architecture, painting, sculpture, and engraving, are shown swimming across the Seine, followed by the lions of the Institut (symbolizing young artists), to join poetry in Montmartre. The drawing, sketched on an old, cracked leaf of paper, shows the ephemeral character of the programme, Goudeau explined Willette’ picture in his anti-manifesto ‘Palabre’. All programmes are illusory, he stys, includ- ing thar of Montmartre artists, and in the final sentence, declares: “Death to ped- ants!” (‘Mort aux cuistres’).” ‘Trombert named his cabaret after the provocative Quar’7/arts ball that students from the Beaux-Arts Academy organized at the Moulin Rouge on 9 February 1893, with the direct support of Jules Roques and Le Courrier francais. This costume ball, where models paraded as nudes in living paintings, became famous because of the risible lawsuit it triggered. ‘The journalists called as witnesses, like Fumists, deliber- ately mocked their own capacity for accurately relating current events. ‘Trombert intended to associate his cabaret with this subversive, nonconformist attitude of young art students and journalists, * Les Quat'carts (6 Nov. 1897),2.