. (1.) 47 Eugene Giraud, The Hall of Missteps, from Album Goupil: Salon de is . 77 48. (r.) "These Women and the — That's all you're paying? Exposition," — That's all you're exposing? Petit Journal pour Rire, 1878. mination depended on factors other than the cut of her costume), but the lower-class, public prostitute — registered or not — is regularly shown wearing full skirts, presumably old-fash- ioned or cast-off dresses. In The Hall of Missteps of 1877, by Eugene Giraud (fig. 47) - one of the rare paintings of a modern prostitute to appear in the Salon about the time of Rolla — the fille leaning over inti- mately toward the official of the court is wearing a full skirt. The cafe prostitute shown in a Petit Journal pour Rire cartoon of 1878 (fig. 48) makes a pun on the "exposing" going on at the 1878 Exposition Universelle. She is shown in the fullest of skirts. Another example of this style of mn dress is in the "Scenes of Parisian Life" of 1879 (fig- 49)' by both Le Monde Comique and La Vie Amusante, in which the woman demands a wallet from her admirers. The courtesan or demimondaine of 1878, unlike the lower-class prostitute, is invariably shown wearing the straight profile. All of the fashionably dressed demimondaines wear this style in the "Ridicule" (fig. 32). Manet's Nana wears no starched petticoat, and other well- turned-out women involved with men from classes considerably above their own (fig. 46, for example) are also shown wearing the pencil silhouette. Marion's undergarments and our deductions about her street clothes refine our under- standing of her status and way of operating as a prostitute in 1878. Unsurprisingly, given what we have learned of their sexual charge, corsets were worn by prostitutes at work in the living rooms of some brothels, but the combination of corset and petticoat was unheard of. We be- come more and more sure that Marion's dress allowed her to be read as a lower-class prostitute who worked independently of a maison de tolerance, out on the street, especially because there were no popular licensed brothels on the grands boulevards, where the painting is set.130 Policemen could not control the spread of sexualized street vice — they were particularly 92 ineffective in the grands boulevards district — so young men like Jacques Rolla remained un-