France in the Nineteenth Century. Elizabeth Wormeley Latimer
had not been shot, but as his horse started, he had received a severe contusion on the arm. The Duke of Orleans and the Prince de Joinville were slightly hurt. Smoke came pouring from the third-story windows of a house (No. 50) on the Boulevard. A man sprang from the window, seized a rope hanging from the chimney, and swung himself on to a lower roof. As he did so, he knocked down a flower-pot, which attracted attention to his movements. A police agent saw him, and a national guard arrested him. He was in his shirt-sleeves, and his face was covered with blood. The infernal machine he had employed consisted of twenty-five gun-barrels on a stand so constructed that they could all be fired at once. Happily two did not go off, and four burst, wounding the wretch who had fired them. Instantly the reception of the king, which had been cold when he set forth, changed into rapturous enthusiasm. He and his sons had borne themselves with the greatest bravery.
The queen had been about to quit the Tuileries to witness the review, when the door of her dressing-room was pushed open, and a colonel burst in, exclaiming: "Madame, the king has been fired at. He is not hurt, nor the princes, but the Boulevard is strewn with corpses." The queen, raising her trembling hands to heaven, waited only for a repetition of his assurance that her dear ones were all safe, and then set out to find the king. She met him on the staircase, and husband and wife wept in each other's arms.
The queen then went to her sons, looked at them, and touched them, hardly able to believe that they were not seriously wounded, and turned away, shuddering, from the blood on M. Thiers' clothes. Then, returning to her chamber, she sent a note at once to her younger boys, D'Aumale and Montpensier, who were with their tutors at the Château d'Eu. It began with these words: "Fall down on your knees, my children; God has preserved your father."
Of course the Legitimists, and likewise the Republicans, were accused of inspiring the attempt of Fieschi. The trials, that took place about six months later, proved that the assassin Fieschi was a wretch bearing a strong resemblance to our own Guiteau.
The funeral ceremonies of the victims of the infernal machine were celebrated with great pomp. The affair led to a partial reconciliation between the new Government and the Legitimist clergy; it led also to certain restrictions on the Press and an added stringency in the punishment for crimes of the like character.
On Jan. 31, 1836, the trial of the prisoners took place before the Peers. The crowd of spectators was immense. There were five prisoners, but the eyes of the spectators were fixed on only three.
The first was a man under-sized, nervous and quick in his movements. His face, which was disfigured by recent scars, had an expression of cunning and impudence. His forehead was narrow, his hair cropped close, one corner of his mouth was disfigured by a scar, his smile was insolent, and so was his whole bearing. He seemed anxious to concentrate the attention of all present on himself, smiled and bowed to every one he knew, and seemed well satisfied with his odious importance.
The second was an old man, pale and ill. He bore himself with perfect calmness. He seated himself where he was told to sit, and gave no sign of emotion throughout the trial.
The third was utterly prostrated by fear.
The first was Fieschi; the second was called Morey; the third was a grocer named Pepin.
The two last had been arrested on the testimony of Nina Lassave, who had had Fieschi for her lover. The life of this man had been always base and infamous. He was a Corsican by birth, and had been a French soldier. He had fought bravely, but after his discharge he had been imprisoned for theft and counterfeiting. He led a wandering life from town to town, living on his wits and indulging all his vices. He had even succeeded in getting some small favors from Government; but finding that he could not long escape punishment for crimes known to the police, he undertook, apparently without any especial motive, the wholesale murder of king, court, and princes.
During his imprisonment his vanity had been so great that the officers of the Crown played upon it in order to obtain confessions and information.
The only witness against Morey was Nina Lassave, who insisted that, Fieschi having invented the murderous instrument, Morey had devised a use for it, and that Pepin had furnished the necessary funds for its completion.
I give Louis Blanc's account of Fieschi's behavior on his trial, because when foreign nations have reproached us for the scandal of the license granted to the murderer of President Garfield on his trial, I have never seen it remarked that Guiteau's conduct was almost exactly like that of Fieschi.
"With effrontery, with a miserable kind of pride, and with smiles of triumph on his lips, he alluded to his victims with theatrical gesticulations, and plumed himself on the magnitude of his own infamy, answering his judges by ignoble buffooneries, playing the part of an orator, making pretensions to learning, looking round to see what effect he was producing, and courting applause. And some of those who sat in judgment on him did applaud. At each of his atrocious vulgarisms many of the Peers laughed, and this laugh naturally encouraged him. Did he make a movement to rise, voices called out: 'Fieschi desires to say something, Monsieur le Président! Fieschi is about to speak!' The audience was unwilling to lose a word that might fall from the lips of so celebrated a scoundrel. He could hardly contain himself for pride and satisfaction. His bloody hand was eager to shake hands with the public, and there were those willing to submit to it. He exchanged signs with the woman Nina who was seated in the audience. He posed before the spectators with infinite satisfaction. What more can we say? He directed the proceedings. He prompted or browbeat the witnesses, he undertook the duties of a prosecuting attorney. He regulated the trial. … He directed coarse jokes at the unhappy Pepin; but reckless as he was, he dared not meddle with Morey. He had no hesitation in accusing himself. He owned himself the worst of criminals, and declared that he esteemed himself happy to be able to pay with his own blood for the blood of the unhappy victims of his crime. But the more he talked about his coming fate, the plainer it was that he expected pardon, and the more he flattered those on whom that pardon might depend."
The trial lasted twelve days, and very little was elicited about the conspiracy—if indeed there was one. Suddenly Pepin, whose terror had been abject, rallied his courage, refused to implicate Morey or to make revelations, and kept his resolution to the last.
One of the five prisoners was acquitted, one was condemned to a brief imprisonment, and Morey, Pepin, and Fieschi were sent to the block. Up to almost the last moment Fieschi expected pardon; but his last words were to his confessor: "I wish I could let you know about myself five minutes from now."
On the scaffold Morey's white hair elicited compassion from the spectators. Pepin at the last moment was offered a pardon if he would tell whence the money came that he had advanced to Fieschi. He refused firmly, and firmly met his fate.
The next day the woman who had betrayed her lover and the rest was presiding at a café on the Place de la Bourse, having been engaged as an attraction!
After these horrors we turn with relief to some account of good and noble women, the ladies of Louis Philippe's family.
After the murderous attempt of Fieschi the king lived under a continual expectation of assassination. He no longer walked the streets of Paris with his cane under his arm. When he drove, he sat with his back to the horses, because that position gave less certainty to the aim of an assassin. It was said that his carriages were lined with sheet-iron. He was thirteen times shot at, and the pallid looks of the poor queen were believed to arise from continual apprehension. Her nerves had been shaken by the diabolical attempt of Fieschi, and she never afterwards would leave her husband, even for a few days. She stayed away from the deathbed of her daughter, the Queen of the Belgians, lest in her absence he should be assassinated.
Neuilly was the home of the family, its beloved, particular retreat. The greatest pang that Louis Philippe suffered in 1848 was its total destruction by rioters. The little palace was furnished in perfect taste, with elegance, yet with simplicity. The inlaid floors were especially beautiful. The rooms were decorated with pictures, many of them representing passages in the early life of the king. In one he was teaching mathematics in a Swiss school; in another he was romping with his children. His own cabinet was decorated with his children's portraits and with works of art by his accomplished daughter,