The World That Never Was (88 page)

Among the many anarchist refugees to England who had their details recorded were Jean Battola who as ‘Degnai’ was said to be the instigator of the Walsall bomb plot, and Charles Malato, Rochefort’s secretary and the author of
The Delights of Exile
.

Though photographed by Bertillon after his arrest, it was a very different image of the anarchist bomber Ravachol that his comrades promoted: that of the iconic martyr. (image credit
8
)

The garrotting of innocent anarchists accused of insurrection in Xerez was a significant incitement to terrorism for their comrades in France and elsewhere. (image credit
12
)

Two months after Bourdin was killed when the bomb he was carrying exploded near Greenwich Observatory, Pauwels died similarly during a planned attack on the Madeline Church in Paris, his corpse photographed by the police.

The bomb that Emile Henry left in the Café Terminus in February, 1894, was intended to strike directly at the bourgeoisie as they enjoyed their leisure. (image credit
13
)

By 1893 the anarchist of the popular imagination was a megalomaniac hell-bent on destruction; the airborne anti-hero of sixteen-year-old E. Douglas Fawcett’s
Hartmann the Anarchist
deviates from type only in his concern for his mother’s disapproval. (image credit
14
)

Paul Signac’s
In a Time of Harmony
of 1895 offered an alternative vision of an anarchist utopia in the wake of the recent terrorist attacks in Western Europe. (image credit
15
)

List of Illustrations

The anonymous photograph of the artillery park,
Parc d’artillerie de la Butte Montmartre (18 mars 1871)
is from of the Musée Carnavalet in Paris; Maximilien Luce’s
A Paris Street in May 1871, or
The Commune
¹
is courtesy of the Musée d’Orsay, Paris, © Photo RMN – Hervé Lewandowski. the arrest of a suspected Nihilist in St Petersburg
²
and the assault on a Jew in the presence of the military at Kiev
³
are from the
Illustrated London News
of 6 March 1880 and 4 June 1881 respectively, the assassination of the Tsar
⁴
from
L’Univers illustré
, March 1881. The assassination of Sudeikin in St Petersburg
⁵
is from
Le Monde Illustré
, 1884, as is the image of measures taken against the epidemic: the disinfection hall at the Gare de Lyon,
⁶
1884. ‘Capitalist: The Real Cholera’
⁷
is taken from the German edition of Dubois’s
Le Peril Anarchiste
(Die Anarchistische Gefahr, Amsterdam, 1894), along with the reproduction of the woodcut of Ravachol before the guillotine.
⁸
the celebrations of the Franco-Russian alliance on the Eiffel Tower
⁹
are from
Le Petit Journal
, 11 November 1893; the reproduction of Robida’s drawing in
le Vingtieme Siecle
¹⁰
is from Beraldi’s
Un caricaturiste prophète
, Paris, 1916. The image of Bertillon’s judicial anthropometry
¹¹
comes from
Le Journal Illustré
, 16 November 1890, the garroting of the Xerez anarchists
¹²
from
Le Petit Journal
, 27 February 1892, and the Café Terminus explosion
¹³
from
Le Monde Illustré
, No. 1925, 1894. The photographs of Malato, Battola and the dead Pauwels are courtesy of the Paris Préfecture de Police, all rights reserved.
Shelling the Houses of Parliament
¹⁴
comes from
Hartmann the Anarchist, or, The Doom of the Great City
by E. Douglas Fawcett, London, 1893; Signac’s
Au Temps d’harmonie
,
¹⁵
photographed by Jean-Luc Tabuteau, is courtesy of the Mairie de Montreuil. The archive of Louis Bonnier containing the designs for Reclus’s
Globe Terrestre
is held by the Centre d’archives d’architecture du XXe siècle, Cité de l’architecture et du patrimoine, and the image is published courtesy of the Lordonnois family. All other illustrations are from the author’s private collection.

Notes on Sources

Concern for the portability of a book that is a work of wide-ranging synthesis has led to discursive bibliographical notes being provided for each chapter, rather than specific footnotes. The intention is to assign credit to all those whose research has been most useful, provide an overview of the original research undertaken in particular areas, and to signal those rare instances where a greater degree of licence has been employed in reconstructing scenes. Detailed citations and additional material, including many digressions that had to be excluded from the published text, can be found online at
www.theworldthatneverwas.com
or via
www.alexbutterworth.co.uk
. It is hoped that, over time, the site will provide a growing resource for those interested in the individuals and themes that figure in the book or are tangential to it.