is almost invariably omitted.  They become veterans, but their length of service receives no favourable recognition. Comparses they live, and comparses they die, or disappear, not apparently discontented with their doom, however.  Meantime the figurant cherishes sanguine hopes that he may one day rise to a prominent position in the ballet, or that he may become an accessoire; and the accessoire looks forward fervently to ranking in the future among the regular actors or artistes of the theatre, with the right of entering its grand foyer, or superior green-room.  Until then he must confine himself and his aspirations to the petit foyer set apart for the use of players of his class.

Thus it is told of a certain accessoire of the Porte St. Martin, in years past, who had won a scarcely appreciable measure of fame for his adroitness in handing letters or coffee-cups upon a salver, and even for the propriety with which he announced, in the part of a footman, the guests and visitors of a drama—­such as “Monsieur le Vicomte de St. Remy!” or “Madame la Marquise de Roncourt!”—­that he applied to his manager for an increase of his salary on account of the special value of his services.  “I do not expect,” he frankly said, “immediately to receive 25,000 francs, as Monsieur Frederic Lemaitre does; no, not yet; although I bear in mind that Monsieur Lemaitre began his career with fighting broadsword combats in Madame Saqui’s circus; but my present salary is but 600 francs a-year, and a slight increase—­”

“Monsieur Fombonne,” interrupted the manager, “I acknowledge the justice of your application.  I admire and esteem you.  You are one of the most useful members of my company.  I well know your worth; no one better.”

Monsieur Fombonne, glowing with pleasure, bowed in his best manner.

“I may venture to hope, then—­”

“By all means, Monsieur Fombonne.  Hope sustains us under all our afflictions.  Always hope.  For my part, hope is the only thing left me.  Business is wretched.  The treasury is empty.  I cannot possibly raise your salary.  But you are an artist, and therefore above pecuniary considerations.  I do not—­I cannot—­offer you money.  But I can gratify a laudable ambition.  Hitherto you have ranked only as an accessoire; from this time forward you are an actor.  I give you the right of entering the grand foyer.  You are permitted to call Monsieur Lemaitre mon camarade; to tutoyer Mademoiselle Theodorine.  I am sure, Monsieur Fombonne, that you will thoroughly appreciate the distinction I have conferred upon you.”

Monsieur Fombonne was delighted.  He was subsequently to discover, however, that some disadvantages attended his new dignity; that the medal he had won had its reverse.  The accessoires and figurants of the theatre always received their salaries on the first day of each month.  The artistes were not paid until the sixth or seventh day.  Monsieur Fombonne had to live upon credit for a week as the price of his new privileges.  His gain was shadowy; his loss substantial.