The new instrument was put to such frequent use in the numerous political executions that it soon acquired a great notoriety, the prisoners jested concerning it, it was called the national razor, the mill of silence, and there were some persons who wore in their ears small representations of it. "In several of the hôtels of Paris, those aristocrats who could not succeed in emigrating killed time with a little guillotine in mahogany which was brought on the table after dessert; there were passed under its axe, successively, little figures or dolls whose heads, made to resemble those of our best magistrates, allowed to escape, as they fell, a reddish liquor resembling blood, from the body, which was a flask. All the guests, especially the ladies, hastened to dip their handkerchiefs in this blood, which proved to be a very agreeable essence of ambergris."
The site of the present Place de la Concorde, in which the guillotine was afterward set up, was embellished with a bronze equestrian statue of Louis XV, by Bouchardon, sculptor in ordinary to his Majesty, inaugurated on the 17th of April, 1763, and, Bouchardon having died, the design was completed by Pigalle, who placed on the marble pedestal four bronze figures typifying Strength, Prudence, Justice, and Love of Country,--supposed to represent the typical qualities of the monarch. Consequently, the Parisians soon had the pleasure of reading on the pedestal the following unofficial couplet:
"_Oh! la belle statue! oh! le beau piédestal! Les vertus sont à pied, le vice est à cheval._"
[Oh! the fine statue! Oh! the beautiful pedestal! The Virtues go afoot, and Vice rides on horseback.] This statue was overthrown on the 11th of August, 1792, and the Place Louis XV became the Place de la Revolution, a stone and plaster figure of Liberty seated, colored to imitate bronze, being set up on the pedestal. On the 26th of October, 1795, it was rebaptized Place de la Concorde; the Restoration restored its name of Louis XV, and the Revolution of 1830, its present name.
[Illustration: THE DRUMS OF THE REPUBLIC. From a drawing by Adrien Karbowsky.]
A very great majority of the bishops having refused to take the oath to the new _constitution civile du clergé_, decreed by the Constituante Assemblée, which placed them under the control of the civil authorities, and being strengthened in this refusal by the authority of the Pope, the new Assemblée, by the law of May 24, 1792, directed that as a measure of public security all these priests _non assermentés_ should be banished. The king refused to sanction this measure, and dismissed his Girondist ministers; he sent a secret agent to the foreign coalition menacing the frontiers: in the Assemblée, which allowed its sittings to be constantly interrupted and overawed by irruptions of so-called delegations of the citizens, of the sections, of the national guards, the suspicion and the open denunciation of the court constantly increased. The agitation and violence in the clubs, in the streets, in the journals, augmented from day to day; on the 20th of June an enormous mass of the populace overflowed the Assemblée chamber, broke into the Tuileries, shook their fists in the queen's face, and compelled the king to assume the red cap. A thin, pale young artillery officer, standing on the terrace by the river, watched this mob with indignation. "The wretches!" he exclaimed, "they ought to shoot down the first five hundred; the rest would take to their heels quickly enough." His name was Napoleon Bonaparte; he had been born in Corsica, in 1769, the year after that island had become French.