“Quartilla applied a curious eye to a chink, purposely made, watching their childish dalliance with lascivious attention.”

Martial, xi, 46, makes mention of the fact that patrons of houses of ill fame had reason to beware of needle holes in the walls, through which their misbehaviour could be appreciatively scrutinized by outsiders; and in the passage of our author we find yet another instance of the same kind. One is naturally led to recall the “peep-houses” which were a feature of city life in the nineties. There was a notorious one in Chicago, and another in San Francisco. A beautiful girl, exquisitely dressed, would entice the unwary stranger into her room: there the couple would disrobe and the hero was compelled to have recourse to the “right of capture,” before executing the purpose for which he entered the house. The entertainment usually cost him nothing beyond a moderate fee and a couple of bottles of beer, or wine, if he so desired. The “management” secured its profit from a different and more prurient source. The male actor in this drama was sublimely ignorant of the fact that the walls were plentifully supplied with “peep-holes” through which appreciative onlookers witnessed his Corybantics at one dollar a head. There would sometimes be as many as twenty such witnesses at a single performance.