Part 140 (2/2)

These four ruffians formed a sort of Proteus, winding like a serpent among the police, and striving to escape Vidocq's indiscreet glances ”under divers forms, tree, flame, fountain,” lending each other their names and their traps, hiding in their own shadows, boxes with secret compartments and refuges for each other, stripping off their personalities, as one removes his false nose at a masked ball, sometimes simplifying matters to the point of consisting of but one individual, sometimes multiplying themselves to such a point that Coco-Latour himself took them for a whole throng.

These four men were not four men; they were a sort of mysterious robber with four heads, operating on a grand scale on Paris; they were that monstrous polyp of evil, which inhabits the crypt of society.

Thanks to their ramifications, and to the network underlying their relations, Babet, Gueulemer, Claquesous, and Montparna.s.se were charged with the general enterprise of the ambushes of the department of the Seine. The inventors of ideas of that nature, men with nocturnal imaginations, applied to them to have their ideas executed. They furnished the canvas to the four rascals, and the latter undertook the preparation of the scenery. They labored at the stage setting. They were always in a condition to lend a force proportioned and suitable to all crimes which demanded a lift of the shoulder, and which were sufficiently lucrative. When a crime was in quest of arms, they under-let their accomplices. They kept a troupe of actors of the shadows at the disposition of all underground tragedies.

They were in the habit of a.s.sembling at nightfall, the hour when they woke up, on the plains which adjoin the Salpetriere. There they held their conferences. They had twelve black hours before them; they regulated their employment accordingly.

Patron-Minette,--such was the name which was bestowed in the subterranean circulation on the a.s.sociation of these four men. In the fantastic, ancient, popular parlance, which is vanis.h.i.+ng day by day, Patron-Minette signifies the morning, the same as entre chien et loup--between dog and wolf--signifies the evening. This appellation, Patron-Minette, was probably derived from the hour at which their work ended, the dawn being the vanis.h.i.+ng moment for phantoms and for the separation of ruffians. These four men were known under this t.i.tle.

When the President of the a.s.sizes visited Lacenaire in his prison, and questioned him concerning a misdeed which Lacenaire denied, ”Who did it?” demanded the President. Lacenaire made this response, enigmatical so far as the magistrate was concerned, but clear to the police: ”Perhaps it was Patron-Minette.”

A piece can sometimes be divined on the enunciation of the personages; in the same manner a band can almost be judged from the list of ruffians composing it. Here are the appellations to which the princ.i.p.al members of Patron-Minette answered,--for the names have survived in special memoirs.

Panchaud, alias Printanier, alias Bigrenaille.

Brujon. [There was a Brujon dynasty; we cannot refrain from interpolating this word.]

Boulatruelle, the road-mender already introduced.

Laveuve.

Finistere.

Homere-Hogu, a negro.

Mardisoir. (Tuesday evening.)

Depeche. (Make haste.)

Fauntleroy, alias Bouquetiere (the Flower Girl).

Glorieux, a discharged convict.

Barrecarrosse (Stop-carriage), called Monsieur Dupont.

L'Esplanade-du-Sud.

Poussagrive.

Carmagnolet.

Kruideniers, called Bizarro.

Mangedentelle. (Lace-eater.)

Les-pieds-en-l'Air. (Feet in the air.)

Demi-Liard, called Deux-Milliards.

Etc., etc.

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