Using a woman to represent "Fraternity" seems ironic at best, although theoretically the term might mean the community of humanity. In actuality, when the revolutionaries considered "community," they certainly thought of men far more than women. The period saw women take advantage of opportunities presented to them, but outright champions of this kind of inclusive community were few. What might the revolutionaries have meant, then, by their reliance on the female form? One might hypothesize that in a revolution that feared the bold action of crowds, construing fraternity in this fashion softened and lessened such concerns.
Creator
Mademoiselle Rollet (engraver)
Louis-Simon Boizot (designer)
Source
Bibliothèque Nationale de France
Date
1793-1794
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/2/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 44 (pièces 5943-6108), Ancien Régime et Révolution
Even though popular action had unseated the Legislative Assembly and replaced it with the Convention, the elections that followed had not satisfied the radicals of Paris and their artisanal followers. From 31 May to 2 June 1793, these Parisians demonstrated outside the Convention and through intimidation forced the politicians inside to give up the Girondins who were being vilified. Although the winners of this event within the Convention—the Jacobins—managed to eliminate their political opposition, it made most of them quite uneasy to validate popular action of this sort. They were afraid it might be turned on them.
Creator
Pierre-Gabriel Berthault (engraver)
Jean Duplessi-Bertaux (engraver)
Jacques François Joseph Swebach (designer)
Source
Bibliothèque Nationale de France
Date
1802
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/105/|de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 45 (pièces 6109-6282), Ancien Régime et Révolution
From the City Hall, the crowd that had gathered on the morning of 14 July crossed the Seine River and sacked the royal veterans’ hospital known as the Invalides, where it hoped to capture arms. In Berthault’s engraving, the scene appears chaotic. The guards seem unsure how to react to the surging, leaderless, yet determined crowd.
Creator
Pierre-Gabriel Berthault (engraver)
Jean Duplessi-Bertaux (engraver)
Jean-Louis Prieur (designer)
Source
Bibliothèque Nationale de France
Date
1802
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/89/|<span>de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 9 (pièces 1423-1570), Ancien Régime et Révolution</span>
This retrospective shows that early in the Revolution targets were often economic. This should be no surprise as the populace had a long tradition of taking the law into its own hands to rectify what they saw as injustices. Here a guardhouse is destroyed during a riot focused on a network of facilities regulating the market. Most dangerously, the crowd burned an effigy of Brienne, the leading minister in the government. Economic complaints were spilling into the political arena.
Creator
Claude Niquet (engraver)
Abraham Girardet (engraver and illustrator)
Source
Bibliothèque Nationale de France
Date
1802
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/85/|Michel Hennin. <em>Estampes relatives à l'Histoire de France</em>. Tome 116, Pièces 10092-10183, période : 1786-1788|<span>de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 9 (pièces 1423-1570), Ancien Régime et Révolution</span>
Format
JPEG
Language
French
Identifier
85
Original Format
Engraving
Physical Dimensions
26 x 34 cm
Title (French)
Incendie du corps de garde sur le Pont Neuf, le 29 aout 1788
Fusillade in the Faubourg St. Antoine, 28 April 1789
Description
This image chronicles a riot. Many believe it was caused by artisans who attacked the Reveillon wallpaper shop and factory because they believed that the owner was about to lower wages. Over two days, more than 6,000 attacked the place. On 28 April troops were called and fired on the crowd. The official report noted 71 killed, wounded, or detained. This conflict reveals the animosity between the artisans and authorities as well as divisions between commoner owners and artisans that would eventually turn the Third Estate against itself.
Creator
Claude Niquet (engraver)
J. Pélicier (engraver)
Abraham Girardet (designer)
Vény (designer)
Source
Bibliothèque Nationale de France
Date
1802
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/87/|<span>de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 9 (pièces 1423-1570), Ancien Régime et Révolution</span>
Format
JPEG
Language
French
Identifier
87
Original Format
Engraving
Physical Dimensions
26 x 34 cm
Title (French)
Fusillade au fauxbourg St Antoine, le 28 avril 1789
Caption
Après le pillage de la maison et de la manufacture de Réveillon, les gardes françaises et suisses, qui s'avançoient dans le fauxbourg pour en chasser les brigands, ayant été assaillis par une grêle de pierres et de tuiles qu'on leur lançoit de differentes maisons ; firent feu sur les assaillans dont ils firent un grand carnage
By the spring of 1792, the Revolution was in crisis on several fronts—in April, war had been declared on the Habsburg Empire, uprisings were taking place in provincial cities, and the Legislative Assembly was increasingly divided over whether to consolidate gains already made or press forward with more changes. On 20 June crowds of people in Paris took matters into their own hands, invading first the Assembly and then the Tuileries Palace, where they forced the King to don a Phrygian cap and drink a toast to the health of the nation.
Creator
Denis Auguste Marie Raffet
Source
Division of Rare and Manuscript Collections, Cornell University
This painting emphasizes the populace’s participation in the storming of the Bastille, showing the urban population fighting under a red banner with muskets, swords, and pikes against the royal soldiers.
Creator
François Denis Née (engraver)
Source
Bibliothèque Nationale de France
Date
1789
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/63/|<span>de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 10 (pièces 1571-1762), Ancien Régime et Révolution</span>
Format
JPEG
Language
French
Identifier
63
Original Format
Engraving, from the painting
Physical Dimensions
18.5 x 43 cm
Title (French)
Vue de la ci-devant Bastille
Caption
départ. de la Seine n.o 99
]]>https://revolution.chnm.org/d/134sans–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 simplicity by arranging the two figures and the guillotine as an aristocratic coat of arms.]]>2019-11-26T21:13:33-05:00
Title
The Radical’s Arms. (No God! No Religion!! No King! No Constitution!!)
Description
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 simplicity by arranging the two figures and the guillotine as an aristocratic coat of arms.
Creator
George Cruikshank
Source
Library of Congress
Date
1819
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/134/
Format
JPEG
Language
English
Identifier
134
Original Format
Etching and colored wash
Physical Dimensions
35.4 x 24.9 cm
Title (French)
The Radical’s Arms. (No God! No Religion!! No King! No Constitution!!)
This engraving, based on a color portrait by Beys, depicts the death of Robespierre on the guillotine. The executioners wear not the traditional hangman’s hood but red bonnets representing liberty. This judgment notes Robespierre’s failure to the Revolution itself. Contemporaries emphasized that Robespierre’s punishment was just because it was the same to which "he had condemned so many thousands of innocent victims."
Creator
Giacomo Aliprandi (engraver)
Giacomo Beys (illustrator)
Source
Bibliothèque Nationale de France
Date
1799
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/11/|<span>Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 48 (pièces 6461-6583), Ancien Régime et Révolution</span>
This engraving gives a ground–eye view of the action; far from an orderly operation, the "day" appears chaotic and menacing, as the inspired people face what appear to be cannons being fired by royal soldiers. This romantic image would become the predominant view of this event.
Creator
Isidore-Stanislas Helman (engraver)
Antoine-Jean Duclos (engraver)
Charles Monnet (designer)
Source
Bibliothèque Nationale de France
Date
1793
Rights
Public Domain
Relation
http://chnm.gmu.edu/revolution/d/99/|Michel Hennin. <em>Estampes relatives à l'Histoire de France</em>. Tome 127, Pièces 11149-11230, période : 1792|de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 29 (pièces 4856-5017), Ancien Régime et Révolution