The Dungeons of Old Paris: Being the Story and Romance of the Most Celebrated Prisons of the Monarchy and the RevolutionHopkins, Tighe
History
The Dungeons of Old Paris: Being the Story and Romance of the Most Celebrated Prisons of the Monarchy and the Revolution
Hopkins, Tighe
Prisons -- France -- Paris
It was the monks, as tradition wills it, who hollowed out the cruel
cells of the Abbaye de Saint-Germain-des-Près. The architect Gomard,
insisting that cells were not included in the bond, withdrew when he had
put his last touches to the cloisters. But in 1630, or thereabouts, no
monastery was complete without its _oubliettes_, and the prior commanded
his brethren to finish the work of the too-scrupulous Gomard. Thus was
the Abbaye equipped as an abbaye should be.
What power indeed, spiritual or temporal, had not the privilege in those
days of setting up its pillory, its gallows, its pile of faggots built
around a stake! In Paris alone at this date some twenty separate
jurisdictions possessed the right to fatten victims for the scaffold,
and it might almost be said that the municipal divisions of the capital
had gibbets for their boundaries.
In 1674, however, the situation changed somewhat. The authority of the
Châtelet was enlarged by royal edict, which gathered to it the rights
and privileges of all the lesser corporations, and confiscated the
halters and the faggots of private justice. This was a general blow,
which none took more to heart than the prior of the Abbaye of
Saint-Germain-of-the-Meadows. He had enjoyed the rights of "high,"
"middle," and "low" justice; he had imprisoned, tortured, and despatched
at his holy pleasure. Forthwith, he composed and addressed to Louis XIV.
_un mémoire éloquent_, which touched that pious heart. The Royal will
consented to restore to the prior a considerable portion of his ancient
jurisdiction. Within the extensive bounds of the monastery and its
appanages, the holy father might still consider himself gaoler,
tormentor, and executioner.
Public-domain text, read in full here on John Shaqi.
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