One of Caran d'Ache's greatest successes in this line was an EPOPEE DE NAPOLEON, - the great Emperor appearing on foot and on horseback, the long lines of his army passing before him in the foreground or small in the distance. They stormed heights, cheered on by his presence, or formed hollow squares to repulse the enemy. During their evolutions, the clear voice of the poet rang out from the darkness with thrilling effect.

The nicest art is necessary to cut these little figures to the required perfection. So great was the talent of their inventor that, when he gave burlesques of the topics of the day, or presented the celebrities of the hour to his public, each figure would be recognized with a burst of delighted applause. The great Sarah was represented in poses of infinite humor, surrounded by her menagerie or receiving the homage of the universe. Political leaders, foreign sovereigns, social and operatic stars, were made to pass before a laughing public. None were spared. Paris went mad with delight at this new "art," and for months it was impossible to find a seat vacant in the hall.

At the Boite a Musique, the idea was further developed. By an ingenious arrangement of lights, of which the secret has been carefully kept, landscapes are represented in color; all the gradations of light are given, from the varied twilight hues to purple night, until the moon, rising, lights anew the picture. During all these variations of color little groups continue to come and go, acting out the story of a poem, which the poet delivers from the surrounding obscurity as only an author can render his own lines.

One of the pillars of this attractive centre was Jules Jouy, who made a large place for himself in the hearts of his contemporaries - a true poet, whom neither privations nor the difficult beginnings of an unknown writer could turn from his vocation. His songs are alternately tender, gay, and bitingly sarcastic. Some of his better-known ballads were written for and marvellously interpreted by Yvette Guilbert. The difficult critics, Sarcey and Jules Lemaitre, have sounded his praise again and again.

A CABARET of another kind which enjoyed much celebrity, more on account of the personality of the poet who founded it than from any originality or picturesqueness in its intallation, was the "Mirliton," opened by Aristide Bruant in the little rooms that had sheltered the original "Chat Noir."

To give an account of the "Mirliton" is to tell the story of Bruant, the most popular ballad-writer in France to-day. This original and eccentric poet is as well-known to a Parisian as the boulevards or the Arc de Triomphe. His costume of shabby black velvet, Brittany waistcoat, red shirt, top-boots, and enormous hat is a familiar feature in the caricatures and prints of the day. His little CABARET remains closed during the day, opening its doors toward evening. The personality of the ballad-writer pervades the atmosphere. He walks about the tiny place hailing his acquaintances with some gay epigram, receiving strangers with easy familiarity or chilling disdain, as the humor takes him; then in a moment, with a rapid change of expression, pouring out the ringing lines of one of his ballads - always the story of the poor and humble, for he has identified himself with the outcast and the disinherited. His volumes DANS LA RUE and SUR LA ROUTE have had an enormous popularity, their contents being known and sung all over France.

In 1892 Bruant was received as a member of the society of GENS

DE LETTRES. It may be of interest to recall a part of the speech made by Francois Coppee on the occasion: "It is with the greatest pleasure that I present to my confreres my good friend, the ballad-writer, Aristide Bruant. I value highly the author of DANS LA RUE. When I close his volume of sad and caustic verses it is with the consoling thought that even vice and crime have their conscience: that if there is suffering there is a possible redemption. He has sought his inspiration in the gutter, it is true, but he has seen there a reflection of the stars."