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By Root 836 0

the Stock Exchange, crying ‘Vive l’Anarchie!’ at the startled traders, as he fired a revolver into their midst. The lethal suppression of labour disputes served as a pretext for anarchist attacks. On 1 May 1891 police used a newly invented machine gun to break up a demonstration for the eight-hour day at Fourmies in the Nord department. Nine people were killed, including four women and three children. Simultaneously at Clichy the police employed excessive violence to break up an anarchist procession following a woman bearing a red flag. Despite being unlawfully beaten by the police, two men received considerable sentences of hard labour. By way of revenge for these incidents, the anarchist former dyer François-Claudius Ravachol placed bombs in the homes of Benoit, the advocate-general, who lived on the smart Boulevard Saint-Germain, and Bulot, the judge who had presided in the Clichy affair. In the second incident, a smartly dressed Ravachol walked up to the second floor of the building with a bomb in a briefcase, set the fuse and left, bringing the entire four floors crashing down, although the judge survived unscathed. A little too exultant about his recent accomplishments, the thirty-two-year-old Ravachol was betrayed by a waiter in the Restaurant Very. A brave police detective was summoned, who after scrutinising his fellow diner apprehended Ravachol before he could draw his revolver or deploy his sword cane.

The restaurant was bombed the day before Ravachol stood trial. The proprietor died a slow death after losing most of a leg, while an equally innocent customer, rather than the waiter, was killed. Ravachol - whose name became the verb ravacholiser (to blow up) - was sentenced to life imprisonment for these offences. He blamed unemployment for his criminal turn: ‘I worked to live and to make a living of my own; as long as neither myself nor my own suffered too much, I remained that which you call honest. Then work got scarce and with unemployment came hunger. It was then that great law of nature, that imperious voice that allows no retort - the instinct for survival - pushed me to commit some of the crimes and offences that you accuse me of and that I recognise being the author of.’ He was subsequently tried in Montbrison for offences committed long before he became a bomber for murdering and robbing ‘the Hermit of Chambles’, an elderly miser called Brunel with much gold and silver hidden in his cupboard, and for profaning the grave of baroness de Rochetaillée where he hoped to find the jewels she had reportedly been buried with, but which instead contained a wooden crucifix and a single medal. When he recommenced his lofty claims to being the arm of justice for the oppressed, the judge snapped back: ‘Do not pretend to speak for the working men, but only for murderers.’ Ravachol was guillotined before he had time to make further speeches. One of his admirers, the novelist Octave Mirbeau, described him as ‘the peal of thunder to which succeeds the joy of sunlight and of peaceful skies’, one of a number of instances when idiot liberal artists and men of letters glorified common criminals, such career felons increasingly describing themselves as anarchists so as to bask in refracted acclaim.6

The anarchist response to Ravachol’s execution came from Auguste Vaillant, who on 9 December 1893 threw a bomb hidden in an oval tin box on to the floor of the Chamber of Deputies, although the accidental jogging of his arm meant that the bomb exploded over the deputies’ heads, causing cuts and fractures rather than fatalities. In addition to installing iron grilles in the public gallery, and prohibiting the wearing of coats or cloaks inside the building, the Chamber promulgated the ‘scroundrelly laws’ proscribing publications that incited acts of terrorism. One of the first to be convicted as a ‘professor of Anarchy’ was Jean Grave, who received two years’ imprisonment for passages in a book that appeared to incite anarchist violence. Vaillant had his admirers in an artistic milieu where, among others, Courbet, Pissarro and Signac