Three Female and Four Male Figures.
On the 20th of January, 1793, at three o'clock in the morning, the
second year of the French republic, the final vote was taken by the
Convention, that Louis XVI. should be executed. All the efforts to
save the king were now exhausted, and his fate sealed. The decree of
the Convention was sent to the king, declaring him to be guilty of
treason; that he was condemned to death; that the appeal to the people
was refused; and that he was to be executed within twenty-four hours.
The king listened to the reading unmoved; he conversed earnestly with
his spiritual adviser respecting his will, which he read, and inquired
earnestly for his friends, whose sufferings moved his heart deeply.
The hour of seven had now arrived, when the king was to hold his last
interview with his family. But even this could not be in private. He
was to be watched by his jailers, who were to hear every word and
witness every gesture. The door opened, and the queen, pallid and
woe-stricken, entered, leading her son by the hand. She threw herself
into the arms of her husband, and silently endeavored to draw him
towards her chamber. "No, no," whispered the king, clasping her to his
heart, "I can see you only here." Madame Elizabeth, with the king's
daughter, followed. A scene of anguish ensued which neither pen nor
pencil can portray. The king sat down, with the queen upon his right
hand, his sister on his left, their arms encircling his neck, and
their heads resting upon his breast. The dauphin sat upon his father's
knee, with his arm around his neck. The beautiful princess, with
dishevelled hair, threw herself between her father's knees. An hour
passed, during which not an articulate word was spoken; but cries, and
groans, and occasional shrieks of anguish, which pierced even the
thick wall of the Temple, and were heard in the street below, rose
from the group. For two hours the agonizing interview was continued.
As they gradually regained some little composure, in low tones they
whispered messages of tenderness and love, interrupted by sobs, and
kisses, and blinding floods of tears. Louis XVI. described his trial,
excusing those who had sentenced him, gave some religious advice to
his children, enjoined them to forgive his enemies and bless them. A
few beams of daylight began to penetrate the grated windows of the
gloomy prison. The hours passed away, while the king listened to the
gathering of the troops in the court yard and around the Temple. At
nine o'clock a tumultuous noise was heard of men ascending the
staircase. The _gens d'armes_ entered, and conveyed him to the
carriage at the entrance. The morning was damp and chilly, and gloomy
clouds darkened the sky; sixty drums were beating at the heads of the
horses, and an army of troops, with all the most formidable enginery
of war, preceded, surrounded, and followed his carriage. They reached
the _Place de la Révolution_ at twenty minutes past ten o'clock. An
immense crowd filled the place, above which towered the guillotine.
With a firm tread he ascended the steps of the scaffold, looked for a
moment on the keen and polished edge of the axe, and then, turning to
the vast throng, said, in a voice clear and untremulous, "People, I
die innocent of all the crimes imputed to me. I pardon the authors of
my death, and pray to God that the blood you are about to shed may not
fall again on France." The drums were ordered to beat, and Louis XVI.
was no more.
_Directions for forming the Tableau._--This interesting picture
contains seven figures: Louis XVI., his wife the queen, Madame
Elizabeth, the king's son and daughter, and two _gens d'armes_. The
stage scenery must be placed in the following order: The background of
the stage should represent the granite walls of a prison, with grated
windows, massive doors, to which are attached bolts, bars, and heavy
locks. This scenery can be made in sections of about four by eight
feet in size. One section should represent the door of the cell; on it
paint the bolts, bars, and locks. At the right of the stage is placed
a table of ancient style; on which is a crucifix, two feet in height,
a large Bible, and an old-fashioned candlestick, containing a lighted
candle. A chair of ancient manufacture should be placed near the
table. Louis XVI. is seated in it, and is costumed in a velvet coat
and breeches, white silk hose, low shoes, buff vest, white cravat,
ruffled bosom, white wig, knee and shoe buckles. The queen is costumed
in a moire antique dress, of a showy color, hair hanging loosely over
the shoulder. Madame Elizabeth has on a silk robe, differing in color
from the queen's; her hair is loosely fastened behind. The daughter
has on a long white dress, with velvet waist. The dauphin is dressed
in velvet jacket, blue breeches, white hose, knee and shoe buckles,
low slippers, lace collar, ruffled bosom and wristbands, and a pink
scarf is fastened about his waist. The _gens d'armes_ have blue coats
trimmed with buff, buff vest, crimson breeches, white hose, long wigs,
low shoes, knee and shoe buckles, and chapeaux. Each must be furnished
with a musket, sword, and belt, and one should hold a bunch of large
keys. Louis XVI. encircles his daughter's waist with his right hand;
his left is clasped by his son. He sits facing the audience; his head
is partially turned towards the crucifix, the eyes cast down, and a
melancholy look upon the countenance. The queen stands behind the
king, between the chair and table; her left hand is placed upon her
waist, her right raised to her forehead; her head is thrown back, the
eyes partially closed, and cast upwards, while intense anguish is
expressed upon her countenance. Madame Elizabeth is kneeling at the
left of the king, her hands clasped and raised upwards, head thrown
back, and eyes partially closed. The daughter is seated on the right
knee of the king; her right hand is placed across her breast, the left
hangs carelessly at her side; her head reclines on the shoulder of her
father. The dauphin is kneeling between the king and Madame Elizabeth,
and grasping the hand of the king; his eyes are fixed on the face of
his father, while the countenance expresses grief and sadness. The
_gens d'armes_ stand just inside the door, resting on their guns;
their eyes are fixed upon the group in the foreground. The light for
this tableau must come from the side of the stage opposite the group,
and should be of medium brightness; the background may be thrown in
the shade. Music of a mournful character.