38- P. de Haenen, Disappearing Paris — The Cabaret of "Papa Eyeglasses," 1889, detail, Cabinet des Estampes, Bibliotheque Nationale, Paris. The vanity of both figures is emphasized by Manet, whereas vanity is not a central theme in Zola's text. Manet's version of the observed toilette works almost as a critique of the substance of Zola's, but it is undertaken at Nana's expense; for, while the man's vanity is passive, hers is active. His mere complacency makes him vain, but her vanity comprises the elaborate makeup procedure, the luxurious undergarments, and her eye contact with the viewer. But vanity, as we have learned, is the powerful weapon of the courtesan. In de-emphasizing the man's agitation in this context, Manet's image might agree with the following nineteenth-century definition of courtisane, which establishes the Veblenesque link between buyer and courtesan: "The rakes take on the payment of courtesans, not for the pleasure that they find with them, but out of a sentiment of ridiculous vanity."66 An obvious difference between the two is that resplendence of costume is not part of Nana's minimal and theatrical toilette in Zola's loge scene, whereas the sumptuousness and physical effects of undergarments are indispensable to the meaning of all three of Manet's Nanas. For Zola, flesh, rather than what covers it, is the instrument of domination. Zola almost always succumbs to this allegorized use of the exposed body, and it is only when the scene shifts away from Nana the beginner, in a sexualized private space, to Nana at the zenith of her powers, in a public arena, that Zola's clothing imagery falls more closely in line with Manet's. Pierre-Auguste Renoir, however, in his handling of a similar subject, relies less on the link between the courtesan and her costume. He, too, became involved in devising an imagery of Nana in the late 18705, providing illustrations for a deluxe illustrated edition of UAssommoir 67 published in iS/S. In the drawing that served as the basis for one of his four illustrations for the book (fig. 39), he depicts a scene in which the young Nana invades the sidewalk in the company of five girlfriends. "All six, arm in arm, taking up the whole width of the street, were going along dressed in light colors with ribbons tied around their bare heads."68 Evidently Re- 73