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
It is a raw, chilly, marrow-searching day in the month of October,
1793. A spacious hall, known in this new and blessed era of Universal
Regeneration, and Unlimited Throat-Cutting, as the Salle de la Liberté,
in the Palais de Justice, hard by the prison of the Conciergerie, has
been swept and garnished for the trial of the discrowned and desolate
widow of “Louis Capet,” murdered on the scaffold in the Place de la
Révolution last January. In a dark and filthy dungeon of that same
Conciergerie Marie Antoinette has been immured since August. The walls
of the Salle de la Liberté have been newly whitewashed--no voluptuous
frescoes or oil painting in this abode of Republican simplicity, if you
please: only patriotic lime-whiting and democratic glue--and the almost
blinding glare of the stark walls brings out in strong relief the dark
green canopy suspended over the heads of the Judges of the Revolutionary
Tribunal, who are five in number, the President being one, Hermann.
Above this precious conclave are the busts of Brutus--save the mark!--and
two recent Revolutionary notorieties: the infamous Marat, deservedly
done to death by Charlotte Corday and the member of the Convention,
Lepelletier de St. Fargeau, who had voted for the death sentence on
Louis XVI, and who immediately afterwards was stabbed to death by an
ex-Garde du Corps in an eating house in the Palais National--once Palais
Royal. The busts are crowned with scarlet caps of liberty, adorned with
monstrous tri-coloured cockades, and are flanked by two huge oil lamps.
There will be need of the lamps; for the deliberation of the tribunal
will probably last far into the night.
The judges sit at a long table which, although shabby, is somewhat
pretentious in its upholstering, since the legs are of mahogany, and
fluted, and the brazen feet are fashioned in the shape of griffin’s
claws, and exhibit some traces of bygone gilding. This table is yet
extant, and forms part of the furniture of the Court of Cassation, which
at present holds its sittings in the old Salle de la Liberté. The Public
Accuser has his place in front of the President; the jury--yes, this
monstrous tribunal has a jury!--is to the left of the judges; and to the
right is the desk of the Counsel for the defence. Behind him is the seat
for the prisoners. A breast-high balustrade separates the Court from the
space set apart for the public, which is ample enough, and is thronged,
this dreary October morning, by a motley crew of _sans culottes_,
mechanics, lamplighters, bargemen and coarse, loud-voiced women from
the markets, some of them known as “_Tricoteuses_” and “Furies of the
Guillotine.”
Between the balustrade and the body of the Court runs a long gangway,
at one extremity of which is a door, communicating by means of a narrow
staircase with the Gaol of the Conciergerie.
Public-domain text, read in full here on John Shaqi.
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