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The “4 z’Arts,” next to the “Chat Noir,” has had the greatest influence on the taste of our time,—the pleiad of poets that grouped themselves around it in the beginning, dispersing later to form other centres, which, in their turn, were to influence the minds and moods of thousands.
Most important among these were the “4 z’Arts,” Boulevard de Clichy, the “Tambourin,” and La Butte. Trombert, who, together with Fragerolle, Goudezki, and Marcel Lefèvre, had just ended an artistic voyage in the south of France, opened the “4 z’Arts,” to which the novelty-loving public quickly found its way, crowding to applaud Coquelin cadet, Fragson, and other budding celebrities.
The great critics did not disdain to attend these informal gatherings, nor to write columns of serious criticism on the subject in their papers. At the hour when all Paris takes its apéritif the “4 z’Arts” became the meeting-place of the painters, poets, and writers of the day.
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