The Romance of Madame Tussaud'sTussaud, John Theodore
History
The Romance of Madame Tussaud's
Tussaud, John Theodore
Madame Tussaud and Sons' Exhibition; Tussaud, Marie, 1761-1850; Waxworks
We complied with this condition, and while writing these reminiscences
the gorgeous apparel of the Afghan Prince lies heaped in a corner of my
studio, having been brought out that I may again for a moment gaze upon
its faded glories of purple and gold; for the portrait of the Shahzada
has long since been removed from its pedestal.
The King of Siam was a very decorous and unassuming little gentleman,
who gave no hint of disappointment that his own portrait did not appear
in the collection, while I wondered, as I walked with him, whether he
regretted or welcomed the omission.
As we came face to face with the Shah of Persia, whose gorgeous
habiliments glittered with a veritable firmament of jewels, the King
again harped upon the question of the Shahzada’s clothes.
Looking hard at the “lion” of a former season, the King exclaimed:
“His own clothes, too, I suppose?”
“Not this time,” I replied. “We were not so fortunate in the case of the
Shah.”
“An exact duplicate, though,” was the compliment of the laughing King.
The Eastern potentate was a most minute and intelligent observer of all
he saw, and questioned me unceasingly.
“Who is that beside the Prince?” he inquired, pointing at the Prince
of Wales in a howdah on the back of the elephant Juno, a tableau which
depicted a tiger-hunting incident in the late King Edward’s Indian tour.
On being told that the Prince was accompanied by his “loader,” the King
replied, “Yes, yes,” as if he thought his question a superfluous one.
From hall to hall we passed, and I was astonished at the knowledge of
English history displayed by King Chulalongkorn. He picked out the figure
of Richard I, and, pointing to the white doublet with the red cross on
the breast, said, “The costume of a Crusader--certainly, certainly.” The
representation of King John with the Magna Charta in his hand did not
appear to produce a very pleasing impression upon the Siamese autocrat.
“_What_ a name! Who was he?” remarked the King in front of Houqua, the
big Chinaman who earned his place in the Exhibition on account of certain
services he had rendered this country. I had withdrawn for a moment, and
was called back to explain that Houqua was a Chinese merchant, whereat
the royal interlocutor turned away with a contempt for trade clearly
indicated on his face.
It was surprising to note that King Chulalongkorn passed the portraits
of Mr. Gladstone, Lord Salisbury, and other British statesmen without a
pause or comment. He stood some minutes in front of the case containing
the orders of the Duke of Wellington, and then remarked, with admiring
emphasis:
“These are surely all the orders a man could have; he must have had
nearly everything.”
The group of Henry VIII and his six wives was surveyed in stolid silence
by a monarch not likely to be moved by such a spectacle. In a shadowed
portion of the gallery he nearly mistook (and slightly frightened) two
nice English girls in white for wax figures.
Public-domain text, read in full here on John Shaqi.
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