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The distance from the Rue du Jardinet, where we lived, to the Quai Voltaire was not far, and we often went like a procession the Grangers, my great-aunt Masson, my mother and I to call upon Ingres and his wife, a delightfully simple woman whom everyone loved. Ingres often talked to me about Mozart, Gluck, and all the other great masters of music.
Mars plays her part honestly and faithfully, but laughs at it, even in my presence. Michelot plays his resignedly and laughs at it behind my back. There is not a scene shifter, not a super, not a lamp lighter but points his finger at me. To-day I dined with Joanny, who had invited me. Joanny plays Ruy Gomez. He lives at No. 1 Rue du Jardinet, with a young seminarist, his nephew.
The French garden was a creation of all epochs from the fifteenth to the seventeenth centuries, and, for the most part, those of to-day and of later decades of the nineteenth century, are adaptations and restorations of the classic accepted forms. From the modest jardinet of the moyen-age to the ample gardens and parterres of the Renaissance was a wide range.
The association called La Presse du Travail gave signs of life. Some brave workmen, at the house of one of their colleagues, Nétré No. 13, Rue du Jardinet, had organized a little printing-press in a garret, a few steps from the barracks of the Gendarmerie Mobile. They had spent the night first in compiling, and then in printing "A Manifesto to Working Men," which called the people to arms.
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