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The Arcades Project - Operi

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ooth with prices of seats posted-would it not, if one opened it, lead one into<br />

darkness rather than a theater, into a cellar or down to the street? And on the<br />

ticket booth hang stockings once again, stockings as in the doll hospital across<br />

the way and, somewhat earlier, on the side table of the tavern.-In the crowded<br />

arcades of the boulevards, as in the semi-deserted arcades of the old Rue Saint­<br />

Denis, umbrellas and canes are displayed in serried ranks : a phalanx of colorful<br />

crooks. Many are the institutes of hygiene, where gladiators are wearingorthope­<br />

die belts and bandages wind round the white bellies of mamlequins. In the<br />

windows of the hairdressers, one sees the last women with long hair; they sport<br />

richly undulating masses, petrified coiffures. How brittle appears the stonework<br />

of the walls beside them and above: cmmbling papier-m&che! "Souvenirs" and<br />

bibelots takc on a hideous aspect; the odalisque lies in wait next to the inkwell;<br />

priestesses in knitted jackets raise aloft ashtrays like vessels of holy water. A<br />

bookshop makes a place for manuals of lovemaking beside devotional prints in<br />

color; next to the memoirs of a chambermaid, it has Napoleon riding through<br />

Marengo and, between cookbook and dreambook, old-English burghers tread­<br />

ing the broad and the narrow way of the GospeL In the arcades, one comes upon<br />

types of collar studs for which we no longer know the corresponding collars and<br />

shirts. If a shoemaker's shop should be neighbor to a confectioner's, then his<br />

festoons of bootlaces will resemble rolls of licorice. Over stamps and letterboxes<br />

roll balls of string and of silk. Naked puppet bodies with bald heads wait for<br />

hairpieces and attire. Combs swim about, frog-green and coral-red, as in an<br />

aquarium; trumpets turn to conches, ocarinas to U111brella handles; and lying in<br />

the fixative pans from a photographer's darkroom is birdseed. TI,e concierge of<br />

the gallery has, in his loge, three plush-covered chairs with crocheted antimacas­<br />

sars, but next door is a vacant shop from whose inventory only a printed bill<br />

remains: "Will purchase sets of teeth in gold, in wax, and broken." I-Iere, in the<br />

quietest part of the side-alley, individuals of both sexes can interview for a staff<br />

position within the confines of a sitting room set up behind glass. On the pale-col­<br />

ored wallpaper full of figures and bronze busts faIls the light of a gas lamp. An old<br />

woman sits beside it, reading. For years, it would seem, she has been alone. And<br />

now tl,e passage is becoming more empty. A small red tin parasol coyly points<br />

the way up a stair to an umbrella ferrule factory; a dusty bridal veil promises a<br />

repository of cockades for weddings and banquets. But no one believes it any<br />

longer. Fire escape, gutter: I am in the open. Opposite is something like an arcade<br />

again-an archway and, through it, a blind alley leading to a one-windowed<br />

H6tel de Boulogoe or Bourgogoe. But I am no longer heading in that direction; I<br />

am going up the street to the triumphal gate that, gray and glorious, was built in<br />

honor of Louis the Great. Carved in relief on tl,e pyramids that decorate its<br />

eolumns are lions at rest, weapons hanging, and dusky trophies.

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