Perhaps best known now by its iconic Théophile-Alexandre Steinlen poster art, in
its heyday it was a bustling nightclub - part artist salon, part rowdy music hall,
partially due to an illegal piano. The cabaret published its own journal Le Chat Noir.
It began as a small, two room affair, but within three and a half years its popularity
forced it to move into larger accommodations a few doors down. Salis most often played,
with exaggerated, ironic politeness, the role of conférencier (post-performance lecturer, or MC).
It was here that the Salon des Arts Incohérents (Salon of Incoherent Arts), the "shadow plays"
and the comic monologues got their start.