49- Victor Morland, "Scenes of Parisian Life," La Vie Amusante, 1878-79, and Le Monde Comique, 1879-80. - Miss!. . . miss! - listen to a heart that only seeks to cherish you! — And a wallet! — The devil! . . . there are costs. protected from the temptations and dangers of the swarm of sexually illicit women. It seems inevitable that this issue would have surfaced in the Rolla criticism because of the ways in which the picture represented a young bourgeois celibataire who had been with a prostitute ap- parently from les classes populaires. We have already seen that the painting's props emphasized the vivid physicality of Rolla's contamination; the top hat and cane enacted and symbolized the sexual capitulation of Rolla to the power of female deviance and the social capitulation of an upper-class man to a lower-class woman. Rolla drowned in the rising tide of sexual vice. The woman was the culprit, and Rolla her victim. The Invasion of the Boulevard No where are the Nymphs of the pave to be seen in greater force than on the Boulevards. As soon as the lamps are lit, they come pouring through the passages and the adjacent rues, an uninterrupted stream, until past midnight. The passages Jouffroy, Opera and Panoramas, on wet nights swarm with these women. At the cafes on the boulevards, particularly on the Blvd. Montmartre, the muster, always, is considerable. Only glance at one of these creatures, and you will be entrapped in a moment unless you have the moral courage to resist. - Anonymous, Paris after Dark: Night Guide for Gentlemen 93