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                <text>Cornell 4606.15.J15; 4606.15.J21</text>
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                <text>What links the many scenes we have of the King and his family is the modern sensibility on display in all of them. Of course, since dates are uncertain, we must assume that several images hail from the nineteenth century. Yet all confirm the sentimentality that the twentieth century so embraces. Interestingly, this may have been quite accurate, even though this sentimentality had not been as prevalent under Louis XIV in the seventeenth century, especially in court circles. But through the entire eighteenth century, affection had insinuated itself increasingly in relations between husband and wife and parents and children. Of course, the particular situation depicted here encouraged these feelings, but the royal family would not have been a stranger to such customs. That Louis most likely genuinely loved and was devoted to his wife was certainly not typical of his Bourbon ancestors</text>
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                <text>Louis Leaves His Family</text>
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              <text>Siége et prise de la Ville de Lyon : le 9 Octobre 1793, ou 17 Vendemiaire An 2.e de la République</text>
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                <text>&lt;span&gt;Bibliothèque Nationale de France&lt;/span&gt;</text>
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                <text>In September 1793, in response to the unwillingness of the municipal government of Lyon to enforce the legislature’s laws, the Republic sent the deputies and Committee of Public Safety members Georges Couthon and Jean–Marie Collot d’Herbois with a republican army to lay siege to the city and destroy all elements of "counterrevolution." The city surrendered on 9 October. Couthon, Collot, and local &lt;em&gt;sans–culottes&lt;/em&gt; wrought a terrible vengeance, with some 209 persons being arrested, tried, and executed in the next two months. Numerous private homes and public buildings were razed. The revolutionaries renamed the city &lt;em&gt;ville affranchie&lt;/em&gt; [Freed City], to represent the elimination of the poison of counterrevolution.</text>
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                <text>&lt;span&gt;Pierre-Gabriel &lt;span&gt;Berthault (engraver)&lt;/span&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;Jacques François Joseph &lt;span&gt;Swebach (designer)&lt;/span&gt;&lt;/span&gt;</text>
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                <text>http://chnm.gmu.edu/revolution/d/498/|&lt;span&gt;Collection de Vinck. &lt;em&gt;Un siècle d'histoire de France par l'estampe, 1770-1870&lt;/em&gt;. Vol. 47 (pièces 6357-6460), Ancien Régime et Révolution&lt;/span&gt;</text>
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                <text>James E. McClellan III, &lt;i&gt;Colonialism and Science: Saint Domingue in the Old Regime, &lt;/i&gt;(Baltimore and London: Johns Hopkins University Press, 1992), 47.</text>
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                <text>The most evident statistic to be seen here is that slaves, already making up almost nine–tenths of the population, were increasing at a far more rapid rate than either whites or free people of color. Inevitably, in a revolutionary situation, slaves were bound to make their presence felt.</text>
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                <text>Demographics of Saint Domingue</text>
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                <text>Frédéric Bluche, Le Plebiscite des Cent-Jours, 1815 (Geneva: Droz, 1974), p. 97</text>
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                <text>All regions of France did not support Napoleon equally. His rule aroused most enthusiasm in the east (a prerevolutionary border region crucial in the Napoleonic wars) and the center of the country, least in the west, which had long provided a home to royalist counterrevolution. &lt;br /&gt;Abstension rate in Napoleonic plebiscites (shaded areas = those where the abstention rate exceeded 80 percent)</text>
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                <text>Cornell Nap. 31</text>
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                <text>Where Napoleon was once the conqueror, the world now avenges itself. This sense of reversal, felt widely outside of France, characterized a number of the caricatures of Napoleon, and indeed of the entire Revolution.</text>
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                <text>"The Song of the End": the Whole World Now Chases Him</text>
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              <text>Journée de Saint-Cloud, le 18 [i.e. 19] Brumaire, an 8, (9 [i.e. 10] Novembre 1799)</text>
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                <text>The problems of the revolutionary government had so intensified that the two leaders, Abbé Sieyès and Roger Ducos, plotted to overthrow it with the help of the most famous military man of the day. But the legislative body, particularly the lower house, proved resistant. Napoleon needed the help of his younger brother Lucien to rally the troops and erase the opposition.</text>
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                <text>Isidore-Stanislas Helman (engraver)</text>
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                <text>Day of Saint–Cloud, 18 Brumaire, an 8 (9 November 1799)</text>
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                <text>http://chnm.gmu.edu/revolution/d/536/|Michel Hennin. &lt;em&gt;Estampes relatives à l'Histoire de France&lt;/em&gt;. Tome 143, Pièces 12530-12615, période : 1799-1800</text>
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                <text>Publicity about political machinations, coupled with the continued high price of bread, mobilized market women and encouraged many men to support them. They hoped to fetch the King and his family to end attempts against the Revolution and stabilize prices. This action was so threatening to the middle class elite that Lafayette, head of the Parisian National Guard, tried first to dissuade the marchers and then belatedly followed them to try to control the situation.</text>
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              <text>&lt;span&gt;Journée mémorable de Versailles : le lundi 5 octobre 1789&lt;/span&gt;</text>
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              <text>&lt;span&gt;Nos Modernes Amazones glorieuses de leurs Victoires revinrent à Cheval sur les Canons, avec plusieurs Messieurs de la Garde Nationale, tenant des branches de Peupliers au bruit des cris réitérés de Vive la Nation, Vive le Roi.&lt;/span&gt;</text>
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              <text>Our modern Amazons, glorious for their victories, return on horse and upon cannons, with several good men of the National Guard, holding poplar branches to the repeated cries of “Vive la Nation, vive le Roi!”</text>
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                <text>This engraving marks success and reconciliation among revolutionaries, as men and women, as well as soldiers and civilians, relax together.</text>
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              <text>Assassinat de J.P. Marat : le 13 Juillet 1793</text>
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                <text>An arrested Corday is hustled out of the door, while the inquest begins. The expired Marat, ghastly pale, looks much more realistic than in the David rendition of his death. Also, the bath in the shape of a boot, which differs from most images, is apparently accurate.</text>
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