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
Next after Voltaire we have to note side by side with the collection
a small work of Curtius’s own in miniature, the very striking profile
of the Duke of Orléans. How it helps one to understand that base and
extraordinary career! Everyone reading the story of the Revolution
should concentrate upon that man’s ambition, weakness and intrigue.
The origin of the whole business was his false idea (unfortunately for
himself confirmed by circumstances for many years) that Louis XVI and
Marie Antoinette would have no children. He came to regard himself as the
heir, and the natural result was that when the first child came after so
perplexing a delay (a delay the cause of which I have explained in an
appendix to my own monograph on Marie Antoinette) Philippe Égalité felt
himself aggrieved. His grievance was illogical and unjust, but it was
there and in that grievance you find no small part of the motive force
that impelled the early Revolution.
The family tradition carried on by the Tussauds from the Revolution was
what may be described as the “orthodox” tradition. It is the tradition
which appears in this book. I am not sure that the historian can wholly
agree with it.
This “orthodox” tradition is the tradition of an equable and happy
society overthrown into a sort of chaos at the head of which chance
scoundrels floated, each to disappear in turn, struck by a sort of
anarchic doom proceeding from their fellow anarchs. The Revolution was
rather a resettlement of society from a state which had become unstable
to a new and more stable state, and its leaders were upon the whole,
though suffering under the exaggeration from which leaders at such a time
invariably suffer, men of capacity--especially on the military side.
Further, those who were made responsible in popular tradition for the
worst excesses were hardly the principal authors of them.
Thus, the real director of what is called the Terror was Carnot, not
Robespierre. Carnot was a perfectly sane man and a genius to boot,
attached to the new democratic principle, but a soldier, and working for
the highly practical ends which a soldier has in view. He thought of
the Terror as a piece of martial law, and it is significant that under
his direction by far the greater number of those who suffered in Paris
suffered through a direct breach of the temporary regulations (such as
those against the export of money or communication with the enemy) which
were necessary for the prosecution of the campaign.
Public-domain text, read in full here on John Shaqi.
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