When the theater changed hands, and its new director proved unsympathetic to pantomime, the years of his itinerancy began: two years in Brazil, then a long stint at the Théâtre Alcazar in Bordeaux (1864–1870); an Egyptian tour in 1870. When he returned to Paris after the Franco-Prussian War and the Commune, it was for an eight-year engagement at the Tertulia, a café-spectacle that had little of the old luster of the Folies-Nouvelles. The last two years of his professional career (1886–1887) were spent at the Théâtre-Vivienne, which catered primarily to children. In his retirement, Legrand published a volume of his pantomimes and gave his support to the Cercle Funambulesque, which was founded in 1888. He appeared as Pierrot in its first program—in a "Prologue" with verses by Jacques Normand and music by Auguste Chapuis—and, in its third program, performed in one of his own pieces, Bureaucrat Pierrot. But at seventy-two, he would mainly serve the Cercle as a spectator, as young mimes took over his role. Paul Legrand is interred in the Père Lachaise Cemetery in Paris (section 36c). Pantomime Legrand's physique seemed, to the admirers of his predecessor, unsuited to pantomime. Charles Deburau complained to the mime Séverin that he was too thick-set, his trunk and arms too short, his face too fat and round for a mime; he lacked elegance and grace. The poet and journalist Théophile Gautier, in a review of The Wager (1846), performed by Legrand at the Funambules, also missed "that unusually long musculature in the legs and arms—natural in some [mimes], obtained in others by dint of hard work—which allowed Mazurier and Ravel to execute their astonishing leaps", and he counseled lessons in "the difficult art ... of delivering and receiving the kick." But Legrand's schooling had been in the roles of the lover Leander, not in those of the acrobatic zanni; he brought a dramatic (and romantic) sensibility to his Pierrot. And soon Gautier began to value the difference: when Legrand appeared in Marquis Pierrot (1847), a pantomime by Champfleury, Gautier compared him, in the range and finesse of his acting, to the great comic actor Hugues Bouffé: "inasmuch as he is humble, piteous, melancholy, greedy, wheedling, stealthy, endearing, hypocritical in the first part of the piece, so is he arrogant, insolent, scornful—a regular Marquis de Moncade—in the second. What unprecedented truthfulness, what depth of observation ... " It was not the musculature