Endnotes
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Some of the articles will be found in the volume of his miscellaneous writings entitled Mes Haines. ↩
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So far as Manet is concerned, the curious reader may consult M. Antonin Proust’s interesting Souvenirs, published in the Revue Blanche, early in 1897. ↩
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The street of the Headless Woman. (Translator’s note.) ↩
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Gervaise of The Dram Shop (L’Assommoir). (Translator’s note.) ↩
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This aunt is Lisa of The Fat and the Thin (Le Ventre de Paris) in a few chapters of which Claude figures. (Translator’s note.) ↩
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In familiar conversation, French artists, playwrights, and novelists invariably call their productions by the slang term “machines.” (Translator’s note.) ↩
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The allusion is to the French Art School at Rome, and the competitions into which students enter to obtain admission to it, or to secure the prizes offered for the best exhibits which, during their term of residence, they send to Paris. (Translator’s note.) ↩
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The reader will bear in mind that all these complaints made by Claude and his friends apply to the old Salons, as organized under government control, at the time of the Second Empire. (Translator’s note.) ↩
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This was in 1863. (Translator’s note.) ↩
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Édouard Manet. (Translator’s note.) ↩
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This palace, for many years the home of the “Salon,” was built for the first Paris International Exhibition, that of 1855, and demolished in connection with that of 1900. (Translator’s note.) ↩
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A painting by one of those artists who, from the fact that they had obtained medals at previous Salons, had the right to go on exhibiting at long as they lived, the committee being debarred from rejecting their work however bad it might be. (Translator’s note.) ↩
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Madame Sidonie, who figures in M. Zola’s novel, La Curée. The male cousin, mentioned immediately afterwards, is Octave Mouret, the leading character of Pot-Bouille and Au Bonheur des Dames. (Translator’s note.) ↩