Le Rat Mort
| Company type | Cafe, restaurant, cabaret |
|---|---|
| Industry | Hospitality, nightlife |
| Founded | 1837 |
| Headquarters | Paris , France |
Area served | Paris, France |
| Products | Food, beverages, entertainment |
Le Rat Mort ("The Dead Rat") was a distinguished cafe, restaurant, and cabaret located in 19th and early 20th century Paris. Positioned in Place Pigalle, Montmartre, it became a favored spot for artists, authors, performers, models, and sex workers. In the evenings, it served as a well-known lesbian meeting place. Its patrons inspired works by artists such as Toulouse Lautrec, Maxime Dethomas, Auguste Chabaud, and Maurice de Vlaminck.
1837–1850s: Establishment
Le Rat Mort originated in 1837 under the name Café Pigalle at 7 Place Pigalle in Montmartre. Situated opposite the bohemian venue La Nouvelle Athènes, it attracted clientele after a disagreement at the rival cafe prompted intellectuals to relocate their gatherings across the street. The establishment’s lasting name reportedly derived from a visitor’s comment on the smell of fresh renovation materials: "It smells like a dead rat here."
Alternative stories about the name’s origin include discoveries of a dead rat inside the beer pump or an incident involving the killing of a rat that interrupted a secret lovers’ rendezvous in a private chamber.
Notably, writer Charles Baudelaire was among its early visitors during the 1850s.
At its outset, many female guests were either artist models or prostitutes seeking clients, continuing Montmartre’s tradition where models convened at Place Pigalle’s fountain to find work with painters.
1860s–1870s: Intellectuals, revolutionaries, and queer communities
Throughout the 1860s and 1870s, Le Rat Mort became a gathering place for writers and artists such as poet Fernand Desnoyers and literary figures Catulle Mendes, Henry Cantel Eugene Ceyras, Albert Merat, and Leon Clodel, who were prominent members of the Parnassian literary circle.
Some frequent attendees participated in the revolutionary events of the Paris Commune in 1871. Although some did not return after its suppression, by 1874 the cafe had reestablished itself as a center for political and literary discussions.
By this decade, Le Rat Mort had earned a reputation as a "cafe au femmes," attracting female patrons even prior to the Commune. An 1889 article from the Paris Courier highlighted its popularity among women and included this brief verse:
<poem>
- Les Femmes s'en vont
- au Rat Mort/
- Pour réveiller
- le chat qui dort
</poem>
<poem>
- (The women go
- to the Dead Rat/
- to wake the sleeping cat)
</poem>
The cafe’s connection to lesbian communities led to lesbians being colloquially called "Dead Rats." Additionally, gay lovers Paul Verlaine and Arthur Rimbaud frequented the establishment; it was famously at this venue that Rimbaud injured Verlaine’s wrists during an altercation.
1880s–1890s: Artistic prominence and growth
An 1889 French critique praised the large rat artwork on the ceiling by Leon Goupil and commended its onion soup. The review described Le Rat Mort as a preferred haunt for renowned artists and authors, maintaining its status as a 'restaurant des femmes.' Regular guests included Gustave Courbet, Emile Zola, and Edouard Manet.
During the 1890s Belle Époque era, Le Rat Mort was acknowledged as one of Montmartre’s oldest cafes. The clientele featured artists like Edgar Degas and Toulouse Lautrec, alongside artist models and sex workers. The interior showcased lavish Second Empire style elements such as expansive mirrors and ornate gas lighting. Painter Joseph Faverot expanded upon Goupil’s ceiling rat by adding frescoes illustrating stages of a rat’s life: Baptism, Wedding, Orgy, and Death. The restaurant contained two entrances—a main front door and a discreet rear exit.
Toulouse Lautrec captured the cafe’s atmosphere in his 1899 painting "In a Private Dining Room At the Rat Mort," depicting a courtesan—likely Lucy Jourdain—in an intimate chamber used for encounters with sex workers.
In the late 1890s, Belgian writers who frequented Le Rat Mort inspired the establishment of Le Bal du Rat mort in 1898—an annual charitable costume ball that continues to be celebrated today.
1900–1920s: Transition from Restaurant to Cabaret
By 1903, Le Rat Mort had established itself as one of Paris's most renowned dining establishments, gaining fame for its late-night entertainment offerings.
The bisexual author Colette was a frequent visitor, remarking on a young female music hall performer who wore a masculine-style hat, capturing what she described as the distinctive elegance of Le Rat Mort.
Artists such as Maxime Dethomas and Maurice Vlaminck produced portraits featuring women from the venue, while Auguste Chabaud illustrated a couple entering the club’s entrance.
Throughout World War I, Montmartre’s cafés and nightlife venues experienced significant decline as many artists and intellectuals were drafted into military service.
At the same time, African American soldiers stationed in the area introduced dynamic cultural elements. A number of these soldiers either remained or returned after the war as musicians and entertainers, contributing to the flourishing jazz movement in 1920s Montmartre.
Following her engagement with La Revue Negre, Josephine Baker became a regular performer at Le Rat Mort. Lydia Jones, another African American artist, recalled the club as "a naughty place" where generous tips were common. The establishment was operated by members of the Corsican mafia, and even the Prince of Wales was known to visit during the 1920s.
By 1926, Le Rat Mort had transformed into a cabaret described as "Open from midnight to dawn," boasting "a celebrated orchestra" alongside numerous women who encouraged patrons to purchase dances.
1930s–Present: Closure and Enduring Influence
The Great Depression exacerbated crime rates and intensified Mafia conflicts in Pigalle. In 1934, Le Rat Mort became the scene of a violent confrontation between Corsican mafia figures Jean Paul Stefani and Ange Foata, during which Foata’s 5-year-old son was tragically killed. Although Stefani was acquitted of charges, the club ceased operations shortly thereafter.
By the middle of the 20th century, other nightclubs had replaced Le Rat Mort. As of 2023, the original premises serve as a bank branch; nevertheless, the location continues to attract visitors fascinated by Paris’s bohemian heritage.
Contemporary scholars acknowledge Le Rat Mort’s significant contributions to art, literature, gender studies, and LGBTQ history.
Musician Manu Chao references Le Rat Mort in his early 21st-century track "La Ventura," emphasizing its infamous reputation:
"Un claque à filles de mauvaise vie ù/ que Stafanì y blessa par balle/ Angelo le mafioso/ L'a eu de la chance ce vieux saloud!/ d' s'en tirer comme ca sans trop d'accrocs/ ENTRE CHIENS ET LOUPS/ QUAND TOMBE LA NUIT"
("It’s at the Dead Rat in Pigalle,/ a den of ill repute,/ where Stafani shot and wounded/ Angelo the mafioso./ That old bastard got lucky!/ To escape like that without too much trouble,/ between dogs and wolves/ when night falls.")
Further reading
- Le Montmartre Secret (French language resource)
Gallery
Additional sketches by Joseph Faverot depicting wall frescoes originally found at Le Rat Mort