The heavy oaken tables on the floor were provided with stiff, high- backed pulpit-chairs, beautiful in color and carving, and of a Gothic type, the whole scene suggesting a transept of Notre-Dame. Mr. Thomp- kins had reverently removed his hat. It was not long afterward that he quietly replaced it on his head. No notice was taken by us of these movements.
At the farther end, where the church altar belonged, was indeed a handsomely carved altar. Above it sprang a graceful arch, bearing a canopy beautifully painted in blue, with yellow stars. In the centre was a painting of Christ upon the cross. The altar was the bar, or caisse, of this queer café, and behind it sat the proprietress, quietly knitting and waiting to fill orders for drinks. The walls of the café were almost entirely covered with framed drawings by Rodel; all were portraits of well-known Bohemians of Montmartre in characteristic attitudes,—the star patrons of this rendezvous. Many women figured among them, all Bohemian to the bone.
This was the Café du Conservatoire, famous for its celebrities, the poets of Bohemian Paris, among whom Marcel Legay is eminent. It was evident that the habitués of the Conservatoire were of a much higher order than those whom we had seen elsewhere.
