1. Abbe’ Sieyes “What is the Third Estate?”

2. French pre-revolutionary print: the peasant, bowed under the burden of taxation, is seen as supporting the clergy and nobility. Musée Carnavalet, Paris.

3.                                                                 
The picture above portrays five 'sans-culottes', including a market porter, a cobbler, and a joiner; who are all armed with a pike.

4. The sans-culotte depicted in the caricature above is wearing the typical sans-culotte garb.
This caricature is of a Parisian Sans-culotte drawn
between 1792 and Taken from (Furet and Ozouf, 362)

5. Importance of Sans-culottes Movement
                                                                                   
The Sans Culottes
Importance of Sans-culottes Movement
Sans-culottes were a prominent political group at the end of the nineteenth century, and played a large role in the French Revolution. The sans-culottes movement was important to the Revolution of 1789 and later revolutions, because it was one of the first working class groups that incorporated both a political stance and a social condition.
The Members of Sans-Culottes
The sans-culotte consisted of the working-class. During the height of the sans-culottes movement, Momoro remarked, "A sans-culotte is someone who goes everywhere on foot, who isn't loaded with money like the rest of you, but lives quietly with his wife and children on the fourth or fifth floor" (Lewis, 102). The reference to the upper floors comes from the fact that the poorer workers tended to occupy the top floors or attics of apartment blocks. Such descriptions are evocative, but misleading. The sans-culotte did not necessarily represent the poorest section of the urban crowd, as pictured above. Some were poor, but the militant sans-culottes were more often than not skilled workers and shopkeepers from the middle class.
The elite members of the sans-culotte preferred the trousers of the working-man. They disdained the breeches of the aristocracy or upper-middle classes. They felt that all classes were equal and, therefore, should not be segregated by fashion. In the picture above, the members are working-men and hold the pike to symbolize their militancy. The pike was a common weapon of the lower class, because it was easily constructable. It evened the playing field between the lower class revolutionaries and the king's army. The sans-culotte depicted in the caricature to the right is also wearing the typical sans-culotte garb.
This caricature is of a Parisian Sans-culotte drawn
between 1792 and Taken from (Furet and Ozouf, 362)
The Desires and Politics of Sans-Culottes
Socially, the sans-culottes were anything but cohesive. The politics of any member of the movement, or French society for that matter, depended on personal vendettas, professional jealousies, literacy, and economic factors. Although their politics could differ, sans-culottes did hold one opinion in common: they were against the rich.
Sans-culottes believed in the ideology that all men were equal.
Ideally, each citizen would own one piece of property, such as a farm or shop, and no one would control large enterprises or estates.
The sans-culotte were not opposed to the concept of private property, but did despise the indulgent wealth by the bourgoisie and the elite aristocrates.
Food should be taken from big landowners and grain-merchants and to be given to small workshops.
They called for a radical Republic based on Direct Democracy.
They wanted a tax on the rich. .
The political ideologies of the sans-culottes often clashed with the established French authorities in the late eighteenth century, causing the middle and upper classes to view the sans-culottes with hesitation and even fear. The depiction of the sans-culotte as a militant savage was commonplace in France at the time.

7.                
The Formation of the Parisian Bourgeoisie, (Harvard Historical Studies) (Hardcover)

8. Gentleman in the fashion of 1693, Young man of the bourgeoisie in 1710  (Quicherat)

9.                                                                          
The Bourgeoisie

10. ... of Justice in the Parlement of Paris oil painting

12. contemporary French cartoon: the Third Estate (workers) is shown bearing the full burden of taxation. The nobility (left) leans unhelpfully on his labor; the clergy (right) gives token help.

14. ESTATES GENERAL 1789

16. National Assembly. Bailly is the central figure standing on the table.

17. Tennis Court Oath

19. The Bastille 1789

21. The Place de la Bastille is a square in Paris, where the Bastille prison stood until it was stormed and subsequently torn down between July 14, 1789 and July 14, 1790 during the French Revolution; no vestige remains.
The square straddles 3 arrondissements of Paris, namely the 4th, 11th and 12th. The square and its surrounding areas are commonly and plainly refered as Bastille.
The July Column (Colonne de Juillet) which commemorates the events of the July Revolution (1830) stands at the centre of the square. Other remarkable features include the Bastille Opera, the Bastille subway station, as well as a section of the Canal Saint Martin. Prior to 1984, the Bastille train station stood on the location now taken by the opera house.
Because of its historical significance, the square is often used for political demonstrations, including the massive anti-CPE demonstration of March 28, 2006.
In June 16, 1792, it was decided the area occupied by the Bastille should be turned into a square celebrating liberty, and that a column would be erected there. The first stone was laid by Palloy, however the construction didn't take off. A fountain was built in 1793.
In 1808, as part of refitting projects of Paris, Napoléon planned to have a monument in the shape of an elephant built there. It was designed to be 24 m (78 ft) in height, and be casted with the bronze of cannons taken from the spanish. Access to the top was to be granted by a stairway set in one of the legs. However, only a full scale plaster model was built. Victor Hugo immortalized the monument in the novel Les Misérables where it is used as a shelter by Gavroche. The monument was demolished in 1846.
In 1833, Louis-Philippe decided to build the July Column as originally planned in It was inaugurated in 1840
This page was last modified 10:20, 11 May 2006.
All text is available under the terms of the GNU Free Documentation License (see Copyrights for details). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc.

23. "La Nation Francaise Assistee de M. De laFayette"

24. The visit of the Marquis de Lafayette to the U. S
The visit of the Marquis de Lafayette to the U.S., in , was in every sense a triumphal procession. The 2d Battalion, 11th New York Artillery, was one of many militia commands turned out in welcome. This unit decided to adopt the title "National Guard," in honor of Lafayette's celebrated Garde Nationale de Paris. The Battalion, later the 7th Regiment, was prominent in the line of march on the occasion of Lafayette's final passage through New York en route home to France. Taking note of the troops named for his old command, Lafayette alighted from his carriage, walked down the line, clasping each officer by the hand as he passed. "National Guard" was destined to become the name of the U.S. militia.

25. The pivotal naval battle of the Napoleonic Wars was the Battle of Trafalgar where the British under Admiral Horatio Nelson decisively defeated a combined French and Spanish fleet in There are a number of artifacts in the collection related to Nelson, Trafalgar and naval warfare at the time including the pistol, cockade and sword seen here which were actually present at the battle.

26. Pillage of the monastery of St
Pillage of the monastery of St. Lazare, 13 July 1789, shortly before the outbreak of the Great Fear. Such monastic houses were not only prisons but commercial depots. It, like the houses of the nobility, became a symbol of the ancien régime.

27. A typical scene of looting during the anti-seigneurial rioting between March and May of It was this sort of rioting that convinced the nobility to commit the most revolutionary act of 1789: the renunciation of feudal rights on 4 August.

28. The Great Fear burning chateaux as the peasants riot in the countryside

31. The apprehension of Louis XVI at Varennes
                                                                                                                  
The apprehension of Louis XVI at Varennes

35. The Death of Marat Jacques-Louis David, 1793
oil on canvas, 162 × 128 cm
Musées Royaux des Beaux-Arts
Soon, David’s friend Marat was assassinated by Charlotte Corday, a woman of an opposing political party, whose name can be seen in the note Marat holds in David's subsequent painting, The Death of Marat. David once again organized a spectacular funeral, and Marat was buried in the Panthéon. Marat died in the bathtub, writing. David wanted to have his body submerged in the bathtub during the funeral procession, but the body had begun to putrefy. Instead, Marat’s body was periodically sprinkled with water as the people came to see his corpse, complete with gaping wound. The Death of Marat, perhaps David's most famous painting, has been called the Pietà of the revolution. Upon presenting the painting to the convention, he said “Citizens, the people were again calling for their friend; their desolate voice was heard: David, take up your brushes.., avenge Marat... I heard the voice of the people. I obeyed.” David had to work quickly, but the result was a simple and powerful image. Everything in the picture leads back to Marat’s head.
Also painted the death of Socrates (1787)
For the salon of 1787, David exhibited his famous Death of Socrates. "Condemned to death, Socrates, strong, calm and at peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will insure a peaceful death… The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato (not present when Socrates died) is depicted as an old man seated at the end of the bed." Critics compared the Socrates with Michelangelo’s Sistine Ceiling and Raphael's Stanze, and one, after ten visits to the Salon, described it as "in every sense perfect". Denis Diderot said it looked like he copied it from some ancient bas-relief. The painting was very much in tune with the political climate at the time. For this painting, David was not honored by a royal "works of encouragement".

36. Mob placing the red cap of liberty on the King's head at the Tuileries
                                                                                                                               
Mob placing the red cap of liberty on the King's head at the Tuileries
June 20, 1792

37. The storming of the Tuileries Palace on 10 August, 1792
The storming of the Tuileries Palace on 10 August, In a scene that was destined to be repeated throughout this and other French revolutions, violence became the means of achieving political ends. Though admittedly the Swiss Guard fired first, in the end the fédérés and National Guard butchered some six hundred Swiss, many after they had been captured.

39. This gruesome broadside offered "matters for reflection to the crowned jugglers" of Europe. The inscription at the bottom reads (in part): "On Monday, 21 January, 1793, at 10:15 in the morning, on the Place de la Révolution, previously called the Place de Louis XV, the tyrant fell to the Sword of Justice. This great act of justice has thrown the aristocracy into a tumult, annihilated the superstition of the royalty, and created The Re- public." The line just below the image of the severed head is taken from the Marseillaise, and it argues (roughly) "that [Louis'] impure blood should water our fields."

42. Cult of the Supreme Being --- The Festival of the Supreme Being and the Statue of Wisdom (Also see Kagan p. 658)
The Republic of Virtue

43. The Death of Robespierre" 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."

44. In this image of Robespierre's execution, he is associated with other victims of the Terror which he helped to create.

45. "Act of Justice"
Here Robespierre’s death is depicted as divine retribution, as in a classical myth. Numerous heads, presumably of those who had perished at the guillotine, watch two male figures (bearing a strong resemblance to Hercules, who had been an early symbol of the Revolution) carry the freshly severed heads of Robespierre and his followers toward the mythological river Styx, guarded by the three–headed dog Cerberus.

46. "A Grateful France Proclaims Napoleon the First Emperor of the French"
In this engraving, Roman and contemporary themes are combined to glorify the new emperor. The absence of any clear representation of revolutionary liberty shows Napoleon moving away from the events of the preceding decade.

48. ""The Little Cartesian Devil": German Peasants Capturing the Little Devil Napoleon"
The reversal of circumstances that German cartoonists emphasized seemed generally to exercise considerable sway over this use of symbols. Here, Napoleon, who strode so large over Europe, is bottled and examined. Obsessed with his small stature, Napoleon might have been particularly displeased with this image.