1. Art, Music and Symbolism of the French Revolution

2. The Marseillaise The Marseillaise

3. The Liberty/Phrygian Cap

4. Images of "Liberty" in Roman times carried at the end of a pike a conical hat that covered the head of a freed slave. Images of "Liberty" in Roman times carried at the end of a pike a conical hat that covered the head of a freed slave. These caps symbolized freedom from slavery, and were used to represent freedom from despotism in the Revolution. These caps symbolized freedom from slavery, and were used to represent freedom from despotism in the Revolution. These caps were similar to what the common people of the eighteenth century wore and, in particular, the conquerors of the Bastille. These caps were similar to what the common people of the eighteenth century wore and, in particular, the conquerors of the Bastille.

5. LION ROOSTER FASCES SYMBOLS OF THE REVOLUTION

6. Lions were used as symbols of force – the power of the Revolution. They carried caps on pikes in some images, just as Liberty and the revolutionaries did. Lions were used as symbols of force – the power of the Revolution. They carried caps on pikes in some images, just as Liberty and the revolutionaries did. Roosters were symbols of vigilance (for example, a rooster crows at dawn to wake farmers.)‏ Roosters were symbols of vigilance (for example, a rooster crows at dawn to wake farmers.)‏ Fasces were bundles of sticks with an axe sticking out of them. In Rome they represented the power of certain magistrates who could order the beating of a criminal. The judges’ assistants, called licteurs, did the work with sticks. These fasces became the symbol of union and accord. It is from them that we also get the term, fascism. Fasces were bundles of sticks with an axe sticking out of them. In Rome they represented the power of certain magistrates who could order the beating of a criminal. The judges’ assistants, called licteurs, did the work with sticks. These fasces became the symbol of union and accord. It is from them that we also get the term, fascism.

7. EYE LEVEL PYRAMID SCALE TRIANGLE

8. Triangles: Universal symbols of perfection and balance (e.g. the Trinity, the “magic number” 3). Also a Masonic symbol. Triangles: Universal symbols of perfection and balance (e.g. the Trinity, the “magic number” 3). Also a Masonic symbol. Scale: Symbol of balance, equality, justice. Scale: Symbol of balance, equality, justice. Pyramid: Symbol of eternity (Egyptian tombs). Pyramid: Symbol of eternity (Egyptian tombs). Level: Masonic tool and symbol of equality (natural rights). Level: Masonic tool and symbol of equality (natural rights). Eye: Masonic symbol, symbol of God; in Revolution, used to symbolize vigilance and watchfulness. Eye: Masonic symbol, symbol of God; in Revolution, used to symbolize vigilance and watchfulness.

9. Epée CrosierBeehive Handshake

10. Epée (Sword): Symbol of the Second Estate (nobility); Crosier: Symbol of the First Estate (clergy) – both are shown united with the cap, a symbol of the Third Estate. Epée (Sword): Symbol of the Second Estate (nobility); Crosier: Symbol of the First Estate (clergy) – both are shown united with the cap, a symbol of the Third Estate. Handshake: Symbol of Fraternity, one of the revolutionary virtues; also a Masonic rite. Handshake: Symbol of Fraternity, one of the revolutionary virtues; also a Masonic rite. Beehive: Symbol of collective work. Beehive: Symbol of collective work.

11. LIBERTY TREE TABLETS HYDRA

12. Liberty Tree: Planted as a symbol of life, it relates to national freedom and the perpetuation of the Revolution and Republic. This image dates from 1792 when the Legislative Assembly made it official. The tree takes on a sacred value and to knock it down became a criminal act. The Liberty Tree was also a symbol of the American Revolution. Liberty Tree: Planted as a symbol of life, it relates to national freedom and the perpetuation of the Revolution and Republic. This image dates from 1792 when the Legislative Assembly made it official. The tree takes on a sacred value and to knock it down became a criminal act. The Liberty Tree was also a symbol of the American Revolution. Tablets: The Declaration of the Rights of Man and Citizen was depicted on tablets, identifying it with the tablets bearing the Ten Commandments from the Bible. Tablets: The Declaration of the Rights of Man and Citizen was depicted on tablets, identifying it with the tablets bearing the Ten Commandments from the Bible. Hydra: Mythological creature with many heads – when one is cut off, two more grow in its place. It symbolized monarchy and aristocracy in the Revolution. Hydra: Mythological creature with many heads – when one is cut off, two more grow in its place. It symbolized monarchy and aristocracy in the Revolution.

13. The Three Estates on Their Way to Versailles

14. Left: The carriage is driven by a member of the clergy, while a noble sits up top and abuses a commoner sitting on the back. Left: The carriage is driven by a member of the clergy, while a noble sits up top and abuses a commoner sitting on the back. Right: A member of the Third Estate chases after the carriage driven by the members of the First and Second Estates while another is trampled. Right: A member of the Third Estate chases after the carriage driven by the members of the First and Second Estates while another is trampled. Both images symbolize the inequality of the Three Estates. Both images symbolize the inequality of the Three Estates.

15. Louis XVI Aiding His People

16. This pre-Revolution image depicts Louis being generous to his subjects, giving the poor alms. This pre-Revolution image depicts Louis being generous to his subjects, giving the poor alms. This might be read either as a sympathetic portrayal of the king, or a subtle commentary on inequality – note the difference between the king's clothing and that of his subjects. This might be read either as a sympathetic portrayal of the king, or a subtle commentary on inequality – note the difference between the king's clothing and that of his subjects.

17. Louis XVI and Lafayette

18. Early in the Revolution, when the goal was constitutional monarchy, attempts were made to tie the king to the Revolution. Early in the Revolution, when the goal was constitutional monarchy, attempts were made to tie the king to the Revolution. Louis is depicted with Lafayette, a French noble and hero of the American Revolutionary War, who was very popular in the early years of the French Revolution. Louis is depicted with Lafayette, a French noble and hero of the American Revolutionary War, who was very popular in the early years of the French Revolution.

19. Louis XVI Wearing the Cap

20. The first image depicts Louis wearing the liberty cap, tying him to the goals of the Revolution. The first image depicts Louis wearing the liberty cap, tying him to the goals of the Revolution. The second image depicts Louis less flatteringly, wearing the cap but dressing him like a bumbling shopkeeper. The second image depicts Louis less flatteringly, wearing the cap but dressing him like a bumbling shopkeeper. The third image shows Louis being forced to wear the cap by revolutionaries (which actually happened). The third image shows Louis being forced to wear the cap by revolutionaries (which actually happened).

21. Louis XVI: Three Perspectives, One Goal

22. The image on the left depicts Louis XVI as an irresponsible drunk. The image on the left depicts Louis XVI as an irresponsible drunk. The image on the upper right depicts him as an even more brazenly irresponsible and laughable drunk, with animalized members of the clergy in tow. The image on the upper right depicts him as an even more brazenly irresponsible and laughable drunk, with animalized members of the clergy in tow. The image on the lower right depicts him riding a pig – a decidedly un-kingly role. The association of pigs and other animals with the royals increased as the Revolution wore on and Louis became less popular. The image on the lower right depicts him riding a pig – a decidedly un-kingly role. The association of pigs and other animals with the royals increased as the Revolution wore on and Louis became less popular.

23. The King and Queen

24. In these images, Louis XVI and Marie Antoinette are depicted as a demonic swine and a draconic harpy, respectively. In these images, Louis XVI and Marie Antoinette are depicted as a demonic swine and a draconic harpy, respectively. Such images are quite obviously anti- monarchy. Such images are quite obviously anti- monarchy.

25. The Royal Animals

26. In the left image, Louis XVI and Marie Antoinette are depicted as a two-headed, animal-like monster of some form. In the left image, Louis XVI and Marie Antoinette are depicted as a two-headed, animal-like monster of some form. In the right image, (of British origin) the royal family is shown as a series of animals being led to prison. This image was made to depict the arrest of the royal family for treason. In the right image, (of British origin) the royal family is shown as a series of animals being led to prison. This image was made to depict the arrest of the royal family for treason.

27. The Fall of the Bastille

28. In the left image, the Bastille is an imposing fortress which dwarfs the revolutionaries. In the left image, the Bastille is an imposing fortress which dwarfs the revolutionaries. In the right image, the Bastille is dwarfed by a gigantic revolutionary with a massive lion, symbolizing the victory of the Third Estate. In the right image, the Bastille is dwarfed by a gigantic revolutionary with a massive lion, symbolizing the victory of the Third Estate.

29. The Tennis Court Oath

30. The top image is a famous depiction of the Tennis Court Oath, painted in a heroic style. The top image is a famous depiction of the Tennis Court Oath, painted in a heroic style. The bottom image goes even further, by including allegorical symbols of angelic figures, identifying the rise of the Third Estate with providence. The bottom image goes even further, by including allegorical symbols of angelic figures, identifying the rise of the Third Estate with providence.

31. Revolutionary Meetings: Three Perspectives

32. The image on the left depicts the president of a revolutionary council as a lazy oaf, signifying an anti-Revolution perspective. The image on the left depicts the president of a revolutionary council as a lazy oaf, signifying an anti-Revolution perspective. The top right image shows a dignified revolutionary meeting, suggesting that these are professionals at work. The top right image shows a dignified revolutionary meeting, suggesting that these are professionals at work. The bottom left image depicts the meeting of a political club as a circus, which could be read as either supporting or opposing the Revolution. Supporting because it shows the club banding together diverse members, or opposing because circuses are hardly serious, dignified affairs. The bottom left image depicts the meeting of a political club as a circus, which could be read as either supporting or opposing the Revolution. Supporting because it shows the club banding together diverse members, or opposing because circuses are hardly serious, dignified affairs.

33. THE ARREST OF THE ROYAL FAMILY

34. Top left: The royal family is confronted by town guards. Top left: The royal family is confronted by town guards. Bottom left: The royal family is arrested only feet away from escape. Bottom left: The royal family is arrested only feet away from escape. Center: The royal family is indoors when revolutionaries barge in and arrest them. Center: The royal family is indoors when revolutionaries barge in and arrest them. Top right: Marie Antoinette tries to protect her family from the guards. Top right: Marie Antoinette tries to protect her family from the guards. Bottom right: The victorious guards surround the carriage and force the family back to Paris. Bottom right: The victorious guards surround the carriage and force the family back to Paris.

35. The Execution of Louis XVI

36. Top left: The executioner gleefully shows Louis XVI's head to the crowd. The head faces a liberty cap on a pike. Top left: The executioner gleefully shows Louis XVI's head to the crowd. The head faces a liberty cap on a pike. Bottom left: Louis is shown facing the sky, depicting him in a more innocent, tragic light, thereby making him appear more sympathetic. Bottom left: Louis is shown facing the sky, depicting him in a more innocent, tragic light, thereby making him appear more sympathetic. A commemorative plate of the event, with Louis' severed head shown dripping blood. Louis is referred to only as “Louis Capet,” the name he was called after being stripped of his title. A commemorative plate of the event, with Louis' severed head shown dripping blood. Louis is referred to only as “Louis Capet,” the name he was called after being stripped of his title.

37. Ramifications of the Execution

38. Left: In this British image, the death of Louis XVI is shown unleashing the legions of Hell – a statement about the danger of the Revolution spreading to other countries. Louis himself is being shined upon by God's light. Left: In this British image, the death of Louis XVI is shown unleashing the legions of Hell – a statement about the danger of the Revolution spreading to other countries. Louis himself is being shined upon by God's light. Right: The blood of Louis' severed head is crying out for vengeance in this image of similar persuasion to the left. Right: The blood of Louis' severed head is crying out for vengeance in this image of similar persuasion to the left. Both images depict British fears and condemnation of the Revolution. Both images depict British fears and condemnation of the Revolution.

39. FATES OF THE FIRST AND SECOND ESTATES

40. Top left: A formerly-noble couple is forced to walk without a carriage, and is splashed by mud from a passing dog. This symbolizes the humiliation which nobles had to endure in the Revolution. Top left: A formerly-noble couple is forced to walk without a carriage, and is splashed by mud from a passing dog. This symbolizes the humiliation which nobles had to endure in the Revolution. Bottom left: Members of the clergy depicted as having long noses – a symbol of derision usually reserved for anti-Semitic works. Also a symbol of deceptiveness. Bottom left: Members of the clergy depicted as having long noses – a symbol of derision usually reserved for anti-Semitic works. Also a symbol of deceptiveness. Top right: Fat members of the clergy are squeezed thin with a vise, representing the greed and corruption of the Church being cleansed by the Revolution. Top right: Fat members of the clergy are squeezed thin with a vise, representing the greed and corruption of the Church being cleansed by the Revolution. Bottom right: A bishop is forced to vomit out the privileges of the First Estate under the Old Regime. Bottom right: A bishop is forced to vomit out the privileges of the First Estate under the Old Regime.

41. “Welcome to Hades, a… Not-So- Friendly Community” Louis XVI Arrives in Hell Robespierre and His Followers Arrive in Hell

42. In these images, fallen despotic leaders are greeted in Hell, sans heads. Louis is greeted by fellow members of the aristocracy who were guillotined, while Robespierre meets the heads of those he has sentenced. In these images, fallen despotic leaders are greeted in Hell, sans heads. Louis is greeted by fellow members of the aristocracy who were guillotined, while Robespierre meets the heads of those he has sentenced. These images are meant to show that these former enemies of the people are going to be justly punished in Hell for their crimes. These images are meant to show that these former enemies of the people are going to be justly punished in Hell for their crimes.

43. THE MANY DEATHS OF JEAN-PAUL MARAT

44. Top left: A cartoon showing a menacing Charlotte Corday stabbing a shocked Marat. Note the exaggerated style and the fact that Marat is not in his bath. Top left: A cartoon showing a menacing Charlotte Corday stabbing a shocked Marat. Note the exaggerated style and the fact that Marat is not in his bath. Bottom left: Marat is shown passive and sainted as Corday stabs him in his bath. His wife cries out. Bottom left: Marat is shown passive and sainted as Corday stabs him in his bath. His wife cries out. Center: In this British cartoon, a powerful-looking Corday kills the more buffoonish Marat (again outside of his bath). Center: In this British cartoon, a powerful-looking Corday kills the more buffoonish Marat (again outside of his bath). Top right: Corday is led out of the room following her assassination of Marat, as his housekeeper weeps. Top right: Corday is led out of the room following her assassination of Marat, as his housekeeper weeps. Bottom right: Marat's death is embellished with various supernatural beings meant to emphasize his goodness and Corday's evil. Liberty (with fasces) comforts Marat as demons tear at Corday. Bottom right: Marat's death is embellished with various supernatural beings meant to emphasize his goodness and Corday's evil. Liberty (with fasces) comforts Marat as demons tear at Corday.

45. Secular Saint and Saintly Killer

46. Left: Marat is depicted as a new sort of saint, with a halo of stars (curious, as Marat was critical of the Church.)‏ Left: Marat is depicted as a new sort of saint, with a halo of stars (curious, as Marat was critical of the Church.)‏ Right: Charlotte Corday is depicted as a pure maiden, showing some sympathy for the assassin. Right: Charlotte Corday is depicted as a pure maiden, showing some sympathy for the assassin.

47. Revolutionaries and Counterrevolutionaries

48. Left: In this British image dating from a few decades following the French Revolution, revolutionaries are depicted as grotesque figures, malnourished, drunk, and filled with bloodlust, surrounding a flaming guillotine while axes drip blood upon them. Left: In this British image dating from a few decades following the French Revolution, revolutionaries are depicted as grotesque figures, malnourished, drunk, and filled with bloodlust, surrounding a flaming guillotine while axes drip blood upon them. Right: A revolutionary depiction of counterrevolutionaries, painting them as effeminate, twisted caricatures. Right: A revolutionary depiction of counterrevolutionaries, painting them as effeminate, twisted caricatures.

49. British Impressions

50. Left: In this cartoon by the well-known James Gillray, Charles Fox (a prominent British Whig politician, friend of the Prince of Wales, and sympathizer with the French Revolution) is depicted as if he were a sans-culottes, though wearing no pants at all and breaking wind. He is shown singing a revolutionary song and has blood on his hands. Left: In this cartoon by the well-known James Gillray, Charles Fox (a prominent British Whig politician, friend of the Prince of Wales, and sympathizer with the French Revolution) is depicted as if he were a sans-culottes, though wearing no pants at all and breaking wind. He is shown singing a revolutionary song and has blood on his hands. Right: This image shows British impressions of the two regimes: On the left is an effeminate French noble, bowing in deference to the revolutionary on the right, depicted as stern and unfriendly. Right: This image shows British impressions of the two regimes: On the left is an effeminate French noble, bowing in deference to the revolutionary on the right, depicted as stern and unfriendly.

51. It'll Be Okay It'll Be Okay

52. Tremble, Tyrants

53. In this revolutionary image, swords are used to strike fear into the hearts of tyrants – or members of the First and Second Estates. In this revolutionary image, swords are used to strike fear into the hearts of tyrants – or members of the First and Second Estates. In one of his speeches, Robespierre defended the use of terror against accusations that it was a tool of despotism by comparing the sword of the patriotic defenders of liberty to the sword of the armies of tyrants: terror and swords were merely tools, which could serve good or evil ends. In one of his speeches, Robespierre defended the use of terror against accusations that it was a tool of despotism by comparing the sword of the patriotic defenders of liberty to the sword of the armies of tyrants: terror and swords were merely tools, which could serve good or evil ends.