AN EXECUTION OF THE SEVENTEENTH CENTURY.

New Zealand Mail, Issue 931, 3 January 1890, Page 9

AN EXECUTION OF THE SEVENTEENTH CENTURY.

The attractions of the Paris Exhibition appear to be unabated, to judge by the crowds of immigrants who continue to absorb all available hotel accommodation. Tke reproduction of old Paris draws its throngs ; the Ba3tille, looking like solid masonry, is nightly stormed by sansculottes and ex-royal guards, with a prcdigal expenditure of gunpowder. By the way, the melody of the chanson sung by the besiegers after the capture of the redoubtable fortress, and which is stated to be the “ real article ” of ’B9, is almost identical, with that of ‘'The Death of Nelson.” The latter must therefore, assuming the performance to be accurate, be regarded as stolen property of the French Revolution.

A new feature, writes a Parris correspondent, has been added within the last few days jto the reproduction of the “Temple” prison, close to the Trocadero. A representation is given qvery afternoon, at 5 o’clock, of an execution in the seventeenth century. After passing through the courtyard one enters one of the apartments of the edifice. At one corner is a raised platform, and at another an alcove leading to a cell barred by a grating. Behind the grating is to be seen lying on some straw the figure of a man, pale and wan, and dressed in seventeenth century costume. Presently two masked Dominicans appear on the platform, accompanied by the executioneer, accurately costumed in red, and carrying a long sword over his shoulder. The three then proceed, across the room to the cell, and conduct the prisoner to the platform, a Dominican supporting him on either side, the man in red bringing up the rear. One of the Louis Quatorze Guards, of whom there are three or four standing around, then announces the execution by a long roll on a drum. The sentonce of the “ Parlement de Paris ” is read in a portentous tone of voice, after which the headsman is told to proceed with his work. With a single blow he severs the head, and, holding, it up, the blood is seen dripping from it, ,the spectators narrowly escaping being splashed. Cloths are then placed under the neck and head, and the visitors invited to’go on the platform ml inspect the gory remains. On the fir si occasion, not having had my dbqper } Jj jx<?ro

examining ths matter too closely, but a day or two afterward, having taken the precaution to dine first, I went again, being also desirous of making sure that the same man was in evidence, so impossible did it appear that the thing was not real. However, the prisoner was unmistakably the same as on the previous occasion. Accepting the invitation to inspect and handle the head, I can vouch for the fact that what I touched was human fii-sh, and in appearance was in no way distinguishable from tlxe head of the prisoner who has passed close by me a few minutes before, and who had apparently been decapitated in broad, daylight about a yard and a half in front of me. Ishould mention thatthe trunk was as gorily realistic as the head. We have all heard of and seen decapitated ladies and basket tricks done at Egyptian halls, &c., behind the footlights on a stage separated by a considerable interval from the auditorium. But this is a very different thing. How is the astounding illusion produced ?