from 1897 until his death in 1906. Charles de Sivry, now music direc- tor at the Quat’z-Arts, published his memoirs in the journal. Vincent Hyspa (who had broken with Salis in 1894) contributed a series of humorous lectures under the rubric “Ecole Normale’, Over the course of some ten years, Hyspa gravely took up such unpromising topics as “The Whale’, “The Sausage’, and “The Matchbox’ and lent them a mock-scholarly dignity that was always deflated with incon- gruous puns. Bolder than the house weekly, from a conceptual stand- point, was Le Mur, which consisted of more or less impromptu contributions pinned to a wall of the café room. The ‘editorship’ of every issue passed to a different one of the cabarets regulars, Drawings and caricatures, chansons and sonnets, fanciful recipes in pscudo-Gothie lettering, newspaper clippings, collectively composed serial novels—virtually anything could appear under the auspices of this informal, fluid ‘wall-journal’, which ran (of course irregularly) from 1894 to 1905.°" © Copies of Les Quat!=4vs are rare, but a microfilm at the Bibliothéque Nationale pre~ serves most of the run through issue 11/43 (4 Jan. 1908). © Bercy and Ziwés, A Montmartre, $1. © Le Mur bas recenily been acquired by the Jane Vorhect Zimmerli Art Museum, Rutgers University, where the author was able to examine photocopies through the kind ness of Phillip Dennis Cate, See Olga Anna Dull, ‘From Rabelass to the Avant-Garde: Wordplays and Parody in the Wallournal Le Mur, in Cate and Shaw, The Sprit of ‘Montmartre, 199-241