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As early as 1896, a group of Greenwich Village artists, poets and other artistic and literary personalities were meeting weekly at Maria Del Prato's Italian restaurant on MacDougal Street. The group, which became known as The Pleaides Club, included Paul Du Chaillu, Mark Twain, Stephen Crane, William Garrison, Clara Louise Kellogg and other luminaries among its early members. As it grew and needed larger quarters, the group first moved to the Black Cat then to the Hungaria, eventually settling in at the Hotel Brevoort in 1906. The club's mission was simply to provide a convivial and friendly audience to inexperienced artists through its weekly meetings and publication of their work in its yearbook, The Pleiad. Good .
As early as 1896, a group of Greenwich Village artists, poets and other artistic and literary personalities were meeting weekly at Maria Del Prato's Italian restaurant on MacDougal Street. The group, which became known as The Pleaides Club, included Paul Du Chaillu, Mark Twain, Stephen Crane, William Garrison, Clara Louise Kellogg and other luminaries among its early members. As it grew and needed larger quarters, the group first moved to the Black Cat then to the Hungaria, eventually settling in at the Hotel Brevoort in 1906. The club's mission was simply to provide a convivial and friendly audience to inexperienced artists through its weekly meetings and publication of their work in its yearbook, The Pleiad. Good .
As early as 1896, a group of Greenwich Village artists, poets and other artistic and literary personalities were meeting weekly at Maria Del Prato's Italian restaurant on MacDougal Street. The group, which became known as The Pleaides Club, included Paul Du Chaillu, Mark Twain, Stephen Crane, William Garrison, Clara Louise Kellogg and other luminaries among its early members. As it grew and needed larger quarters, the group first moved to the Black Cat then to the Hungaria, eventually settling in at the Hotel Brevoort in 1906. The club's mission was simply to provide a convivial and friendly audience to inexperienced artists through its weekly meetings and publication of their work in its yearbook, The Pleiad. Very good .
The French edition of this book, based on Julien Crozet's notes, was lost. Helene Roux reconstructed a French version from Henry Ling Roth's 1891 English translation. Fine .