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              <text>La Patrie en danger</text>
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                <text>&lt;p class="p1"&gt;&lt;span class="s1"&gt;Museé de la Révolution Française, Vizille&lt;/span&gt;&lt;/p&gt;</text>
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                <text>This painting of the period by Gillaume Guillon Lethière shows the emotion caused by the prospect of loved ones departing for the army. Women had to part with their families in order to support the nation in its time of need. Notice the female statue overlooking the scene. This female figure represents "the Fatherland" because in French the word for fatherland is gendered feminine (La Patrie).</text>
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                <text>The Fatherland in Danger</text>
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              <text>Les Refractaires allant a la terre promise</text>
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                <text>Many refractory clergy left France to join other detractors, as this print shows, or wishfully encourages. However, this is an ambiguous image, which leaves open the possibility that rather than joining foreign monarchies, the clergy are crossing the river leading to Hell.</text>
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                <text>http://chnm.gmu.edu/revolution/d/20/|&lt;span&gt;de Vinck. &lt;em&gt;Un siècle d'histoire de France par l'estampe, 1770-1870&lt;/em&gt;. Vol. 26 (pièces 4348-4477), Ancien Régime et Révolution&lt;/span&gt;</text>
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              <text>Vue de la montagne elevée au Champ de la Reunion</text>
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              <text>&lt;span&gt;pour la fête qui y a été célebrée en l'honneur de l'Etre Suprême le Decadi 20 Prairial de l'an 2.me de la Republique Française&lt;/span&gt;</text>
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                <text>In this watercolor of the Festival of the Supreme Being, we see a procession that includes a woman wearing a Phrygian cap paraded past a statue of Hercules holding two smaller statues of Liberty and Equality, towards a Liberty tree, atop the hill. In the foreground, a patriotic woman explains the meaning of the spectacle to her young son, an allegory of the didactic intent of the entire festival.</text>
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                <text>View of the Mound of Champ de la Reunion on the Festival That Was Celebrated in Honor of the Supreme Being</text>
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                <text>http://chnm.gmu.edu/revolution/d/21/|&lt;span&gt;Michel Hennin. &lt;em&gt;Estampes relatives à l'Histoire de France&lt;/em&gt;. Tome 135, Pièces 11862-11947, période : 1794&lt;/span&gt;|&lt;span&gt;de Vinck. &lt;em&gt;Un siècle d'histoire de France par l'estampe, 1770-1870&lt;/em&gt;. Vol. 46 (pièces 6283-6356), Ancien Régime et Révolution&lt;/span&gt;</text>
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                <text>This piece of crockery further demonstrates the sentiments of social unity so prevalent at the Festival of Federation. The crossed sword, pike, clerical staff, and bonnet symbolize the union of the nobility, peasants, clergy, and workers, respectively.</text>
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                <text>A similar emphasis on patriotic unity can be seen in Jean Renoir’s film, &lt;em&gt;La Marseillaise (1938). The movie tells the story of France’s national anthem, composed by Rouget de Lisle as a way to rally the troops. The song, written for soldiers from Marseillaise, soon inspired the entire nation.&lt;/em&gt;</text>
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                <text>This cartoon by the popular British caricaturist James Gillray depicts the British politician Charles James Fox as a &lt;em&gt;sans–culotte&lt;/em&gt;. Wearing a cockade in his wig and a bandage on his forehead, the unshaven Fox raises his bloody left hand as he lifts his left leg to break wind. Notice his torn shirt, the bloody dagger in his belt, and the fact that he wears no pants. He sings the popular revolutionary song, "Ça ira!" ["It’ll be okay."]</text>
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                <text>http://chnm.gmu.edu/revolution/d/24/|George, 8310. - Catalogue of prints and drawings in the British museum..., Political and personal satires / par Mary-Dorothy George. - London : British museum, 1873-1952, 8310.</text>
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                <text>This sword, an actual artifact of the revolutionary wars, shows how strongly French officers and soldiers believed themselves to be fighting for the defense of liberty, which is represented by the woman holding the balance and by the Phrygian bonnet on a pike, both visible in the hilt. &lt;span&gt;This example illustrates that even "masculine" objects such as swords depicted liberty as female.&lt;/span&gt;</text>
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