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              <text>&lt;span&gt;Place Vendôme&lt;/span&gt;</text>
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              <text>La République</text>
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                <text>Male and female &lt;em&gt;sans–culottes&lt;/em&gt; were supposed to embody frugality, thrift, hard work, and, above all, honest devotion—whether to pets, the nation, or fellow comrades.</text>
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                <text>The Good Sans–Culotte</text>
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                <text>http://chnm.gmu.edu/revolution/d/73/|de Vinck. &lt;em&gt;Un siècle d'histoire de France par l'estampe, 1770-1870&lt;/em&gt;. Vol. 45 (pièces 6109-6282), Ancien Régime et Révolution</text>
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              <text>Who, while he was Villifying some of the more Moderate Men in the Convention and asserting that they should lose their Heads, stabed him saying, Villain thy Death shall Precede Theirs.</text>
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                <text>To those who considered Marat insincere and dangerous in his unrelenting populism, the true martyr was Charlotte Corday, who had come to Paris from Caen—a city then serving as a base for the federalist insurgency—apparently with the express intent of killing Marat. In this engraving by the English caricaturist Cruikshank, Corday is depicted as "A Second Joan of Arc," saving her country by ridding it of oppressive rulers.</text>
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                <text>&lt;span&gt;A Second Jean d'Arc, or the Assassination of Marat by Charlotte Cordé of Caen in Normandy on Sunday July 14 1793&lt;/span&gt;</text>
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                <text>http://chnm.gmu.edu/revolution/d/74/|Collection de Vinck. &lt;em&gt;Un siècle d'histoire de France par l'estampe, 1770-1870&lt;/em&gt;. Vol. 32 (pièces 5252-5394), Ancien Régime et Révolution</text>
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              <text>No. 1 Citoyen actif. Ta noblesse est donc dans ton habit. No. 2 citoyen passif. Prenez garde que ma patience ne m'échappe. No. 3 Vois tu que je suis noble No. 4 Je suis sous le rideau et je reponds de tout</text>
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                <text>This cartoon mocks the distinction between active and passive citizens. Many revolutionaries hated this difference, essentially dividing those with property from those without. The propertied (active) were the only ones who could participate in the political process.</text>
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              <text>Les Deux ne font qu'un</text>
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                <text>The Queen, never popular to begin with in France, also bore the brunt of popular anger in 1792, as seen in images of the King and Queen as animals. This reversal from old regime portrayals of the monarchy is made more remarkable by the fact that beyond 1789 cartoons tried, if somewhat unsuccessfully, to integrate royalty and revolution. One wonders if this dehumanizing of the King and Queen might explain why they became such lightning rods for criticism.</text>
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                <text>King and Queen as Two–headed Monster</text>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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          <name>Title (French)</name>
          <description>The image's title, in French.</description>
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              <text>Ah ! Monseigneur ! on veut donc nous faire rendre tout. Je vous avait cependant conseillé de faire atout</text>
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                <text>Not uncommonly, revolutionary prints invoked excretory humor directed toward those priests who would not swear allegiance to the Revolution. Revolutionaries eliminated on their enemies; the latter might also receive enemas. Of course, in a world of chamber pots everyone got the message loudly and clearly.</text>
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            <description>An entity primarily responsible for making the resource</description>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Ah! Monsignor! It seems that they want us to give everything back, yet while in the game I had advised you to play trumps.</text>
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            <description>A related resource</description>
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                <text>This hand–tinted engraving depicts the storming of the Tuileries Palace by what appear to be small groups of well–organized soldiers of the Marseilles National Guard. The positive image of the &lt;em&gt;sans–culottes&lt;/em&gt; is reinforced by commentaries that attribute their action to the "despotism" of Louis XVI and the "treason" of his agents against France.</text>
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          <description/>
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