The Grande Chaumière, the Bal Mabille, the Tivoli, the Closerie des Lilas : journalists and chroniclers of the first part of the nineteenth century associated these popular ballrooms with the grisette, coquettish seamstress woman with free manners. She loves to dance, to vaunt on Sunday with the Latin Quarter’s students and represents the Parisian free spirit. The popular ballroom is the traditional place to meet the other sex but also a space for innovation and challenge of the moral order. The Paris revolution of the nineteenth century is not only represented by the barricades of 1830 and 1848 but also by these places of subversive pleasures. This Paris exports itself through fashion and new dances like the cancan (analyzed here). The grisette became, in literature, inseparable with the bal that associates her with the flonflons of her dress. This female figure is exported oversea by authors like Charles Paul de Kock, becoming then the prototype of easy promiscuous women that continues to feed modern imagination about French women.