. ts “numerous personnel.” A con ing crowned by small mansards; ough the windows; from the ceil- [A7,2] hawl among the Three Sultanas. [A7,3] uteville, in black, blue, and pink, ■1 attached to the arcade is like- se.” Cabinet des Estampes. [A7,4] ieled on oriental bazaars. From it was the fashion to cover with lg to the atrium. For example, in Estampes. [A7,5] the Galerie de l’Horloge and the Opera on the Rue Le Peletier, in 25 the duchesse de Berry came in sage de 1 Opera, 1822-1823. Courtesy of the Mus6e Carnavalet, Paris. Photo copyright e du Barometre. . . . The grisettes otot^que des Musees de la Ville de Paris. See A7,6. lilt in the basement. Later, a cafe te arcade. . . . Also to be found in urer Caron, the music publisher Street scene in front of the Passage des Panoramas. Lithograph by Opitz, 1814. Courtesy of the Bibliotheque Nationale de France. See A7,7. Marguerie, the pastry chef Rollet, and finally the perfume shop of the Opera. . • • In addition, . . . there was Lemonnier, artiste en cheveux—which is to say, manu facturer of handkerchiefs, reliquaries, and funeral items made of hair.” Paul d’Ariste, La Vie et le monde du boulevard, 1830-1879 (Paris <1930>), pp. 14r-16. [A7,6] “The Passage des Panoramas, so named in memory of the two panoramas that stood on either side of its entranceway and that disappeared in 1831.” Paul d’Ariste, La Vie et le monde du boulevard (Paris), p. 14. [A7,7] > The beautiful apotheosis of the “marvel of the Indian shawl,” in the section on CLr B Indian art in Michelet’s Bible de Vhumanite (Paris, 1864). [A7a,l] | And Jehuda ben Halevy, In her view, would have been honored S' Quite enough by being kept in Any pretty box of cardboard With some very swanky Chinese Arabesques to decorate it, on Like a bonbon box from Marquis EL In the Passage Panorama. £ Heinrich Heine, Hebrdische Melodien, “Jehuda ben Halevy,” part 4, in Ro- 3* manzero, book 3 (cited in a letter from Wiesengrund).9 [A7a,2] Signboards. After the rebus style came a vogue for literary and military allusions. “If an eruption of the hilltop of Montmartre happened to swallow up Paris, as Vesuvius swallowed up Pompeii, one would be able to reconstruct from our sign boards, after fifteen hundred years, the history of our military triumphs and of our literature.” Victor Fournel, Ce qu’on voit dans les rues de Paris (Paris, 1858), p. 286 (“Enseignes et affiches”). [A7a,3]A Chaptal, in his speech on protecting brand names in industry: “Let us nQt assume that the consumer will be adept, when making a purchase, at distinguish ing the degrees of quality of a material. No, gendemen, the consumer cannot appreciate these degrees; he judges only according to his senses. Do the eye or, the touch suffice to enable one to pronounce on the fastness of colors, or tc determine with precision the degree of fineness of a material, the nature and quality of its manufacture?” What shall I say now of that coulisse which, not content with harboring a twb- ■ perfume shop of the Opera. . • • hour illegal session at the Stock Exchange, spawned once again not long ago, in the cheveux—which is to say, manu- open air, two demonstrations per day on the Boulevard des Italiens, across from leral items made of hair.” Pa11* 1 e Passage de 1’Opera, where five or six hundred market speculators, forming a 1879 (Paris <1930>), pp. 14-16. | massi followed clumsily in the wake of some forty unlicensed brokers, all [A7,6] e speaking in low voices like conspirators, while police officers p A Arcades, Magasins de Nouveautes, Sales Clerks A sign: “L’epe-scie” « W T i _ t formerly occupied by Hetzel, the ^ author of Etudes de moeurs11 T the descriptions. For the direct either a fire is lit or the blinds are lowered. . . . Between nine and ten o’clock this S see none better than his unmis- cleaning is all completed, and passersby, until then few and far between, begin to Arcades, A of the first to have divined the appear in greater numbers. Entrance to the galleries is strictly forbidden to any sguised advertisement. In those one who is dirty or to carriers of heavy loads; smoking and spitting are likewise 1 power. . . . At the very most, prohibited here.” Tony Moilin, Paris en Van 2000 (Paris, 1869), pp. 26-29 (“As the layout, advertising writers pect des rues-galeries”). [A9a,l] Magasins deNouveautes, >n Pate de Regnault or Brazilian s unknown. More unknown still The magasins de nouveautes owe their existence to the freedom of trade estab . . . . The tradesmen named by lished by Napoleon I. “Of those establishments, famous in 1817, which gave them rstood better than the author of selves names like La Fille Mai Gardee, Le Diable Boiteux, Le Masque de Fer, or ty. . . . To confirm this, one need Les Deux Magots, not one remains. Many of those which replaced them under nufacturers and their products, Louis Philippe also foundered later on—like La Belle Fermiere and La Chaussee ine; Plaisir, an illustrious hair- d’Antin. Or else they were sold at little profit—like Le Coin de Rue and Le Pauvre Sales Clerks ige; Gay, a famous haberdasher Diable.” G. d’Avenel, “Le Mecanisme de la vie moderne,” part 1: “Les Grands address!); . . . ‘the cuisine of the Magasins,” Revue des deux mondes (July 15,1894), p. 334. [A9a,2] Paris . . . , which is to say, in the Le Paris de “La Comedie hu The office of Philipon’s weekly La Caricature was in the Passage Vero-Dodat. pp. 7-9 and 177-179. [A9,2] [A9a,3] des-Petits-Champs with the Rue Passage du Caire. Erected after Napoleon’s return from Egypt. Contains some :0, Cabet held his meetings in his evocations of Egypt in the reliefs—sphinx-like heads over the entrance, among herings from Martin Nadaud’s other things. “The arcades are sad, gloomy, and always intersecting in a manner * was still holding in his hand the disagreeable to the eye. . . . They seem . . . destined to house lithographers’ stu med filled with joy at seeing us dios and binders’ shops, as the adjoining street is destined for the manufacture of isieurs,’ he said (he did not say straw hats; pedestrians generally avoid them.” Elie Berthet, “Rue et Passage du >u now! You would disarm their Caire,” Paris chez soi (Paris <1854>), p. 362. [A10,1] se of well-bred men.’” Cited in vue des deux mondes (February “In 1798 and 1799, the Egyptian campaign lent frightful importance to the fashion f Cabet to believe that workers for shawls. Some generals in the expeditionary army, taking advantage of the [A9,3] proximity of India, sent home shawls . . . of cashmere to their wives and lady friends.. . . From then on, the disease that might be called cashmere fever took on r situated among these [street- significant proportions. It began to spread during the Consulate, grew greater ously furnished. The walls and under the Empire, became gigantic during the Restoration, reached colossal size ng, . . . mirrors, and paintings, under the July Monarchy, and has finally assumed Sphinx-like dimensions since s and with curtains embroidered the February Revolution of 1848.” Paris chez soi (Paris), p. 139 (A. Durand, . offered comfortable seating to Chales—Cachemires indiens et frangais”). Contains an interview with M. Mar designed objects, antique cabi- ta , 39 Rue Richelieu, proprietor of a store called The Indians; reports that shawls lain vases containing fresh flow- which earlier were priced between 1,500 and 2,000 francs can now be bought for nhabited by rare birds. These 800 to 1,000 francs. [A10.2] vhich lit up the evening with . . • nent had wanted the streets be- From Brazier, Gabriel, and Dumersan, Les Passages et les rues, vaudeville in one ficence the drawing rooms of the act, presented for the first time, in Paris, at the Theatre des Varietes on March 7, morning, the street-galleries are 1897 fD . 7 7 7 :ep them carefully, brush, dust, ' ans’ 1827).—Beginning of a song by the shareholder Dulingot: the most scrupulous cleanliness, For the arcades, I form re either opened or closed, and Continual refrains of thanks: A Arcades, Magasins de Nouveautes, Sales Clerks 10 to A A the arcades takes the form of verse. An extract: An of verse. form the takes arcades the thou five million, fifteen hundred addition, in and, opponents one forty-four of our hundred interdiction .the . . we demand No, rights! ancient of our infringement sand francs in damages and interest” (p. 29). The argument by M. Pour in favor of favor in Pour by M. argument The 29). (p. interest” and damages in francs sand clear this ignore to our of Paris of flow streets us ever-rising want you the And their off idle. open and siphon active to both arcades crowds, customers, forty-four our devour hundred to “One wide mouths arcades. the against streets the of first in the guise of an old woman. In her presence, M. Contre takes up the defense defense the up takes Contre M. at presence, her In earth, old guise woman. of an the the in of first bowels the Lutece12 from emerges (sixteenth), last the scene, ing banners: Passage du Saumon, Passage de l’Ancre, Passage du Grand-Cerf, Pas Grand-Cerf, du Passage l’Ancre, de Passage Saumon, du Passage banners: Rue the are Among them names. their proclaiming banners with decked are which is arcades-adversaries of party 1827).—The (Paris, 1827 7, March on Varietes sage du Pont-Neuf, Passage de l’Opera, Passage du Panorama Panorama du Passage de l’Opera, Passage Pont-Neuf, their sagedu with arcades of procession scene—a next the in Likewise Grand-Hurleur. streets, of column a of head the at appears Contre M. scene, (fourteenth) last manufacturer and merchant Blancmanteau, M. hatter; Mouffetard, M. provider; Brazier, Gabriel, and Dumersan, Dumersan, and Gabriel, Brazier, aux Ours, Rue Bergere, Rue du Croissant, Rue du Puits-qui-Parle, Rue du du Rue Puits-qui-Parle, du Rue Croissant, du Rue Bergere, Rue Ours, aux to second the In Contre. M. their opponents, of his championed that has of Pour; M.is arcades, lawyer part His the in cause. different stock a bought from has coming who one Dulingot, M. town. rentier—each Dubac, Mme. and clogs; of wife of carriage a Mme.Duhelder, merchant; umbrella of Duperron, M.composed vaudeville in one act, performed for the first time, in Paris, at the Theatre des Theatre the at Paris, in time, first the for performed act, one in vaudeville Paris de emblems have not yet been effaced.” The author wishes to draw attention here to here the attention and draw to wishes inscriptions author Gothic The the effaced.” which been on yet [A10,3] not stones, have emblems funerary with part in paved is 19). (p. we melons” willlike them live in hothouses; lovely the decline of piety. Cited in Edouard Fournier, Fournier, Edouard in Cited of piety. decline the moeurs Girard, From “I hear they want to roof all the streets of Paris with glass. That will make for for make will That glass. with Paris of streets the all roof to want they hear “I (ai,10) TenwPsaed ar,na h u an-ei, . . . . Saint-Denis, Rue the near Caire, du Passage new “The 1801): (Paris, (ai,16) .14 [A10,4] 154. 1864), p. (Paris, r And what are these walls the crowd admires? Is erected to commerce by good taste.(Pp.29—30) You’d think you were in Athens;and this templeThese ornaments,these columns above all? Of those bazaars, marts so famous in the East? Encouraged all of Paris in the fashion Have we not, by virtue of our cheerful aspect, We whom they would banish—we are more than useful. I’ve aput hundred thousand 5-6)francs.(Pp. In the Passage Delorme Des Tombeaux, ou De Vlnjluence des institutions funebres sur les sur funebres institutions des Vlnjluence De ou Tombeaux, Des Les Passages et les rues, ou La Guerre declaree, Guerre ou La lesrues, et Passages Les Chroniques et legendes des rues des legendes et Chroniques r Lutece arbitrates the differences: ‘“The affair is settled. Genies of light, hearken - 6) to my voice.’ (At this moment the whole gallery is suddenly illuminated by gas Arcades, A light.)” (p- 31). A ballet of streets and arcades concludes the vaudeville. [A10a,l] with glass. That will make for (p. 19). [A10,3] “I do not at all hesitate to write—as monstrous as this may seem to serious writers on art__that it was the sales clerk who launched lithography. . . . Condemned to Magasins de Nouvcautcs, les institutions funebres sur les imitations of Raphael, to Briseises by Regnault, it would perhaps have died; the , near the Rue Saint-Denis, . . . sales clerk saved it.” Henri Bouchot, La Lithographie (Paris <1895>), pp. 50-51. the Gothic inscriptions and the [A11,1] wishes to draw attention here to Zhroniques et legendes des rues In the Passage Vivienne [A10,4] She told me: “I’m from Vienna.” And she added: Sales Clerks “I live with my uncle, 'es rues, ou La Guerre declaree, The brother of Papa! te, in Paris, at the Theatre des I take care of his furuncle— party of arcades-adversaries is It has its charms, this fate.” me. Duhelder, wife of a carriage I promised to meet the damsel again iu, merchant and manufacturer In the Passage Bonne-Nouvelle; oming from a different part of But in the Passage Brady I waited in vain. arcades, has championed their its, M. Contre. In the second to And there you have it: arcade amours! le head of a column of streets, lames. Among them are the Rue Narcisse Lebeau, cited by Leon-Paul Fargue, “Cafes de Paris,” part 2 [in Vu, 9, te du Puits-qui-Parle, Rue du no. 416 (March 4,1936)]. [All,2] rocession of arcades with their *, Passage du Grand-Cerf, Pas- “There seems no reason, in particular, at the first and most literal glance, why the 1 Panorama wo ne may wonder to what extent Fourier himself believed in his fantasies. In his Manuscripts he sometimes complains of critics who take literally what is meant as rative, and who insist moreover on speaking of his ‘studied whims.’ There may aVe been at least a modicum of deliberate charlatanism at work in all this- ropt to launch his system by means of the tactics of commercial advertising, A Arcades, Magasins de Nouveautes, Sales Clerks oy fte ue; hn h ‘eun ws ntttd alwn te utmr to customer the allowing instituted, ‘return’ was the then buyer; the of nomy fixed prices, another bold innovation which did away with bargaining and with and bargaining with away did which innovation bold another prices, fixed o Mrh, the Marche, Au of proprietor the Bon Vidau, with the himself allied and Boucicaut purchasers 1852, of In multitude goods. of the mass operation: in forces dominant two the with ‘process sales’— that is to say, with gauging the price of an article to the physiog' the to article an of price the gauging with say, to is that sales’— ‘process with marked were all, of first Items, prices. discount at merchandise guaranteed turnover and small profits” was at that time a new principle, one that accorded that one principle, new a time that at was profits” small and turnover mate expression of social communities.” H. de Balzac, Balzac, de H. ulti idea—the communities.” social of unifying one expression out following mate and masses, in them casting products, ae a A Bn ace i te er 15 t 16, oe rm 5,0 to 450,000 from rose 1863, to 1852 years the in Marche, Bon Au at Sales -18 [Alla,6] 198. p- amn-ey(ai,13) .I.6 [Alla,7] .16I 1837), p. (Paris, Calmann-Levy mlin rns Te ie n rft cud aebe cnieal ls. “High less. considerably been have could profits in rise The francs. million 7 “Our epoch will be the fink between the age of isolated forces rich in original original in rich forces toits gives which leveling monotony force isolated but of uniform of agethe that the and between [Alla,5] creativeness fink the be will epoch “Our Baudelaire, Charles from in.” public the more discourage to any trying were bringing they that and stores, the in cashmeres a pawn to attempt an concerning 1861, 25, December on mother his to Baudelaire Boots. in of Puss mainly question isa it which shawl: “I was told that, with the approach of New Year’s Day, there was a glut of glut a was there of New Day, Year’s approach the with that, told was “I shawl: h Cazt olcin osse a euiu rpouto o te asg des Passage in the shop, of bootblacking a for prospectus a reproduction there: 1808.Also found from beautiful a Panoramas possesses Collection Crauzat The or handkerchief Indian an as dazzling as book “a of write still can Baudelaire shawl.” Baudelaire, Baudelaire, shawl.” Ma by made 1830, of cockade tricolored first ‘the says, he wore,’ “‘I Blanqui: Marxisme, Cuvillier, settled are Armand in Cited great the while ground.” high the on near raised are meek the hierarchy, social the with dame Bodin in the Passage du Commerce.’” Gustave Geffroy, Geffroy, Gustave Commerce.’” du Passage the in Bodin dame become civilized. But need I approve? The little bit of civilizing I’ve received received I’ve contrast by civilizing which, in houses of story, one than of more bit houses hate I little . The . . me. disgusts approve? I need But civilized. become pare with Fourier’s vision of the phalanstery): “It has been necessary for me to to me for necessary been has “It phalanstery): the of vision Fourier’s with pare 87,p 4. [Alla,3] 240. p. 1897), o.1 . 5.0Ehbtos□ [Alla,l] book his (in life his of end the near confession Proudhon’s □ 158.Exhibitions 0 1, p. vol. Maublanc, R. and F.Armand develop.” to begun had which vl ,pr Prs 97,p 1. [Alla,2] 211. 1937),p. 1(Paris, part 2, vol. aai d nouveautes. de magasin ’Artromantique L (Paris), p. 192 (“Pierre Dupont”).15 192(“Pierre p. (Paris), Te rgnlt cnitd n selling in consisted originality “The Marx et Proudhon: A la lumiere du lumiere la A Proudhon: et Marx ete a a mere sa a Lettres L ’lllustre Gaudissart, ’lllustre L Fourier De la la justice De ’Enferme L Prs 1932), (Paris, (Paris, 1937), (Paris, 14—com [All a,4][All (Paris, (Paris, ed. aublanc, Fourier (Paris, 1937), [Alla,l] his book De la justice14—com- t has been necessary for me to } bit of civilizing I’ve received ry, houses in which, by contrast high while the great are settled •x et Proudhon: A la lumiere du [All a,2] cockade of 1830, made by Ma- ave Geffroy, L ’Enferme (Paris, [Alla,3] ; as an Indian handkerchief or 192 (“Pierre Dupont”).15 [Alla,4] ■production of the Passage des ■ctus for a bootblacking shop, in [All a,5] •oncerning an attempt to pawn a i Year’s Day, there was a glut of ig to discourage the public from •ttres a sa mere (Paris, 1932), [Alla,6] isolated forces rich in original orce which gives monotony to its out one unifying idea—the ulti- alzac, L ’lllustre Gaudissart, ed. [Alla,7] o 1863, rose from 450,000 to been considerably less. “High ew principle, one that accorded tnuldtude of purchasers and the with Vidau, the proprietor of Au originality consisted in selling Au Bon Marche department store in Paris. Woodcut, ca. 1880. See A12,l. is, first of all, were marked with away with bargaining and with trice of an article to the physiog- rnted, allowing the customer to A Arcades, Magasins de Nouveautes, Sales Clerks Crown Prince Absalom hangs by his hair from a tree and is pierced by the lance of lance the by ispierced conception. and amusing tree a an from by his hair by hangs Absalom distinguished Prince Crown but executed poorly is picture a sure, with be to adorned is wigmaker a of that, shop The . . . art, of admiration. works not if true pleasure infrequently, not are, paintings These . . . storefronts. many neey Udret ustevre ‘eeyuseAslmi i oe quite hopes his in Absalom see you ‘Here verse: the runs Underneath enemy. an no larger. require could gatesof giant heaven the key; gold-plated six-foot-high ais locksmiths the sign The for of building. his facade entire the across battalions, like and if they were to hang in the Louvre, they would inspire in connoisseurs at least at connoisseurs in inspire would they Louvre, the in hang to were are they if eyeand and foot But before . displayed . paintings .the by fashion ghosts. charming more like and loom nobler a they in when arrested dark the in you startle On the hosiers’ shops are painted white stockings four yards high, and they will they and high, yards four stockings white painted are shops hosiers’ the On rows in ranged shoes, different-colored painted has shoemaker The pavement. the but samples in out laid not are Fabrics over. and over fewof a paradigm the words whowrites schoolboy of a book exercise the resembles archway of the exterior the attached high up on the third story and reach down in sundry folds all the way toway the all folds are sundry in down they reach Often and story bolts. third the unrolled on up high completely in attached window and door before hung are sides; all from beckon windows, the above and doors the on hang that on placards times a dozen inscribed of merchandise, his name the of shopkeeper, the name The of violence, by asthough away forces isspirited the .One’s .attention for . shop. step, different a a before only minute, a only takes It shop. a without building and one has no choice but to stand there and remain looking up until it returns. returns. it until up looking remain and there stand to but choice no has one and isstanding passerby the and a on, further step a hardly later, is minute a gather; to there attraction wander, and live foreigners of majority the therefore where “In those parts of the city where the theaters and public walks . . . are located, located, are . . . walks public and theaters the where city the of parts those “In exchanges. make can they prices; fixed pay they glance; mass; a as themselves perceive customers the store: department the of Specifics r ses were paid almost entirely by debunked, / Had he worn a peruke, he’d not be defunct.’ Another . . . picture, 't elements of the new organiza- representing a village maiden as she kneels to receive a garland of roses—token of A ie modeme: Les Grands Maga- her virtue—from the hands of a chevalier, ornaments the door of a milliner’s Arcades, >p. 335-336. [A12.1] shop.” Ludwig Borne, Schilderungen aus Paris (1822 und 1823), ch. 6 (“Die Laden” s by the abolition of bargaining 1862), vol. 3, pp. 46-49. [A12a] Magasins deNouveautes, is of department stores. [A12,2] On Baudelaire’s “religious intoxication of great cities”:18 the department stores ndustrie-Ausstellung im Louvre are temples consecrated to this intoxication. [A13] ig Borne, Gesammelte Schriften , p. 260. [A12,3] Baudelaire in a sentence at the Sales Clerks > me odd that I could have passed ng that here was the entrance.” i, 1931),> vol. 1, p. 456.17 [A12,4] 3 perceive themselves as a mass; Is; they take in all the floors at a hanges. [A12,5] id public walks . . . are located, • and wander, there is hardly a e, only a step, for the forces of r on, and the passerby is standing rited away as though by violence, main looking up until it returns, chandise, inscribed a dozen times ; windows, beckon from all sides; e book of a schoolboy who writes ics are not laid out in samples but y unrolled bolts. Often they are iwn in sundry folds all the way to snt-colored shoes, ranged in rows lding. The sign for the locksmiths if heaven could require no larger, gs four yards high, and they will losts. . . . But foot and eye are by the paintings displayed before infrequently, true works of art, Id inspire in connoisseurs at least gmaker is adorned with a picture ished by an amusing conception, tree and is pierced by the lance of u see Absalom in his hopes quite