go. Edouard Manet, The Waitress, 1878-80, india ink and gouache drawing, reproduced in La Vie Moderne, May 8, 1880. analyzed as pictures of that particular place, or of any other specific club or cafe. The range of titles alone by which these works have been known over the past century is a sure indication of the composite nature of their studio construction. Unfortunately, very little period commentary on these pictures has come to light, probably because none was shown in a Salon and none achieved 69 the notoriety in Paris that would have attracted journalists as Nana had in 1877, for example. When the London picture (fig. 81) was exhibited in Lyons in 1883 as Cafe-Concert, Adolphe Tabarant, an early twentieth-century scholar, reported (schematically) that the paint- ing was "extremely badly received by the Lyons press."70 He quotes one example of what he judged to be a poor reaction from Lyons: "Monsieur Manet has sent us a strange canvas from 143