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English translation of "Jeux du Cirque et la Vie Foraine"
Citation preview
:
ACROBATS AND MOUNTEBANKSBY
HUGUES
LE
ROUX &A.P.
JULES GARNIER.
TRANSLATED FROM THE FRENCH BY
MORTON.
WITH
233
ILLUSTRATIONS.
so
LONDON
CHAPMAN AND
HALL, LIMITED,
1890.
Richard Clay and Sons, Limited,london and bungay.
,-4:^x^^4/y.,v
PREFACE.T/te
Bmtquistes was the
first title
chosen for
this
book
:
it
has been altered for two reasons which appeared conclusiveafter
some considerationit,
:
the general. public would have mis-
understoodinterested in
and
it
would certainly have wounded thoseit
it,
who would have known whatis
meant.
But
if
we
consult an etymological dictionary
we
shall find
that the
word sai.timbanque, whichis
more generally used:
than BANQUiSTE,s.
derived from a definite root
saltimbanque,vaults on a
m., from the Italian
word saltimbanco
:
whoI
benchthe
(Latin,
saltare in banco).
In Italiansinger.
we
also findthat
word cantimbanco, a platformafter tracing out the
must add
when,
etymology of the words saltimfor the origin of the
banquiste and banquiste, we searchbanker,
word
we
shall find that the
same
radical,
banco,
is
the rootb
vi
Preface.
of these three derivatives.
In the old fairs two personages
were allowed
to erect a small platform, a "
banc'Wthe money"
changer and the acrobat.
Perhaps the " banc
already served
as a spring-board, giving both the
banker and the banquiste
a greater impetus
in their leap
;
perhaps
we must even
look
back to the same date to find the exact origin of the now
common expression "lever le pied" (to abscond). However this may be, after the perusal of this book,lished, enriched,
it
will
be readily understood that the contemporary acrobat, estab-
emerging
into the middle classes, indignantly
rejects a slang
term which apparently assigns to him the same
origin as that of our
modern him
financiers.
This intolerance
is
certainly not the only surprise reserved for the reader of these
pages.
We
claim to lead
to the threshold of
an unknown
world.
Before commencing
this
work, which has absorbed usI
during at least three years,
made a thoroughcame
investigation
of the bibliographic and monographic information
now
exist-
ing upon the banquiste question, andthattion
I
to the conclusion
no French or foreign author worth attention or quota-
had yet interested himself
in this original people.
M.
Houcke, the manager of the Hippodrome, had kindly placedat our disposal a series of lithographs published in
Germany.was theat
But the text and the correctness of the work were so defective, that the
drawings were of no use to
us.
It
same with the Saltimbanques, which M. Escudier publishedthe close of the
Empire through Michel Levy.lies
The
sole
merit of
M. Escudier's work
in his
discovery of an unwriting withoutin
known
subject.
He made
the mistake ofor
information,
picturesqueness,
philosophy,
the
light,
Preface.
vii
insufferably trifling tone, which
is
common
to
most of the
publications of that epoch.
Since then, a conscientious writer, M. Dalseme,attachedto the acrobats, has published a
who
is
moreet
interesting
account
of
them
entitled
Le Cirque a PiedM. Dalsemeworkhis
a Cheval.
The
kindliness with which
alludes in his
book
to the
quotations which
he has madein
tions induces
me
to
notice his
my publicareturn. And truly,frombe,it
however unequal and incompletethe most interestingsubject.
book may
is
still
work
that has yet been seen
upon a new
This judgment places M.Freres Zemganno,vidiousfar
Edmund
de Goncourt's novel, the
above
this level,
and beyond anyobservationis
in-
comparison.
Although
exact
thethat
discipline of the novelist,in
M. de Goncourt has declaredsuperficial.
this
instance his chief object was to write a symbolical
book.it
His information was necessarilyI
Such
as
was,
do not think that any one has now more reason than
ourselves for admiring the superior art and truth with which
M. de Goncourt has spokenphilosophy, depictedthatits
of the circus, has formulated
its
passions,
and divined those thingsI
were concealed from him.
And
trust that the authorfirst
of the Freres
Zemganno
will
be one of the
to enjoy the
novelty of this work.
Thebooks.
perusal of the so-called naturalistic novels has graduallyfairly
accustomed the public to a
strong dose of realism
in
number of young men have written the great masters, stories which, commonplacethe " surroundings."
A
in imitation ofin
themselves,
are yet worth reading for their conscientious observation of
A thousand
inquiries
upon contemporary
!
viii
Pre/iue.
life
have been cleverly made, and readers have examined
these social records withIt
much
curiosity.
appeared to
meI
that the best part of these novels, the
portions most appreciated by the readers, were the facts ofactual experience.
therefore asked myself
if
the time had
not
come
to present to the public these facts free
from
all
romanticin
fiction, in
a form
in
which the author only intervenes
order to arrange the incidents and to point out the philoto
sophy
be derived from them.is
The
success of this book will prove whether the attempt
premature, or whether there will be any reason for a sequel.
This publication
is
really the
monograph of an unknownIts laws, its
people, related by the pen and pencil.its
customs,seized,
traditions,
its
secrets,
its
hopes,
have
been
defined in spite oftradictory witnesses.
reticence,It
evasions, wavering,
and conof the
describes theits
organization
banquiste people, the foundation of
agencies, newspapers,his birth in the
and syndicates,
it
follows thehis
mountebank from
wandering caravan tocircus.
apotheosis in the friezes of theit
And
at the
same time
penetrates into the stables to
explain the secrets of the trainer, the tamer, and the ring-
master
;
into the booths to ask the
clown
for the story of his
adventures
and by what chance, having become a gentlemanone day meta clownin
himself, he
the land of
whims a gentleman
who had becomeI
cannot close this preface without addressing the warmestall
thanks toto a
those
who have
aided us
in
bringing this work
successful
issue
to
our willing correspondents from
America. England, Germany, and Russia.
But whilst thus
paying our debts, we must express our special gratitude to
Preface.
ix
the learned director of the photographic department of theSalp^triere,
M. Albert Londe;
;
to
M. Guy delike
la Brettonierc,
the well-known circomane
to
amateurs
MM.
de Saintthese
Senoch, Bucquet, and Mathieu.
The photographs which
gentlemen kindly took
for us
enabled the draughtsman to
represent the acrobats^ in those intermediate poses which
THE eye neverfew figureswill
SEikES,
and which hitherto the most rapidreproducing.
instantaneous photographs have failed in
A
prove better than any words the extreme
rarity of these plates.
month of June, 1888, M. Houcke having given us an appointment at the Hippodrome, made the clown, Auguste,In the
and an
artist
of the fixed bar, vault in our presence.d' Excursions
TheFifty
members ofphie,
the Soci^teits
Fran^aise de Photograall:
headed by
president,
were nearlyabattery
assembled.
cameras were arrangedbrought twelve glasses.Albert Londe
like
each amateur had
After they had been examined, M.alone out of sixprinted,
sent us ten proofs, which
hundred had been deemed worthy of beingafinal
and
after
examination only seven plates were preserved by the
painter.
They
inspired the series of somersaults which are
found
in
the chapter on gymnasts.
HUGUES LE ROUX.
ERRATA.I'aje 78. 'toe 7
from top. for "bloated Vitelliuscs," read, "bloated3 from top, /iiOAii
t.tn nf;is.
v^nint- on spF-cuLrrATKS-BCHNF.N sowik PgK KCHAI 8TKI.LKR I ND F.I8E\I)EN R8CHiFTF.
i
o.nt ert-ktablissksie.nts.
a iwm>v un.
Organization.
7
Germany, however, possessesbanquistes:
twotitle,is
newspapers
for
the
one, under a French
which
is
far the
most important,is:
La Revue ; the called Der Artist.
other,
The
complete sub-title
Central- Organ
zur Vermittlung desder Circus,
Verkehrs zwischen Directoren und Kunstlern
M.
C.
KRAUSS.
Varietebii/inen, reisenden Theater
undM.
Schaustellungen.C. Kraussis
This
papereditor.
is
printed at Dusseldorf
;
the chief
Der
Artist has been established six years.the frontispiece and
It
looks like
a weekly review of twenty leaves, printed in three columns.
A
woodcut, whichfirst
fills
all
the
left
side
of the
page, represents various scenes from the circus
$
Acrobats atid Mountebanks.
and theatrestamecircus
:
" shootists "
breaking
bottles, horses
leaping
over bars, pretty equestrians on their highly-trained steeds,lions, dwarfs, giants,
clowns,
all
the attractions of the
and
fair.
Here, as
in the
Era, we
find long alphabetical
enumeralists
tions of travelling
and stationary establishments andcompiled
of
addresses of artists engaged or disengaged.tisementsare
These adverextraordinary:
nearly
all
in
an
gibberish, which far surpasses the ingenuity of the " sabir"
here
is
a specimen of them, the
first
I
met
with.
It
is
a
curious
mixture:
of
French,
English,
Latin,
Italian,
and
German wordsMISS
ADRIENNE ANCIOU,
la reine
de
I'air,
la plus
grande Equilibriste
a^rienne de l'6poque,
Nee
plus ultra
senza
Rival, frei
ab August 1888,
28 East
4. Str.
New
York.
It is
very remarkable that English and American puffing
has quite disappeared here.of thephicalclearly
The
earnestness and application
Germanand
character are betrayed even in the typograthis
arrangement of
newspaper
for acrobats.
It is as
carefully printed as a catalogue of the
Leipzic
libraries.
The
biographical notices, announcements of death,
column of accidents, the Varietebuhnen are compiled withscrupulous care andexactitude.
This curious publication
even
finds space for literature,
and the
last
number of the
Artist published as a supplement
Damons
Walten, a novel,
by Otto von Ellendorf.
It is
easy to appreciate the services
which these and similar newspapers are able to confer uponthe banquistes..
"
To
tell
the truth," one of the confraternity said to
me one
nCentral
-Organ
zui
Vermittlung des Vertelirs
zwiscb
Directoren unil
tilnstleni
Cirens, Vari^t^b&^nen, reUenden Theater and Sehaostellun^en.
Che&edacteur
-
C. Kraus, Oilsseldorf.
Verancwortl. KcdactcarC.
Henaaaa
Otta,
OlmWart
Oruck und Verlag vonf-gi
Krans,
Wehriiaha 28a, OfistaMarf.
\
Den A.boanenteQ stehenaniei^eTi>ro>
BnknoU fA^XUi; kl *MtwHt I iniuMlta ftr cpuukwdaa VarlaM OavMkMtMf2 Zeilen Raum fttr Erwihniing Ihrer Adreaaa zxa Verfiigung. Fur jede Mehrzcile wird I Mark berecbnet. Dte 7illn>l warn Kcspalteiie ZelU 20 Ptg. Rkl*me pro Szeipalteiw ZM SO PfK gefUllgst selbst beatiinmen und demcuupnelMiid dto Batfac ilimndtn Allen inlragan uti Aultrigeii lind Pcsttntrkw la rM IM jahra. Al* EUriii de*
brtk
ten Circusdirectora Cottially,
denen(tiacba(ie
ireitTerbreiteta Famili*fcai oi r aiaD
JOURNAI. BI-MENSUEL PARAISSANT LB
ET LA
IB
DB OHAOUB HOIB
tl,
REDACTION & AOMINISTRATIOH - Boalevftrd. Henri IV, -
assure you that
it is
beyond the
recollections of grandchildren
or of their grandfathers.
At
all
events,
it is
certain that from
our birth
we
feel
someat the
curiosity mingled with
a delicious
dread of the mountebank, the picturesque wanderer, whopasses our
home
same date
in
every year
like the
migratory birds
who
disappears one morning, without any
one knowing where he has gone, or even with any certainty
where he has come fromtravellers
;
an ambiguous individualfalls,
whomhis
on the high road pass as eveningkettle installed
encamped
on the wayside, histhin steed
on a heap of stones,
munching the dustyred curtains in the
grass, his half-
naked childrenthrough
wandering round the caravan, whilst thethelittle
light shining
window throws the semblance
of a plash of blood on the road.
This
is
the rear-guard, the voluntary laggard, the hermit,
who
wishes to remain alone until the end.his ancestors,
He
has
not
changed any of the customs of
preferring to
24separate from
Acrobats and Mountebanks.
his
comrades rather
than
conform
to
ways.will
His comrades have therefore renounced him.
new They
not drag such miscreants in their rear,
now
that they
form
a
corporation
with
charters
and
statutes
publicly
decreed.PuiliMi 4aM* If
4/
Oa iKvaJm
10
CntlaM
DiBUieta* 13 Ttnt\n
1S8
L'DNIONOrgaoeOfficii*!
MDTnELLEIfldiislriels
de Ions ies
el Arljstes
ForaiMSiml
M
other buffoons, whose exercises arethe spectators and not so
much more dangerous for amusing. The army ? Well, it iscourage, andI
a refuge for those
who have
have belonged K K
32 2
Acrobats and Mountebanks.
to
it.
But there was too?I
little
to
do
in
time of peace.
LiteraturethatI
should notto
know howadoptIit.
to begin,
and
I
dare
ownthan
would not deign
Naturalismit
is
too dull,life
and dilettantism tooto write aboutit.
sterile.
find
better to enjoy
revive
it.
You say that I degrade my race ? Nay, I You know the language used by the rhetors andregenerate this corrupt youth
journalists in describing the corrupt scions of the old aristocracy.
Well,
we
will
!
We
are strong,
our muscles are like those of the street porters, of our ancestorsthe
Frank
warriors, of the^
companions of Charlemagne, who
were only superb brutes."
Molier and his friends have triumphed without noise, just asthey resisted thebluster.
ill-humour
of
foolish
grumblers without
During the
last ten
years
this cleverIt
troupe of amateurs
has wonderfully increased.
now includes two new star equestrians Mademoiselle Blanche Lamidey and Miss Anna. You have probably seen Mazeppa performed in a circus, at
least
once
in
your
life,
but, sincegirl,
Miss
Ada Menken, you havein
never seen a very young
thrown on her back, held by onethe sand, and in this
foot only, her loosened hair
dragging
dangerous
position
leaping withbarriers.left
her
galloping
horse
an
arrangement of several
Norseen a
since
Jenny O'Brien
us for America have
womanhow
ride standing
upon two horses
we ever with as much
dainty jauntiness, self-possession and audacity as Miss Anna.
Andwill
then
well she dresses
!
Lovers of Florentine bronzesgreytights,
never forget a certain
suit of
a harlequin's
^
Jules Lemaitre,
Revoltce,
Act
I.,
Sc. 3.
M;>1..\../..|^
>
324
Acrobats and Mountebanks.
costume, cut low and heart shaped at the neck, with greavesof the same grey tint below the knees.
Molier has grouped a number of pretty women, actresses,
Tfie
Private
Circus.
325
artists,girls.
and young men of the world round these two charming
Amongst
the ladies are Mesdemoiselles Lavigne andFelicia Mallet,
Desoder from the Palais Royal, Mademoiselle
Mademoiselle Renee Maupin, from the Opera, Jeanne Becker,
Lea d'Asco,
etc.
; amongst
the
men
:
Messrs.
Frederic
Vavasseur, Jules Ravaut, Arthus,Craffty, Goubie, Pantelli, J.
Gerbaut,I
Adrien Marie,
Lewis-Brown.
must apologize
to those
whom
I
forget to name.
With these resources the performanceeasily arranged,
of a
pantomime was
and these spectacles are one of the chief
:26
Acrobati and Mountebanks.
attractions of the entertainments given in theIt
Rue
Benouville.first trial
was here
that FeHcien
Champsaur made the
of
contemporary pantomime by which he amuses us withoutintroducing the form of Pierrot or the bat of Harlequin.
Why," he reflected, people who annually fill**
" should
we show?
the fashionable
the boxes of the Molier,
some
old
fairy story
remounted
in a
new form
Men
of the present
day with money and audacity accomplish greater prodigiesthan the magicians of old."
!
"
The Private Circus.
^27his contemporaries
at
M. Champsaur work and this
resolvedis
to
show us
the plot of his pantomimeRivolta, from the Eden, apfor her course.
The charming Mademoisellepeared disguised as alittle
Spring lookingtofill
No
one had thought of using her
a lake, rush
down
a
waterfall or turn a mill.
She therefore wandered about thetears.
Cirque Molier, shedding floods of
Good Luck, who neverspeculatorsin
likes to see pretty girls cry, led
twoeach
the
samelittle
direction.
They remarkthere's
to
other
:
"Look!the bank""!
here's a"
Spring!
And
no casino on
No No
race
game
!"
gambling housethis little
"!
"
Cannotnot,
Spring cure some
illness!
?"
"If
she
is
the only one of her kind
To
satisfy
themselves on this point they then take Madeher to the house of
moiselle Rivolta's hand, lead
Madame
Dezoder, a lady doctorat the door.
in
the
same neighbourhood, and knockMademoiselle"!
Armed withRivolta.
a goblet,
Madame Dezoder tastes
After carefully testing her, her gesture says " Pooh
"Whatwill bottlewill
does that matter?" replied the bankers.
"Weshe
Mademoiselle Rivolta and, with a good,
label,
cure as well as her companions."
No
sooner said thanfor the
it
was done.
And
since a
godmother
was required
new Spring launched upon
the world, the
bankers fetch Fortune, Mademoiselle Renee Maupin, fromthe
Opera
328
Acrobats and Mountebanks.
AhI
!
what a
delightful person
!
always liked Fortune instinctively, beforeI
I
knew her
;
but since
have seen her
feet, figure,
and eyes
!
z-^
Iff ?1
'V
iH-'f*^
You They**
shall cure
everythingbottlein
"!
Fortune assured the Spring.it
placed
the
the doctor's house and inlike a saint in her shrine.
Mademoiselle Rivolta, who looked
Then
the procession of those
wounded bypantomime
Life [Eremtes
de la Vie)
this is the title of the
commences.
"
The Private
Circus.
329
They are all invalided by love first, a number of pretty girls who have flirted too much then all the gentlemen who have been wounded by these flirtations. Love himself comes to the Spring.: ;
Heway.*'
is
very
ill.
His poor
little
wings hang down
his
back
in
a lamentable
Douche himchildis
!
Douche himin the
!
The
dipped
water and
is
drawn out
trans-
formed into a Farnese Hercules, with enormous muscles whichstand outin
huge
rolls
upon
his
arms from the shoulder to the
elbow.
The
entertainment closes by a procession accompanied by
a blast of trumpets, at the end of which appears the GoldenCalf, ledI
by Fortune with athis
leash.in prefer-
have quoted
pantomime by M. Champsaur
ence to others of more recent date which have been equallysuccessful, becauseit
clearly indicates the nature of the enter-
tainment given in the Cirque Molier.
People see and perform
in the
Rue
Benouville pieces that;
could not be played or shown elsewhere
for here the audi-
ence and the actors are
all
people of the same education, theother.
same surroundings, who know each
Thewere.
doors have been more widely opened than they formerly
But they are
still
closely
guarded,
the
members ofin their
the society intend to amuse themselves as they please
own
circle,
and
to exclude
anything that offends them.
For
instance,
you
will not find either at the rehearsals or at
the performances in thethe scenes, the
Rue
Benouville in the boxes or behindprofessional actor.
shadow of a
L L
\30
Acrobats and Mountebanks.
W0%fir
ii'5v\
The door is closed against theatrical men. What even " Chose " and " Machin ? "!
The Private
Circus.
Zl"^
Even for them. The "cross" andle
the banner are both useless.
Monsieuris
Socidiaire has vainly tried to force a door which
half
open for the banquistes
A
voice has cried tosir!
him from the
trapeze, "
We
are very
sorry,
But we have retained the prejudices of the
comedians."
INDEX.Bretonniere (Guy deBRIOCHI&, 86la), ix
Agoust, 34, 224, 293, 294, 295, 296 Agrenieff (d*), 200 Aliard, 86 Allen, 20 Alphonse, 265-269 Alphonsine (Lady), 212
BUCQUET,
ix
Buffalo-Bill, 10, 204-206 Buffon (de), 126
Burgess, 282
Anciou
(Miss), 8
Arabelle, 74 Archimedes, 113 Arquevilliers (d'), 320 Arthus, 325Artist {der),7,
Callias, 64
Carrabilliat, 42
Carver
(Dr.), 15
8
Cephissodote, 77 Chable, 41, 42
Asco (LeaAuriol,
d'),
13,
325 15, 246
BBailey (J. A.), 17 Banville (de), 3, 296 Barlow, 20
Chadwick, 28 Cham, 216, 217 Champsaur, 326-329 Chelli (Emilio), 233 Chelli (Erminia), 60, 232-240 Chung, 124-126 Cladel (Leon), 140, 141 Clam, 91, 92-96305
BarnumBayard Becker
(P. T.), 10, 16-20, 261,
(Emile), 100
Cocherie, 89, 91 Cody (W. R), 206
(Jeanne), 325 Berberie, 172, 19381, 84, 85,
CoQUELiN CoQUELiN86
ain^, 91
cadet, 120
Bermont,
Bertini (Suzanne), 74 Bertrand, 86
CORRADINI, 122 CORSO, 193CORVI, 26, 117, 118, 120
BiDEL
(Francois), 26, 27, 130, 143-146,
153-157 Bi^viLLE (Berthe), 74 Blanche (Ada), 215
COURTAY, 320 Couture, 118, 320 Craffty, 325 Craggs, 300-305
Blondin, 2x6, 217
Bone
(Colonel), 146
D74, 76
BoNHEUR-(Rosa), 144 Bonnefois (Melchior), bonnetty, i 27-131 Boulmiers, 85
Dacier (Mme),
195, 196
Daryl
(Philippe), 160
Darwin, 117
M
.M
334Deburau, 294Delille, 23, 96, 100
Index.
Hayden
(Billy), 60, 121, 285,
288
Desoder, 327 Detaille (Edouard), 152 Dominique, 86
Hengler, 279 Hervieu (Paul),157 HiTZIG, 10
152, letter from, 152-
DuDLAY
(Marguerite), 169-172vii
Dalseme,
Homer, 120 HoucKE, 25, 194, 198-200 Houdin (Robert), 102I
EElijah (Prophet), 106ELLEVANTli;MIE, 23
Ibrahim (Lady), 219-221253J
Era
{The), 4,
5, 6, 8,
ESEUDIER, vi EXALTIER, 41
Jacllev
(family), 12, 13
FFatma, 72 FOOTEET, 286
Joseph, 69, 70 Jumbo, 167
K242
FORSBERG
(Nils),
Francois, (Monsieur), 60, 61, 62, 71 Franconi (Chs.), 168, 169 Franconi (Laurent), 168
KiNNER, 63 KlANG, 117
KoLTA
(de),
102-1057
Franconi (Victor), Frankloff, 212 Friedlander, 20
13, 14, 162,
168
Krauss (C),
LLa Bruy^re, 215 La Grille, 86Lalanne, 13 Lamidey (Blanche), 322Lavigne, 325
GGallici, 96
Gautier (The'ophile), 131 Gerbaut, 325Gibson, 63 GiNiSTY (Paul), 309
Ledger, 4LEHNEtsr (Jacob), 62
GoNCOURT
(de), vii
Goubie, 325 Griffiths, 122
Lemaitre
(Jules), 100, 105, 131,
322
LEOPOLD, 296 Leotard, 15, 260, 207
HHanlon-Lees, 292-296 Harris, 124
Leovils, 281
Le Roux (Hugues), Levy (Chs.), 20 L^VY (6mile), 20
Letter to 152-157
Index,
335
Lewis (Brown), 325LiLiANNE, 15
NNella(Miss), 264, 265
LiNONLiVET
(Rose), 74(G.),
New
York Mirror, 6
LlNSKY, 13
238(brothers), it;, 122
Nine (La Petite), 64 Nouma-Hava, 138160173,
LocKHARTLoissET
(Clotilde),
I.oissET (Emilie), i6o, t6r, 162,
238
Oakley(Albert), ix
(Annie), 206, 207
LoNDE
O'Brien, 180
LoTi (Pierre), 274, 275, 308, 309 Louis (Mr.), 309
Oceana, 218, 219, 233 Octave, 86Ohia, 264, 265
Loyal (Mr.), 120, 162-1 66, 181 LuT^CE (Mdlle.), 73, 74Lycurgus, 77
PPantelli, 325
MMabille, 247 Magilton, 293
Paquerette,Paravicini, 10
Mallet (Felicia), 325 Marie (Adrien), 325
Parfaict (fr^res), 85 Paulina (princess), 65, 66, 67, Pezon (Adrien), 151 Pezon(J. B.) 138, 140-143. 150Philippe, 40, 57
Mars
(Mr.), 24675,
Marseille,
76
M artel,Maulde
320 Mathieu, ix(de),
320
Maupassant (de), 146 Maupin (Ren^e), 325, 3 27
PiNAUDs, 296, 300 Pindar, 194 Plutarch, 77, 122 Pluvinel, 168 Prince, t8i, 182 PuLLi (de), 320
Maura
(Franck), 225
Maurice, 86 Mengal, 32
RRamy, 281Revue(/
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