The Arcades Project - Operi

its continually reappearing doctor, with its enterprising merchant (Cesar Birotteau), with
its four or five great courtesans, with its usurer (Gobseck) , with its sundry soldiers and
bankers. But above all-and we see this again and again-it is from the same streets and
comers, the same little rooms and recesses, that the figures of this world step into the light.
What else can this mean but that topography is the ground plan of every mythic space of
tradition, < Traditionsraum>, and that it can become indeed its key-just as it became the
key for Pausaruas in Greece, and just as the history, layout, distribution of the Paris
arcades are to become the key for the underworld of this century, into which Paris has
sunk.
Stahr reports that the premier cancan dancer at the Bal Mabille, a certain Chicard, dances
under the surveillance of two police sergeants, whose sole responsibility is to keep an eye
on the dancing of this one man.
Portraits of famous cancan dancers on display in the arcades (Rigolette and Frichette) .
On Redon: "Unconcerned with every quick and transitory effect, however seductive,
he ultimately and above all wishes to give his flowers the very essence of
life and, so to speak, a profound sou!:' Andre Mellerio, Odilan Redan (paris,
1923), p. 163.
Redon's plan to illustrate Pascal.
Redon's nickname, after 1870, in the salon of Mme. de Rayssac: the prince of
dream.
Redon's flowers and the problem of ornamentation, especially in hashish. Flower
world.
"Rococo;' at the time of the Restoration, has the meaning "antiquated."
Chevet, at the Palais-Royal, "bestowed" dessert in exchange for a certain sum of
money spent on the fruits and dainties consumed at dinner.