The Mysteries of Paris, illustrated with etchings, Vol. 5

by Eugène Sue

CHAPTER IX.

THE LIONS' DEN.

If the appearance of a house of confinement, constructed with every attention to salubrity and humanity, has nothing repulsive in its aspect, the sight of the prisoners causes a very different feeling. At the sight of the criminals who fill the gaols, we are at first seized with a shudder of fear and horror. It is only after some reflection that this is overcome, and feelings of pity mixed with bitterness overcome us.

To understand the feeling of horror and fear, our reader must follow us to the Fosse aux Lions (the Lions' Den), one of the yards in La Force so called. In this are usually placed the most dangerous criminals, whose ferocity, or the charges against whom, are most serious. At this time they had been compelled to place there, in consequence of the alterations making in the prison, many other prisoners. These, although equally under accusations and awaiting the assizes, were almost all respectable persons in comparison with the usual occupants of the Lions' Den. The sky, gloomy, gray, and rainy, cast a dull light over the scene we are about to depict, and which took place in the centre of the yard of considerable extent, square, and enclosed by high white walls, having here and there several grated windows.

At one end of this yard was a narrow door with a wicket; at the other end, at the entrance to the day-room, a large apartment with a stove in the centre, surrounded by wooden benches, on which were sitting and lying several prisoners conversing together. Others, preferring exercise, were walking up and down the walks, four or five in a row, arm in arm. It requires the pencil of Salvator or Goya, in order to sketch the different specimens of physical and moral ugliness, to render in its hideous fantasy the variety of costumes worn by these men, for the most part covered with squalid rags,—for being only accused, i. e. supposed innocent, they were not clad in the usual uniform of the central houses. Some, however, wore it; for on their entrance into gaol, their rags appeared so filthy and infected that, after the usual washing and bath, they had the frock and trousers of coarse gray cloth, as worn by the criminals, assigned to them.

A phrenologist would have observed attentively those embrowned and weather-beaten countenances, those flat or narrow foreheads, those cruel or crafty looks, the wicked or stupid mouth, the enormous neck,—they nearly all presented frightful resemblances to brutes. In the cunning looks of one was seen the perfidious subtlety of the fox, in another was the sanguinary rapacity of the bird of prey, in a third, the ferocity of a tiger; and, in all, the animal stupidity of the brute. We will sketch one or two of the most striking physiognomies in the Fosse aux Lions.

Whilst the turnkey was watching his charge, a sort of council was being held in the day-room. Amongst the prisoners there assembled were Barbillon and Nicholas Martial. The prisoner who appeared to preside and lead in this debate was a scoundrel called the Skeleton, whose name has been often mentioned by the Martial family in the Isle du Ravageur. The Skeleton was prévôt, or captain, of the day-room. This fellow was tall and about forty years of age, fully justifying his sinister nickname by a meagreness impossible to describe, but which might almost be termed osteologic.

If the countenance of the Skeleton presented more or less analogy with that of the tiger, the vulture, or the fox, the shape of his forehead, receding as it did, his bony, flat, and lengthened jaws, supported by a neck of disproportioned length, instantly reminded you of the conformation of a serpent. Complete baldness increased still more this hideous resemblance, for beneath the corded skin of his forehead, nearly as flat as a reptile's, might be distinguished the smallest protuberances, the smallest sutures of his skull. His beardless face was exactly like old parchment tightly distended over the bones of his face, and only somewhat stretched from the projection of the cheek-bone to the angle of the lower jaw, the working of which was distinctly visible. His eyes, small and lowering, were so deeply imbedded, and the rim of his brow so prominent, that under his yellow brow, when the light fell, were seen two orbits literally filled with shadows; and, a little further on, the eyes seemed to disappear in the depths of these two dark cavities, these two black holes, which gave so sinister an aspect to the skeleton head. His long teeth, whose alveolar projections were to be accurately traced beneath the tanned skin of his bony and flat jaws, were almost continually developed by a habitual sneer.

Although the stiffened muscles of this man were almost reduced to tendons, he possessed extraordinary strength, and the strongest resisted with difficulty the grasp of his long arms, his long and lean fingers. He had the formidable clutch of a skeleton of iron. He wore a blue smock-frock, very short, and which exposed (and he was vain of it) his knotted hands and half his forearm, or rather two bones, the radius and the ulna (this anatomy will be excused us), two bones enveloped in a coarse and black skin, separated by a deep groove, in which were some veins hard and dry as cords. When he placed his hands on a table he seemed, as Pique-Vinaigre justly remarked, as if he were spreading out a game of knuckle-bones.