The Thieving Magpie

The Thieving Magpie
Originally La Pie voleuse ou La Servante de Palaiseau
Inspiration
Earliest appearance	1815
Original author	Théodore Baudouin d'Aubigny and Louis-Charles Caigniez
Country of origin	France

The Thieving Magpie was originally a French play called 'La Pie voleuse ou La Servante de Palaiseau' (lit. The thieving magpie or The Maid of Palaiseau) (usually abridged as 'La Pie voleuse') written by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez which premiered in Théâtre de la Porte Saint-Martin on the 29th of April 1815. This story is said to be inspired by real life events: a servant was accused of a theft that was actually by a magpie.

Gioachino Rossini was inspired to write the Italian melodramma 'La gazza ladra' (lit. The thieving magpie) based on La Pie volouse, which premiered 31st of May 1817 at La Scala in Milan. This version brought the story to an international audience and helped popularize the tale of the thieving magpie beyond France and Italy. Its widespread recognition likely inspired Herman van Veen in crafting the storyline featuring Pikkie de Ekster, which begins in episode 2 and concludes in episode 3 of the animated series.

The Thieving Magpie is a powerful illustration of an innocent victim that's nearly destroyed by judicial error, making it a cautionary tale about justice, truth and the death penalty.

History

The maid of Palaiseau

According to legend, in 1631 a servant girl in Palaiseau (near Paris) was found guilty of stealing her master's silverware. Despite her claims of innocence, she was tried and executed, as no other suspect was identified. Several years later, the missing silver items were discovered in the nest of a magpie, posthumously proving the girl's innocence.

The writers of the play La Pie voleuse ou La Servante de Palaiseau later claimed the story was based on true events. A 19th-century playbill for La Pie voleuse, ou La Servante de Palaiseau describes it as a “mélodrame historique” (lit. “historical melodrama”). However, some scholars such as Marie-Bernadette Bruguière suggest it is just as likely a folk tale.

The tale gained widespread circulation and was frequently retold as a cautionary example of the dangers of relying solely on circumstantial evidence. It was included in 18th-century collections of causes célèbres (famous legal cases) as a classic instance of wrongful conviction. The story also sparked questions about the validity of capital punishment among the public, although it did not result in any immediate legal reforms. It would take another century before Victor Hugo would ignite a renewed public debate on the death penalty.

Playbill for La Pie voleuse, ou La Servante de Palaiseau, describing the story as a “mélodrame historique”, or historical melodrama.

In Palaiseau’s Musée Palaisien du Hurepoix, a section is dedicated to the subject, claiming to recount the true story of the maid of Palaiseau. Additionally, the town has a street named after the tale: la rue de «la pie voleuse» (lit. "The Street of the Thieving Magpie"), which runs from St. Martin Church to the Saclay Plateau.

La Pie voleuse ou La Servante de Palaiseau

Based on the events of 1631, Théodore Baudouin d'Aubigny and Louis-Charles Caigniez wrote the French stage play La Pie voleuse ou La Servante de Palaiseau, which premiered on 29 April 1815 at the Théâtre de la Porte Saint-Martin.

The authors significantly altered the original story to suit theatrical conventions of the time. Notably, the ending was changed to have the maid saved at the last moment, in keeping with the expected uplifting resolution of a melodrama. The writers also introduced a romantic interest for the maid and a lecherous, vengeful official who pursues her. Whereas the original legend featured no one advocating for the maid's innocence, the play included multiple characters working to prove her innocence.

The play was highly popular and inspired numerous translations, including versions in English and Italian.

La gazza ladra

One such adaptation was the melodramma in two acts, La gazza ladra, composed by Gioachino Rossini with a libretto by Giovanni Gherardini. The opera premiered on 31 May 1817 at La Scala in Milan. Rossini’s version became the most internationally acclaimed adaptation of the story.

La gazza ladra is particularly well known for its overture, which is musically notable for its use of snare drums. The section including this percussive element is often interpreted as evoking the stealthy and mischievous nature of the opera’s central figure, the thieving magpie.

In 1818, the opera was revised by Rossini to prepare it for new productions, beginning with a staging in Pesaro. It was subsequently performed in 1819 at the Teatro del Fondo and in 1820 at the Teatro di San Carlo, both located in Naples. Later, in 1866, Rossini revised the music for a performance in Paris, incorporating embellishments and variations specifically written for Giuseppina Vitali, who performed the role of Ninetta. A further revision followed in 1867, featuring additional embellishments and cadenzas tailored for Adelina Patti, who also portrayed the lead character.

The opera was introduced to England in 1821 and also found its way to France, where it was performed under its original French title, La pie voleuse.

Summary

La Pie voleuse ou La Servante de Palaiseau

The story centers on Annette, a virtuous young maid who works for a wealthy farming couple, Gérard and his suspicious wife, Dame Gérard. The local magistrate—referred to as “the official”—makes unwanted advances toward Annette, which she firmly rejects. Holding a grudge, the official seizes an opportunity to retaliate when a silver spoon and fork go missing from the Gérard household, and suspicion quickly falls on Annette.

The official uses the incident as a pretext to ruin her, bringing her to trial despite the lack of substantial evidence. Although Annette maintains her innocence, she is found guilty and sentenced to death by hanging.

At the last moment, Blaisot, a young farmer and Annette’s fiancé, discovers a magpie’s nest containing the stolen silverware. Annette is exonerated just in time. In the final lines of the play, it is declared: “Nothing remained for him [the official] but—to hang the magpie.”

La gazza ladra

Peter Hoffer's 20th century cover design for the libretto of La gazza ladra.

Ninetta is a servant in the household of Fabrizio Vingradito. His son, Giannetto, is soon to return home from the war, and Ninetta prepares a celebration in his honor. She is in love with Giannetto, and their union is encouraged by all except Lucia, Fabrizio's wife, who suspects Ninetta of having stolen a recently missing silver fork. Giannetto arrives and is warmly welcomed.

Shortly thereafter, Ninetta's father, Fernando Villabella, returns from the war as well. However, he has been declared a deserter after clashing with his captain and now faces a death sentence. He gives Ninetta two pieces of family silver to sell so he can survive while in hiding. The town’s Mayor, who has romantic intentions toward Ninetta, visits. To protect her father’s identity, Ninetta claims Fernando is just a passing vagrant. When the Mayor’s assistant arrives with a warrant for Fernando’s arrest, the Mayor—having forgotten his glasses—asks Ninetta to read it aloud. She seizes the moment to substitute a false description to mislead him. The Mayor continues to pursue her romantically, but she firmly rejects him. After they exit, a magpie flies down and steals one of Lucia’s silver spoons.

Later, Ninetta sells the family silver for money. When Giannetto and the others return and discover the spoon is missing, Lucia and the Mayor accuse Ninetta of theft. Startled, she drops the coins she received from the sale, further fueling suspicion. The peddler who bought the silver mentions it had the initials "F.V.," which match both Fabrizio and Fernando. To protect her father, Ninetta remains silent. The Mayor orders her arrest, and she is sentenced to death.

While imprisoned, Ninetta is visited by Giannetto and Pippo, a fellow servant, with the help of the sympathetic prison warden Antonio. She convinces them of her innocence. The Mayor returns and offers to drop the charges if she returns his affections, but Ninetta refuses. After his departure, she asks Pippo to sell a gold cross and place the money in their agreed location. She is taken to court and found guilty. Fernando bursts into the courtroom to save her but is recognized and arrested.

Ernesto, a military comrade of Fernando, arrives with a royal pardon. Pippo guides him to the Mayor. In gratitude, Ernesto gives Pippo a silver coin, which is immediately stolen by a magpie. The bird flies up a tower, and Pippo and Antonio pursue it. There, they discover the missing silver spoon and fork in the magpie’s nest. They ring the bells to alert the townspeople below, who are gathered for Ninetta’s execution.

Ninetta is saved at the last moment and reunited with her father, while justice is restored. Everyone rejoices—except for the Mayor, who is left disgraced.

Comparisons to animated series

Alfred gets found, seemingly red-handed at the scene of the crime by the King's guards.

The story of Pikkie de Ekster and Alfred Jodocus Kwak, as presented in episode 2 and episode 3, shares multiple narrative and thematic parallels with the opera The Thieving Magpie. In the animated series, Pikkie steals the Ruby of the Crown during a tour of the King's Castle. When the ruby falls onto Alfred’s head, he is discovered with it and wrongfully accused of theft. In this retelling, Alfred clearly assumes the role of the falsely accused protagonist—mirroring Annette/Ninetta—while Pikkie represents the literal magpie whose instinctive behavior sets the plot in motion.

There are potential but ultimately unconvincing parallels to other characters in the opera. Henk de Mol might appear to function as a stand-in for Ninetta’s father, Fernando Villabella, and the two unnamed mice might be compared to Antonio, the compassionate prison warden. However, these comparisons break down upon closer examination, as their narrative roles and dramatic weight are not directly aligned with their operatic counterparts.

A notable divergence from the opera is that Pikkie, unlike the magpie in The Thieving Magpie, is actually tried for the theft. He is ultimately shown leniency by receiving a royal yellow penalty card, with his magpie heritage cited as a mitigating factor. This introduces a nuance not present in Rossini’s opera: the concept of natural instinct being weighed in the court's judgment.

Pikkie de Ekster pulling out a silver spoon to give to Alfred Jodocus Kwak for his first birthday in episode 2.

The moral message also diverges. While The Thieving Magpie functions as a cautionary tale about the consequences of hasty judgments and circumstantial evidence, the Alfred J. Kwak narrative focuses more on themes of loyalty, conscience, and moral responsibility as Alfred doesn't want to betray Pikkie. However, Alfred’s decision not to reveal that his friend Pikkie was the true culprit parallels Ninetta’s refusal to expose her father as a deserter. However, unlike Ninetta, Alfred faces no external coercion—only uncertainty about how the court might treat a magpie. The story ultimately affirms faith in the justice system, with the court depicted as fair and capable of compassion.

One compelling link that may serve as direct evidence of inspiration from *The Thieving Magpie* is found in Pikkie’s first appearance at Ollie's house. He proudly presents the gift he intends to give Alfred: a silver spoon—echoing the central stolen object in the opera and strongly suggesting an intentional allusion.

External Links

• Read La pie voleuse (1831) by Gioacchino Rossini and Castil-Blazeon on google books.
• Read La Gazza Ladra (1833) by Gioacchino Rossini and Giovanni Gherardini on google books.