We found the Café de la Source already crowded by the Gérôme contingent and their models and mistresses, all en costume and bubbling with merriment and mischief. It was ten o'clock before all the students had arrived. Then we formed in procession, and yelled and danced past all the cafés on the Boul' Mich' to the Luxembourg Palace and the Théâtre de l'Odéon, to take the 'buses of the Montmartre line. These we quickly seized and overloaded in violation of the law, and then, dashing down the quiet streets of the Rive Gauche, headed for Montmartre, making a noise to rouse the dead. As we neared the Place Blanche we found the little streets merging from different quarters crowded with people in costume, some walking and others crowding almost innumerable vehicles, and the balconies and portes-cochères packed with spectators. The Place Blanche fronts the Moulin Rouge, and it was crowded and brilliantly lighted. The façade of the Moulin Rouge was a blaze of electric lights and colored lanterns, and the revolving wings of the mill flamed across the sky. It was a perfect night. The stars shone, the air was warm and pleasant, and the trees were tipped with the glistening clean foliage of early spring. The bright cafés fronting the Place were crowded with gay revellers. The poets of Bohemia were there, and gayly attired cocottes assisted them in their fun at the café tables, extending far out into the boulevard under the trees. At one corner was Gérôme's private studio, high up in the top of the house, and standing on the balcony was Gérôme himself, enjoying the brilliant scene below.
As the Bal des Quat'z' Arts is not open to the public, and as none but accredited members of the four arts are admitted, the greatest precautions are taken to prevent the intrusion of outsiders; and wonderful is the ingenuity exercised to outwit the authorities. Inside the vestibule of the Moulin was erected a tribune (a long bar), behind which sat the massiers of the different studios of Paris, all in striking costumes. It was their task not only to identify the holders of tickets, but also to pass on the suitability of the costumes of such as were otherwise eligible to admittance. The costumes must all have conspicuous merit and be thoroughly artistic. Nothing black, no dominos, none in civilian dress, may pass. Many and loud were the protestations that rang through the vestibule as one after another was turned back and firmly conducted to the door.
Once past the implacable tribunes, we entered a dazzling fairy-land, a dream of rich color and reckless abandon. From gorgeous kings and queens to wild savages, all were there; courtiers in silk, naked gladiators, nymphs with paint for clothing,—all were there; and the air was heavy with the perfume of roses. Shouts, laughter, the silvery clinking of glasses, a whirling mass of life and color, a bewildering kaleidoscope, a maze of tangled visions in the soft yellow haze that filled the vast hall. There was no thought of the hardness and sordidness of life, no dream of the morrow. It was a wonderful witchery that sat upon every soul there.
This splendid picture was framed by a wall of lodges, each sumptuously decorated and hung with banners, tableaux, and greens, each representing a particular atelier and adorned in harmony with the dominant ideals of their masters. The lodge of the Atelier Gérôme was arranged to represent a Grecian temple; all the decorations and accessories were pure Grecian, cleverly imitated by the master's devoted pupils. That of the Atelier Cormon repre sented a huge caravan of the prehistoric big- muscled men that appeal so strongly to Cormon; large skeletons of extinct animals, giant ferns, skins, and stone implements were scattered about, while the students of Cormon's atelier, almost naked, with bushy hair and clothed in skins, completed the picture. And so it was with all the lodges, each typifying a special subject, and carrying it out with perfect fidelity to the minutest detail.
The event of the evening was the grand cortège; this, scheduled for one o'clock, was awaited with eager expectancy, for with it would come the test of supremacy,—the awarding of the prize for the best. For this was the great art centre of the world, and this night was the one in which its rivalries would strain the farthest reach of skill.
Meanwhile, the great hall swarmed with life and blazed with color and echoed with the din of merry voices. Friends recognized one another with great difficulty. And there was Gérôme himself at last, gaudily gowned in the rich green costume of a Chinese mandarin, his white moustache dyed black, and his white locks hidden beneath a black skull-cap topped with a bobbing appendage. And there also was Jean Paul Laurens, in the costume of a Norman, the younger Laurens as Charlemagne. Léandre, the caricaturist, was irresistible as a caricature of Queen Victoria. Puech, the sculptor, made a graceful courtier of the Marie Antoinette régime. Willett was a Roman emperor. Will Dodge was loaded with the crown, silks, and jewels of a Byzantine emperor.
Louis Loeb was a desperate Tartar bandit. Castaigne made a hit as an Italian jurist. Steinlen, Grasset, Forain, Rodin,—in fact, nearly all the renowned painters, sculptors, and illustrators of Paris were there; and besides them were the countless students and models.
