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Not many years after the massacre of St. Bartholomew, the Church of St. – Germain-l’Auxerrois, in September, 1581, was the starting-point of a very different series of performances. “On Monday, September 18th,” says the writer of a contemporary account, “the Duc de Joyeuse (Henry III.’s favourite ‘minion’) and Marguerite of Lorraine, daughter of Nicholas de Vaudemont, and sister of the queen, were betrothed in the Queen’s Chamber, and the following Sunday were married at three o’clock in the afternoon at the parish church of Saint-Germain-l’Auxerrois. The king led the bride, followed by the queen, the princesses, and other ladies in such superb attire that no one recollects to have seen anything like it in France so rich and so sumptuous. The dresses of the king and of the bridegroom were the same, and were so covered with embroidery, pearls, and precious stones, that it was impossible to estimate their value. Such an accoutrement had, for instance, cost ten thousand crowns in the making; and at the seventeen feasts which were now from day to day given by the king to the princes and lords related to the bride, and by other great persons of the Court, the guests appeared each time in some new costume, gorgeous with embroidery, gold, silver, and diamonds. The expense was so great, what with tournaments, masquerades, presents, devices, music, and liveries, that it was said the king would not be quit for twelve hundred thousand crowns. On Tuesday, October 16th, the Cardinal de Bourbon gave his feast in the palace attached to his abbey, St. – Germain-des-Prés, and caused to be constructed on the Seine a superb barque in the form of a triumphal car, which was to convey the king, princes, princesses, and the newly married pair from the Louvre to the Pré-aux-Clercs in solemn pomp. This stately vehicle was to be drawn on the water by smaller boats disguised as sea-horses, Tritons, dolphins, whales, and other marine monsters, to the number of twenty-four. In front, concealed in the belly of the said monsters, were a number of skilled musicians, with trumpets, clarions, cornets, violins, and hautboys, besides even some firework-makers, who, at dusk, were to afford pastime not only to the king, but to fifty thousand persons on the banks.” The piece, however, was not well played, and it was impossible to make the animals advance as was intended, so that the king, after having from four o’clock in the afternoon till seven watched at the Tuileries the movements and workings of these animals without perceiving any effect, said sarcastically, “Ce sont des bêtes qui commandent a d’autres bêtes,” and drove away with the queen in his coach, to be present at the cardinal’s feast, which was the most magnificent of all. Among other entertainments, his Eminence gave that of an artificial garden, luxuriant with growing flowers and fruits, as if it had been May or August.
On Sunday, the 15th, the queen gave her feast at the Louvre, and after the feast the ballet of “Circe and her Nymphs.” This work, otherwise entitled “Ballet Comique de la Reine,” was represented in the large Salle de Bourbon by the queen, the princes, the princesses, and the great nobles of the Court. It began at ten o’clock in the evening, and did not finish till three the next morning. The queen and the princesses, who represented the Naiads and the Nereids, terminated the ballet by a distribution of presents to the princes and nobles, who, in the shape of Tritons, had danced with them. For each Triton there was a gold medal with a suitable inscription; and the composer, Baltazarini – or Beaujoyeux, as he was now called – received flattering compliments at the end of the representation from the whole Court. His genius was extolled and his glory celebrated in verses which hailed him as one who “from the ashes of Greece had revived a new art,” who with “divine wit” had composed a ballet, and who had so placed it on the stage that he surpassed himself in the character of “inventive geometrician.”
On the evening of Monday, the 16th, at eight o’clock, the garden of the Louvre was the scene of a torch-lit combat between Fourteen Whites and Fourteen Yellows. On Tuesday, the 17th, there were conflicts with the pike, the sword, and the butt end of the lance, on foot and on horseback. On Thursday, the 19th, took place the Ballet of the Horses, in which Spanish steeds, race-horses, and others met in hostile fashion, retired, and turned round to the sound of trumpets and clarions, having been trained to it five months beforehand. “All this,” says the chronicler, “was beautiful and agreeable, but the finest feature of Tuesday and Thursday was the music of voices and instruments, being the most harmonious and most delicate that was ever heard. There were also fireworks, which sparkled and burst, to the fright and joy of everyone, and without injury to any.”
It was in the Church of St. – Germain-l’Auxerrois, too, three centuries earlier, that a priest astonished his congregation – and afterwards, when the incident was reported, the whole of Europe – by his mode of pronouncing the excommunication decreed by Pope Innocent IV. against the Emperor Frederick II. “Hearken to me, my brethren,” he said. “I am ordered to pronounce a terrible anathema against the Emperor Frederick to the accompaniment of bells and lighted candles. I am ignorant of the reasons on which this judgment is based. All I know is that discord and hatred exist between the Pope and the Emperor, and that they are accustomed to overwhelm each other with insults. Therefore I excommunicate, as far as lies in my power, the oppressor, and I absolve the one who is suffering a persecution so pernicious to the Christian religion.” It has been said that a report of this strange excommunication found its way all over Europe. The priest, as might have been expected, was rewarded by the Emperor and punished by the Pope.
CHAPTER VI
THE PONT-NEUF AND THE STATUE OF HENRI IV
The Oldest Bridge in Paris – Henri IV. – His Assassination by Ravaillac. – Marguerite de Valois – The Statue of Henri IV. – The Institute – The Place de Grève.
PARIS in 1886 contained, according to the census of that year, 2,344,550 inhabitants, of whom 1,714,956 (or 73.15 per cent.) lived on the right bank of the Seine. So much more important indeed by the number of its population as well as by its manifestations of life in every form is the right bank than the left, that a man might live all his life in the former division of Paris and, without ever having crossed the Seine, be held to know the French capital thoroughly. One may indeed be a thorough Parisian without ever having quitted the Boulevards.
Ancient Paris, as represented by the “Cité” of to-day, the Paris of the left bank, and the Paris of the right bank are bound together by the Pont-Neuf: the one structure which they have all three in common. The Pont-Neuf may, therefore, be made a convenient starting-point from which to approach the right bank, the left bank, and finally the “City.”
The Pont-Neuf is, in spite of its name, the oldest bridge in Paris; and it is almost the only one which retains without alteration its original form. From time to time it has been partially repaired, but the lines on which it was originally constructed were never changed. Parisians have for the last three centuries regarded the Pont-Neuf as the type of solidity; and a Parisian who does not aspire to originality in conversation will not hesitate, even to this day, when asked how he is, to reply that he is “as strong as the Pont-Neuf.” The first stone of the bridge was laid on Saturday, May 31, 1578, by King Henri III., in presence of his mother, Queen Catherine de Medicis, his wife, Queen Louise, and the principal officials of the kingdom. As the king had just been assisting at the obsequies of his favourites, Quélus and Maugiron, killed in a duel, he was very melancholy, and the bridge acquired everywhere the name of the Bridge of Tears. The idea of connecting the left bank with the island and the island with the right bank had been entertained by King Henri II. Henri III. undertook to defray the cost of construction. But this he did only in a theoretical way; for three years after his death, in 1592, the chief builder of the bridge, Guillaume Marchand, was still unpaid. The work, meanwhile, was far from complete, interrupted as it had been by the troubles of the League; and it was not until Henri IV. had established his power at Paris and throughout France that, in May, 1598, it was resumed. Three arches of the principal arm had yet to be reared, and it was only in 1603 that the king was able to perform the ceremony of crossing the bridge from left bank to right; part of the journey even then having to be made on a temporary plank, so insecurely fixed that it was by a mere piece of royal luck that the venturesome monarch did not go over into the Seine. In undertaking the hazardous passage, he indicated to the friends who tried to dissuade him his belief in the “divinity that doth hedge a king;” and he, in any case, failed on this perilous occasion either to break his neck or drown. The builder of the Pont-Neuf, Guillaume Marchand, was also its architect: so, at least, asserts his epitaph in the Church of St. Gervais: “The celebrated architect,” he is called, “who created two admirable works: the Royal Castle of St. Germain and the Pont-Neuf of Paris.” Marchand, however, died in 1604, so that although the bridge may have been originally planned by him, it is quite possible that the design may have been completed by another hand, and that the official title of “architect to the bridge” may have belonged to Baptiste du Cerceau, for whom it is often claimed.
What is called the Pont-Neuf consists really of two bridges: one connecting the left bank with the island, the other stretching from the opposite side of the island shore to the right bank. According to its original plan, the Pont-Neuf, like all the old Paris bridges, was to support a number of houses for which cellars had been constructed beforehand among the piles on which the bridge rested. Henri IV., however, refused to allow the intended houses to be built, determined not to spoil the view of the Louvre, which he had just constructed. Many years afterwards, however, in the reign of Louis XV., a number of little shops were raised on the Pont-Neuf, occupied by match-sellers, sellers of hot and cold drinks, dog-shearers, second-hand booksellers, chestnut-roasters, makers of pancakes and apple fritters, shoeblacks, quacks, and musicians more or less blind. These shops and stalls were maintained until the first days of the Second Empire, when they disappeared.
Henri IV. was determined to proclaim to future ages his connection with the bridge of which he considered himself in some sense the author; and on its completion he adorned it with an equestrian statue of himself in bronze which is almost as celebrated as the bridge itself. The statue stands on the promontory of the island between the two spans of the structure; and from this point a magnificent view may be obtained of the course of the Seine above and below bridge. The original statue was the work of Jean de Bologne, and of his pupil, Pierre Tacca. It was unveiled on August 23rd, 1613, at which time the corners of the pedestal were adorned by four slaves, since removed, but still preserved in the museum of the Louvre. Three years later the populace dragged to the Pont-Neuf the maimed and lacerated body of Marshal d’Ancre, and having cut it into pieces, burnt it before the statue. The so-called Marshal d’Ancre – Concini, by his family name – had come to Paris in the suite of Marie de Medicis, wife of Henri IV. He married one of the queen’s attendants, and by intrigues and speculations of every kind succeeded in gaining a position of great influence, together with enormous wealth. He was known to be guilty of all sorts of abuses, and was suspected of having been privy to some of the attempts made upon the life of Henri IV. On the accession of Louis XIII., after the assassination of Henri IV. by Ravaillac, an ambush, not without the knowledge of Louis XIII., was laid for the marshal; and, to the delight of the people of Paris, he fell into it. According to a legend of the period, his heart, after he had been slain, was cut out, roasted, and eaten!
Henri IV., the first of the royal house of Bourbon, was the greatest of all the French kings, and at least the best of the kings of the Bourbon line. Such faults as undoubtedly belonged to him seem to have had no effect but to increase his popularity; perhaps because, in a degree, they belonged also to the great mass of his subjects.
This doubtful husband, good friend, and excellent ruler, beloved with warmth by his subjects, was nevertheless made the object of numerous attempts at assassination, the last of which proved fatal. His would-be murderers were for the most part religious fanatics – as dangerous in that day as the fanatics of revolution in ours; and to this class belonged Ravaillac, at whose hands Henri was destined to perish.
Francis Ravaillac, the son of an advocate, was born and educated at Angoulême. When very young, he lived with one Rosières, also a lawyer, whom he served as clerk and valet. He afterwards lived with other legal practitioners, and at length, on the death of his last master, conducted lawsuits for himself. This profession he continued for several years, but to such small advantage that he finally quitted it, and gained his living by teaching. At this time his father and mother lived apart, and were so indigent that both subsisted chiefly on alms. Ravaillac, now thirty years old, and unmarried, lodged with his mother, and, becoming insolvent, was thrown into prison for debt.
He was naturally of a gloomy disposition, and while under the depression of trouble was subject to the strangest hallucinations. In prison he often believed himself surrounded with fire, sulphur, and incense; and such fancies continued after he was released. He asserted that on the Saturday night after Christmas, 1609, having made his meditations, as he was wont, in bed, with his hands clasped and his feet crossed, he felt his mouth and face covered by some invisible agent, and was at the same time urged by an irresistible impulse to sing the Psalms of David. He therefore chanted the psalms “Dixit Dominus,” “Miserere,” and “De profundis” quite through, and declared that he seemed to have a trumpet in his mouth, which made his voice as shrill and loud as that instrument in war.
Whilst his mind was thus unhinged by fanaticism, he often reflected on the king’s breach of promise in not compelling the Huguenots to return to the Catholic Church, and determined to go to Paris to admonish him to neglect this duty no longer. Arrived at Paris, he went frequently to the Louvre, and in vain begged many persons to introduce him to his Majesty. One of those applied to was Father Daubigny, a Jesuit, whom he informed not only of his desire to speak to the king, but of his wish to join the famous Order. Daubigny advised him to dismiss all these thoughts from his mind and to confine himself to bead-telling and prayer; but Ravaillac profited little by the counsel, and, under the conviction that Henri ought to make war on the Huguenots, took to loitering constantly about the Court, in hope of a chance interview with his Majesty.
Some days later he happened to meet the king driving in a coach near St. Innocents’ Church. His desire to speak to him grew more ardent at the prospect of success, and he ran up to the coach, exclaiming, “Sire, I address you in the name of our Lord Jesus and of the Blessed Virgin.” But the king put him back with his stick, and would not hear him. After this repulse, despairing of being able to influence his Majesty by admonition, he determined to kill him. But he could come to no decision as to the mode of executing his design, and after a time returned to Angoulême.
He continued in a state of intense anxiety, sometimes considering his project of assassination as praiseworthy, sometimes as unlawful. Shortly afterwards he attended Mass in the monastery of the Franciscan Friars at Angoulême, and going afterwards to confession, admitted, among other things, an intention to murder, though without saying that Henri was the proposed victim. Nor did the confessor inquire as to the details of the crime. Still restless and disturbed, Ravaillac went back to Paris, and on entering the city, found his desire to kill the king intensified. He took lodgings close to the Louvre: but not liking his rooms, went to an inn in the neighbourhood to see if accommodation could be had there. The inn was full; but whilst Ravaillac conversed with the landlord, his eye happened to be attracted by a knife, sharp-pointed and double-edged, that lay on the table; and it occurred to him that here was a fit instrument for his purpose. He accordingly took occasion to convey it away under his doublet, and having had a new handle made for it, carried it about in his pocket.
But he faltered in his resolution, and abandoning it once more, set out on his way home. As he went along he somehow broke the point of his knife. At an inn where he stopped for refreshment he heard some soldiers talking about a design on the part of the king to make war against the Pope, and to transfer the Holy See to Paris. On this, his determination returned strong upon him and going out of the inn, he gave his knife a fresh point by rubbing it against a stone, and then turned his face towards Paris.
Arrived at the capital a third time, he felt an inclination to make a full confession of his design to a priest; and would have done so had he not been aware that the Church is obliged to divulge any secrets which concern the State.
Henceforth he never once relinquished his purpose. But he still felt such doubts as to whether it were not sinful that he would no longer receive the Sacrament, lest, harbouring his project all the while, he should unworthily eat.
Without hope of gaining admission to the king in his palace, he now waited for him with unwearied assiduity at the gates. At last, on the 17th of May, 1610, he saw him come out in a coach, and followed him for some distance, until the vehicle was stopped by two carts, which happened to get in the way. Here, as the king was leaning his head to speak to M. d’Epernon, who sat beside him, Ravaillac, in a frenzy, fancied he heard a voice say to him, “Now is the time; hasten, or it will be too late!” Instantly he rushed up to the coach, and standing on a spoke of the wheel, drew his knife and struck the king in the side. Finding, however, the knife impeded by one of the king’s ribs, he gave him another – and this time a fatal – blow near the same place.
The king cried out that he was slain, and Ravaillac was seized by a retired soldier of the guard. When searched, he was found to have upon him a paper painted with the arms of France, and with a lion on each side, one holding a key, the other a sword. Above he had written these words: “The name of God shall not be profaned in my presence.” There was also discovered a rosary and a piece of a certain root in the shape of a heart, which he had obtained as a charm against fever from the Capuchins, who assured him that it had inside it a piece of the real cross of the Saviour. “This, however,” says an ingenuous chronicler, “when the heart was broken, proved to be false.”
Ravaillac was first examined by the President of the Parliament and several commissioners as to his motives for committing the crime, and as to whether he had accomplices. During the interrogation he often wept, and said that though at the time he believed the assassination to be a meritorious action, he now felt convinced that this was a delusion into which he had been suffered to fall as a punishment for his sins. He expressed the deepest contrition for his offence, and implored the Almighty to give him grace to continue till death in firm faith, lively hope, and perfect charity.
He denied that he had any confederate, and on being requested to say at whose instigation he did the deed, replied indignantly that it originated entirely with himself, and that for no reward would he have slain his king. He answered all other questions with great calmness and humility, and when he signed his confession, wrote beneath the signature these lines: —
“Que toujours en mon cœur
Jésus soit le vainqueur.”
In spite, however, of Ravaillac’s protests, at this and at a subsequent examination, that he was quite without advisers, abettors, or accomplices, the examiners would not believe him, and he was ordered to be put to the torture of the brodequin, or boot. This instrument, like its English counterpart, was a strong wooden box, made in the form of a boot, just big enough to contain both the legs of the criminal. When his legs had been enclosed, a wedge was driven in with a mallet between the knees; and after this had been forced quite through, a second, and even a third wedge was employed in the same way.
Ravaillac, having been sworn, was placed on a wooden bench, when the brodequin was fitted to his legs. On the first wedge being driven in, he cried out: “God have mercy upon my soul and pardon the crime I have committed; I never disclosed my intention to anyone.” When the second wedge was applied he uttered horrid cries and shrieks, and exclaimed: “I am a sinner: I know no more than I have declared. I beseech the Court not to drive my soul to despair. Oh God! accept these torments in satisfaction for my sins.” A third wedge was then driven in lower, near his feet, on which his whole body broke into a sweat. Being now quite speechless, he was released, water was thrown in his face, and wine forced down his throat. He soon recovered by these means, and was then conducted to chapel by the executioner. But religious exhortation only caused him to repeat once more that he had no associate of any kind in connection with his crime.
At three in the afternoon of the 27th of May, 1610, he was brought from the chapel and put into a tumbril, the crowd in all directions being so great that it was with the utmost difficulty that the archers forced a passage. As soon as the prisoner appeared before the public gaze he was loaded with execrations from every side.
After he had ascended the scaffold he was urged by two spiritual advisers to think of his salvation while there was time, and to confess all he knew; but he answered precisely as before. As there seemed to be a prospect of the murderer getting absolution from the Church, a great outcry was raised, and many persons cried out that he belonged to the tribe of Judas, and must not be forgiven either in this world or the next. Ravaillac argued the point thus raised, maintaining that having made his confession he was entitled to absolution, and that the priest was bound by his office to give it. The priest replied that the confession had been incomplete, and, therefore, insincere, and that absolution must be refused until Ravaillac named his accomplices. The criminal declared once more that he had no accomplices; and it was at last arranged that he should be absolved on certain conditions.
“Give me absolution,” he said: “at least conditionally, in case what I say should be true.”
“I will,” replied the confessor, “on this stipulation: that in case it is not true your soul, on quitting this life – as it must shortly do – goes straight to hell and the devil, which I announce to you on the part of God as certain and infallible.”
“I accept and believe it,” he said, “on that condition.”
Fire and brimstone were then applied to his right hand, in which he had held the knife used for the assassination, and at the same time his breast and other fleshy parts of his body were torn by red-hot pincers. Afterwards, at intervals, melted lead and scalding oil were poured into his wounds. During the whole time he uttered piteous cries and prayers.
Finally, he was pulled in different directions for half-an-hour by four horses, though without being dismembered. The multitude, impatient to see the murderer in pieces, threw themselves upon him, and with swords, knives, sticks, and other weapons, tore, mangled, and finally severed his limbs, which they dragged through the streets, and then burned in different parts of the city. Some of these wretches went so far as to cut off portions of the flesh, which they took home to burn quietly by their firesides.
Apart from his own violent death, more than one tragic story is connected with the memory of Henri IV. Close to the Hôtel de Ville stands the Hôtel de Sens, where, in December, 1605, lived Marguerite de Valois, the divorced wife of Henri IV. Already in her fifty-fifth year, this lady had by no means abandoned the levity of her youth. She had two lovers, both of whom were infatuated with her. The one she preferred, Saint-Julien by name, had a rival in the person of a mere boy of eighteen, named Vermond, who had been brought up beneath the queen’s eyes. On the 5th of April, 1606, Marguerite, returning from Mass, drove up to the Hôtel de Sens at the very moment when Vermond and Saint-Julien were quarrelling about her. Saint-Julien rushed to open the carriage door, when Vermond drew a pistol and shot him dead. The queen “roared,” according to a contemporary account, “like a lioness.” “Kill him!” she cried. “If you have no arms, take my garter and strangle him.” The people whom her Majesty was addressing contented themselves with pinioning the young man. The next morning a scaffold was raised before the Hôtel de Sens, and Vermond had his head cut off in the presence of Marguerite, who, from one of the windows of her mansion, looked on at the execution. Then her strength gave way, and she fainted. The same evening she quitted the Hôtel de Sens, never to return to it.
At the time of the Revolution the mob attacked the statue of Henri IV. on the Pont-Neuf, overturned it from its pedestal, and virtually destroyed it. The present monument was erected by public subscription after the Restoration in 1814, and on the 25th of August, 1818, was inaugurated by Louis XVIII. In the pedestal is enclosed a magnificent copy of Voltaire’s epic “La Henriade.” The low reliefs which adorn the pedestal of this admirable equestrian statue represent, on the southern side, Henri IV. distributing provisions in the besieged city of Paris; on the northern side, the victorious king proclaiming peace from the steps of Notre-Dame.
It has been said that the Pont-Neuf is traditionally famous for its solidity. In spite of this doubtless well-deserved reputation, the ancient bridge seemed, in 1805, on the point of giving way. Changes in the bed of the river had led to a partial subsidence of two of the arches supporting the smaller arm of the bridge. The necessary repairs, however, were executed, and the bridge’s reputation for strength permanently restored.
Among the many interesting stories told in connection with the Pont-Neuf may be mentioned one in which a famous actress of the early part of this century, Mlle. Contat, plays a part. She happened to be out in her carriage, and after a fashion then prevalent among the ladies of Paris, was driving herself, when, holding the reins with more grace than skill, she nearly ran over a pedestrian who was crossing the bridge at the same time as herself. In those days, when side-walks for pedestrians were unknown, the whole of the street being given up to people with carriages, it was easy enough to get run over; and Mercier, in his “Tableau de Paris,” speaks again and again of the accidents that occurred through the haughty negligence and recklessness of carriage folk, and even of hirers of hackney coaches. A sufferer in these rather one-sided collisions was generally held to be in the wrong, and Mlle. Contat reproached her victim with having deliberately attempted to throw himself under her horses’ feet. The pedestrian took the blame gallantly upon himself, bowed to the ground, offered the lady an apology, paid her a graceful compliment, and disappeared. Scarcely had he done so when the actress felt convinced, from his courtly manners and distinguished air, that she must have been on the point of mangling some personage of high rank, and for a long time she felt extremely curious to know who he could be. One night, about a month after the incident, when she was at the theatre, a letter from the gentleman whom she had accused of getting in the way of her horses was delivered to her. He proved to be not merely a person of high quality, as she had guessed, but a real live prince: Prince Henry, brother of the King of Prussia. He was a friend, moreover, of the drama; and he had written to beg “the modern Athalie” to do him the honour to preside at the rehearsal of a new piece in which he was interested. Partly for the sake of the piece, but principally for that of the man whom she was so near running over, Mlle. Contat complied with the prince’s request. The piece was a comedy, with airs written by Baron Ernest von Manteuffel, and set to music by a composer of the day. The subject was extremely interesting, and Mlle. Contat saw that this musical comedy might prove an immense success at the Théâtre Français, where, being duly produced, it fully realised the actress’s anticipations. “Les deux Pages” it was called; and the author, Prussian as he was, had written it in the French language, with which at that time the Court and aristocracy of Prussia were more familiar than with their own tongue. It will be remembered that Frederick the Great (who, by the way, was the leading personage in “Les deux Pages”) wrote the whole of his very voluminous works in French.
Mercier, in his “Tableau de Paris,” published at London in 1780 (its publication would not have been permitted at Paris), gives an interesting account of the Pont-Neuf as it existed in his time. “This,” he says, “is the greatest thoroughfare in Paris. If you are in quest of anyone, native or foreigner, there is a moral certainty of your meeting with him there in the space of two hours, at the outside. The police-runners are convinced of this truth; here they lurk for their prey, and if, after a few days’ look-out, they do not find it, they conclude with a certainty nearly equal to evidence that the bird is flown. The most remarkable monument of popular gratitude may be seen on this bridge – the statue of Henri IV. And if the French cannot boast of having in reality a good prince, they may comfort themselves in contemplating the effigy of a monarch whose like they will never see again. At the foot of the bridge, a large phalanx of crimps – commonly called dealers in human flesh – have established their quarters, recruiting for their colonels, who sell the victims wholesale to the king. They formerly had recourse to violent means, but are now only permitted to use a little artifice, such as the employment of soldiers’ trulls for their decoy-ducks, and plying with liquors those youngsters who are fond of the juice of the grape. Sometimes, especially at Martinmas and on Shrove Tuesday, which are sacred in a peculiar manner to gluttony and drunkenness, they parade about the avenues leading to the bridge, some with long strings of partridges, hares, etc.; others jingling sacks full of half-crowns to tickle the ears of the gaping multitude; the poor dupes are ensnared, and, under the delusion that they are going to sit down to a sumptuous dinner, are in reality hastening to the slaughter-house. Such are the heroes picked out to be the support and pillars of the State; and these future great men – a world of conquerors in embryo – are purchased at the trifling price of five crowns a head.”
