The Count of Monte Cristo by Alexandre Dumas (best book club books .TXT) 📕

the Corso. As they approached the Piazza del Popolo, the crowd became more dense, and above the heads of the multitude two objects were visible: the obelisk, surmounted by a cross, which marks the centre of the square, and in front of the obelisk, at the point where the three streets, del Babuino, del Corso, and di Ripetta, meet, the two uprights of the scaffold, between which glittered the curved knife of the mandaïa.

At the corner of the street they met the count’s steward, who was awaiting his master. The window, let at an exorbitant price, which the count had doubtless wished to conceal from his guests, was on the second floor of the great palace, situated between the Via del Babuino and the Monte Pincio. It consisted, as we have said, of a small dressing-room, opening into a bedroom, and, when the door of communication was shut, the inmates were quite alone. On chairs were laid elegant masquerade costumes of blue and white satin.

“As you left the choice of your costumes to me,” said the count to the two friends, “I have had these brought, as they will be the most worn this year; and they are most suitable, on account of the confetti (sweetmeats), as they do not show the flour.”

Franz heard the words of the count but imperfectly, and he perhaps did not fully appreciate this new attention to their wishes; for he was wholly absorbed by the spectacle that the Piazza del Popolo presented, and by the terrible instrument that was in the centre.

It was the first time Franz had ever seen a guillotine⁠—we say guillotine, because the Roman mandaïa is formed on almost the same model as the French instrument.7 The knife, which is shaped like a crescent, that cuts with the convex side, falls from a less height, and that is all the difference.

Two men, seated on the movable plank on which the victim is laid, were eating their breakfasts, while waiting for the criminal. Their repast consisted apparently of bread and sausages. One of them lifted the plank, took out a flask of wine, drank some, and then passed it to his companion. These two men were the executioner’s assistants.

At this sight Franz felt the perspiration start forth upon his brow.

The prisoners, transported the previous evening from the Carceri Nuove to the little church of Santa Maria del Popolo, had passed the night, each accompanied by two priests, in a chapel closed by a grating, before which were two sentinels, who were relieved at intervals. A double line of carbineers, placed on each side of the door of the church, reached to the scaffold, and formed a circle around it, leaving a path about ten feet wide, and around the guillotine a space of nearly a hundred feet.

All the rest of the square was paved with heads. Many women held their infants on their shoulders, and thus the children had the best view. The Monte Pincio seemed a vast amphitheatre filled with spectators; the balconies of the two churches at the corner of the Via del Babuino and the Via di Ripetta were crammed; the steps even seemed a particolored sea, that was impelled towards the portico; every niche in the wall held its living statue. What the count said was true⁠—the most curious spectacle in life is that of death.

And yet, instead of the silence and the solemnity demanded by the occasion, laughter and jests arose from the crowd. It was evident that the execution was, in the eyes of the people, only the commencement of the Carnival.

Suddenly the tumult ceased, as if by magic, and the doors of the church opened. A brotherhood of penitents, clothed from head to foot in robes of gray sackcloth, with holes for the eyes, and holding in their hands lighted tapers, appeared first; the chief marched at the head.

Behind the penitents came a man of vast stature and proportions. He was naked, with the exception of cloth drawers at the left side of which hung a large knife in a sheath, and he bore on his right shoulder a heavy iron sledgehammer.

This man was the executioner.

He had, moreover, sandals bound on his feet by cords.

Behind the executioner came, in the order in which they were to die, first Peppino and then Andrea. Each was accompanied by two priests. Neither had his eyes bandaged.

Peppino walked with a firm step, doubtless aware of what awaited him. Andrea was supported by two priests. Each of them, from time to time, kissed the crucifix a confessor held out to them.

At this sight alone Franz felt his legs tremble under him. He looked at Albert⁠—he was as white as his shirt, and mechanically cast away his cigar, although he had not half smoked it. The count alone seemed unmoved⁠—nay, more, a slight color seemed striving to rise in his pale cheeks. His nostrils dilated like those of a wild beast that scents its prey, and his lips, half opened, disclosed his white teeth, small and sharp like those of a jackal. And yet his features wore an expression of smiling tenderness, such as Franz had never before witnessed in them; his black eyes especially were full of kindness and pity.

However, the two culprits advanced, and as they approached their faces became visible. Peppino was a handsome young man of four or five-and-twenty, bronzed by the sun; he carried his head erect, and seemed on the watch to see on which side his liberator would appear. Andrea was short and fat; his visage, marked with brutal cruelty, did not indicate age; he might be thirty. In prison he had suffered his beard to grow; his head fell on his shoulder, his legs bent beneath him, and his movements were apparently automatic and unconscious.

“I thought,” said Franz to the count, “that you told me there would be but one execution.”

“I told you true,” replied he coldly.

“And yet here are two culprits.”

“Yes; but only