Of particular interest in this caricature of refractory clergy here are the long noses, traditionally used to caricature Jews, that suggest the refractory clergy were not of the people. This image shows resistant clergy marching in their last…
The second image, a color drawing by the popular English caricaturist James Gillray in 1805 during the Empire, takes a different view of the Directory, suggesting that it is a time of moral decadence and self–aggrandizement. It depicts Paul Barras,…
Some months after the execution of her husband, Marie Antoinette found herself in the dock of the public prosecutor, Antoine Quentin Fouquier–Tinville. The intervention of the radical journalist Jacques–René Hébert had pushed her case to the top, and…
Although the revolutionaries long regarded the Pope as an enemy, their anger was stoked significantly by the papal decision to decree as unacceptable the Civil Constitution of the Clergy. This decision, hardly unexpected given the way that the…
This color drawing, produced in 1793 at the request of the Committee of Public Safety and then published as an engraving, caricatures the British army and its king, George III, as incompetent, who, despite fine uniforms, cannot defeat shoddily clad,…
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…
In this color print from 1793, the height of the Terror, two circular drawings appear next to each other, contrasting two types of liberty. English liberty exists, as the figure suggests, but based on the Magna Carta, calm prevails. Representing…
This highly sophisticated political cartoon by the noted engraver James Gillray from October 1796 responds to Edmund Burke’s pamphlet, "Reflections on a Regicide Peace." This image argues against further war with France to avoid bankrupting the…
