Seven months after the execution of the King, shortly after the declaration of "Revolutionary Government," the Convention turned to the rest of the royal family. Fearing that Marie Antoinette and her son, the nominal King, would provide rallying…
From an English periodical of 1819, this antirevolutionary print portrays the sans–culottes as drunkards anxious to destroy by fire, gallows, and guillotine rather than to work for their own good. The image satirizes the idea of sans–culotte…
Under the monarchy, the king was the country’s symbolic center. Removing him and establishing a republic made necessary not only a new constitution but also a new set of symbols. Here the revolutionaries transformed "Liberty" into "the Republic."…
The "manufactory" owned by Jean–Baptiste Réveillon in the Saint–Antoine neighborhood of Paris made decorative wallpaper, a lucrative luxury item that required highly skilled (and generally well–paid) workers. When a rumor circulated about Réveillon’s…
Rainsford’s detailed contemporary account of the revolt emphasizes the strenuous yet ultimately unsuccessful mobilization of colonial French resources.
This description of the proceedings of the revolutionary tribunal, and of the physical setting of the Place de la Révolution where the guillotine stood, by an unsympathetic English observer gives the flavor of the workings of revolutionary justice.…
The fattened clergyman and the well–bedecked nobleman go off unbothered while the figure in the foreground assesses carefully the value of a commoner. This complex image also includes a pig—likely a symbol for Louis XVI—with the cleric and the noble.…
The remainder of the text on this image reads: Emperor of the French, King of Italy, and Protector of the Confederation of the Rhine. The military flags make clear the connection between military conquest and imperial glory.
