#Augustin Barbaroux
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And Their Children After Them (Leurs enfants aprĂšs eux), Ludovic Boukherma and Zoran Boukherma (2024)
#Ludovic Boukherma#Zoran Boukherma#Paul Kircher#Angelina Woreth#Sayyid El Alami#Gilles Lellouche#Ludivine Sagnier#Augustin Barbaroux#Amaury Chabauty#GĂ©raldine Mangenot#2024
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Frev appearance descriptions masterpost
Jean-Paul Marat â In Histoire de la RĂ©volution française: 1789-1796 (1851) Nicolas VilliaumĂ© pins down Maratâs height to four pieds and eight pouces (around 157 cm). This is a somewhat dubious claim considering VilliaumĂ© was born 26 years after Maratâs death and therefore hardly could have measured him himself, but we do know he had had contacts with Maratâs sister Albertine, so maybe thereâs still something to this. That Marat was short is however not something VillaumĂ© is alone in claiming. Brissot wrote in his memoirs that he was âthe size of a sapajou,â the pamphlet Bordel patriotique (1791) claimed that he had âsuch a sad face, such an unattractive height,â while John Moore in A Journal During a Residence in France, From the Beginning of August, to the Middle of December, 1792 (1793) documented that âMarat is little man, of a cadaverous complexion, and a countenance exceedingly expressive of his disposition. [âŠ] The only artifice he uses in favour of his looks is that of wearing a round hat, so far pulled down before as to hide a great part of his countenance.â In Portrait de Marat (1793) Fabre dâEglantine left the following very detailed description: âMarat was short of stature, scarcely five feet high. He was nevertheless of a firm, thick-set figure, without being stout. His shoulders and chest were broad, the lower part of his body thin, thigh short and thick, legs bowed, and strong arms, which he employed with great vigor and grace. Upon a rather short neck he carried a head of a very pronounced character. He had a large and bony face, aquiline nose, flat and slightly depressed, the under part of the nose prominent; the mouth medium-sized and curled at one corner by a frequent contraction; the lips were thin, the forehead large, the eyes of a yellowish grey color, spirited, animated, piercing, clear, naturally soft and ever gracious and with a confident look; the eyebrows thin, the complexion thick and skin withered, chin unshaven, hair brown and neglected. He was accustomed to walk with head erect, straight and thrown back, with a measured stride that kept time with the movement of his hips. His ordinary carriage was with his two arms firmly crossed upon his chest. In speaking in society he always appeared much agitated, and almost invariably ended the expression of a sentiment by a movement of the foot, which he thrust rapidly forward, stamping it at the same time on the ground, and then rising on tiptoe, as though to lift his short stature to the height of his opinion. The tone of his voice was thin, sonorous, slightly hoarse, and of a ringing quality. A defect of the tongue rendered it difficult for him to pronounce clearly the letters c and l, to which he was accustomed to give the sound g. There was no other perceptible peculiarity except a rather heavy manner of utterance; but the beauty of his thought, the fullness of his eloquence, the simplicity of his elocution, and the point of his speeches absolutely effaced the maxillary heaviness. At the tribune, if he rose without obstacle or excitement, he stood with assurance and dignity, his right hand upon his hip, his left arm extended upon the desk in front of him, his head thrown back, turned toward his audience at three-quarters, and a little inclined toward his right shoulder. If on the contrary he had to vanquish at the tribune the shrieking of chicanery and bad faith or the despotism of the president, he awaited the reĂ©stablishment of order in silence and resuming his speech with firmness, he adopted a bold attitude, his arms crossed diagonally upon his chest, his figure bent forward toward the left. His face and his look at such times acquired an almost sardonic character, which was not belied by the cynicism of his speech. He dressed in a careless manner: indeed, his negligence in this respect announced a complete neglect of the conventions of custom and of taste and, one might almost say, gave him an air of ressemblance.â
Albertine Marat â both Alphonse Ăsquiros and François-Vincent Raspail who each interviewed Albertine in her old age, as well as Albertineâs obituary (1841) noted a striking similarity in apperance between her and her older brother. Esquiros added that she had âtwo black and piercing eyes.â A neighbor of Albertine claimed in 1847 that she had âthe face of a man,â and that she had told her that âmy comrades were never jealous of me, I was too ugly for thatâ (cited in Marat et ses calomniateurs ou RĂ©futation de lâHistoire des Girondins de Lamartine (1847) by Constant Hilbe)Â
Simonne Evrard â An official minute from July 1792, written shortly after Maratâs death, affirmed the following: âHeight: 1m, 62, brown hair and eyebrows, ordinary forehead, aquiline nose, brown eyes, large mouth, oval face.â The minute for her interrogation instead says: âgrey eyes, average mouth.âCited in this article by marat-jean-paul.org. When a neighbor was asked whether Simonne was pretty or not around two decades after her death in 1824, she responded that she was âtrĂšs-bienâ and possessed âan angelic sweetnessâ (cited in Marat et ses calomniateurs ou RĂ©futation de lâHistoire des Girondins de Lamartine (1847) by Constant Hilbe) while Joseph Souberbielle instead claimed that âshe was extremely plain and could never have had any good looks.â
Maximilien Robespierre â The hostile pampleth Vie secrette, politique et curieuse de M. J Maximilien RobespierreâŠÂ released shortly after thermidor by L. Duperron, specifies Robespierreâs hight to have been âfive pieds and two or three poucesâ (between 165 and 170 cm). He gets described as being âof mediocre hightâ by his former teacher LiĂ©vin-Bonaventure Proyart in 1795, âa little below average heightâ by journalist Galart de Montjoie in 1795, âof medium hightâ by the former Convention deputy Antoine-Claire Thibaudeau in 1830 and âof middling formâ by his sister in 1834, but âof small sizeâ by John Moore in 1792 and Claude François Beaulieu in 1824. The 1792 pampleth Le vĂ©ritable portrait de nos lĂ©gislateursâŠÂ wrote that Robespierre lacked âan imposing physique, a body Ă la Danton,âsupported by Joseph FiĂ©vĂ©e who described him as âsmall and frailâ in 1836, and Louis Marie de La RĂ©velliĂšre who said he was âa physically puny manâ in his memoirs published 1895. For his face, both François GuĂ©rin (on a note written below a sketch in 1791), Buzot in his MĂ©moires sur la RĂ©volution française (written 1794), Germaine de StaĂ«l in her Considerations on the Principal Events of the French Revolution (1818), a foreign visitor by the name of Reichardt in 1792 (cited in Robespierre by J.M Thompson), Beaulieu and La RĂ©velliĂšre-LĂ©peaux all agreed that he had a âpale complexion.â Charlotte does instead describe it as âdelicateâ and writes that Maximilienâs face âbreathed sweetness and goodwill, but it was not as regularly handsome as that of his brother,â while Proyart claims his apperance was âentirely commonplace.â The foreigner Reichardt wrote Robespierre had âflattened, almost crushed in, features,â something which Proyart agrees with, writing that his âvery flat featuresâ consisted of âa rather small head born on broad shoulders, a round face, an indifferent pock-marked complexion, a livid hue [and] a small round nose.â Thibaudeau writes Robespierre had a âthin face and cold physiognomy, bilious complexion and false look,â Duperron that âhis colouring was livid, bilious;  his eyes gloomy and dull,â something which Stanislas FrĂ©ron in Notes sur Robespierre (1794) also agrees with, claiming that âRobespierre was choked with bile. His yellow eyes and complexion showed it.â His eyes were however green according to Merlin de Thionville and GuĂ©rin while Proyart insists they were âpale blue and slightly sunken.â  Etienne Dumont, who claimed to have talked to Robespierre twice, wrote in his Souvernirs sur Mirabeau et sur les deux premiĂšres assemblĂ©es lĂ©gislatives (1832) that âhe had a sinister appearance; he would not look people in the face, and blinked continually and painfully,â and Duperron too insists on âa frequent flickering of the eyelids.â Both FrĂ©ron, Buzot, Merlin de Thionville, La RĂ©velliĂšre, Louis SĂ©bastien Mercier in his Le Nouveau Paris (1797) and Beffroy de Reigny in Dictionnaire nĂ©ologique des hommes et des choses ou notice alphabĂ©tique des hommes de la RĂ©volution, qui ont paru Ă lâAuteur les plus dignes dâattentionâŠÂ (1799) made the peculiar claim that Robespierreâs face was similar to that of a cat. Proyart, Beaulieu and Millingen all wrote that it was marked by smallpox scars, âmediocretlyâ according to Proyart, âdeeplyâ according to the other two. Proyart also writes that Robespierreâs hair was light brown (chĂątain-blond). He is the only one to have described his hair color as far as Iâm aware.Â
For his clothes, both Montjoie, Louis-SĂ©bastien Mercier in 1801, Helen Maria Williams in 1795, Duperron, Millingen and FiĂ©vĂ©e recall the fact that Robespierre wore glasses, the first two claiming he never appeared in public without them, Duperron that he âalmost alwaysâ wore them, and Millingen that they were green. Pierre Villiers, who claimed to have served as Robespierreâs secretary in 1790, recalled in Souvenirs d'un deportĂ©Â (1802) that Robespierre âwas very frugal, fastidiously clean in his clothes, I could almost say in his one coat, which was was of a dark olive colour,â but also that âHe was very poor and had not even proper clothes,â and even had to borrow a suit from a friend at one point. Duperron records that â[Robespierreâs] clothes were elegant, his hair always neat,â Millingen that âhis dress was careful, and I recollect that he wore a frill and ruffles, that seemed to me of valuable lace,âCharlotte that âhis dress was of an extreme cleanliness without fastidiousness,â Williams that he âalways appeared not only dressed with neatness, but with some degree of elegance, and while he called himself the leader of the sans-culottes, never adopted the costume of his band. His hideous countenance [âŠ] was decorated with hair carefully arranged and nicely powdered,â FiĂ©vĂ©e that Robespierre in 1793 was âalmost alone in having retained the costume and hairstyle in use before the Revolution,â something which made him ressemble âa tailor from the Ancien rĂ©gime,â Thibadeau that âhe was neat in his clothes, and he had kept the powder when no one wore it anymore,â Germaine de StaĂ«l that âhe was the only person who wore powder in his hair; his clothes were neat, and his countenance nothing familiar,â RĂ©velliĂšre writes that Robespierreâs voice was âtoneless, monotonous and harsh,â Beaulieu that it âwas sharp and shrill, almost always in tune with violence,â and  Thinadeau that his âtoneâ was âdogmatic and imperious.â
Augustin Robespierre â described as âbig, well formed, and [with a] face full of nobility and beautyâ in the memoirs of his sister Charlotte. Charles Nodier did in Souvenirs, Ă©pisodes et portraits pour servir Ă l'histoire de la RĂ©volution et de l'Empire (1831) recall that Augustin had a âpale and macerated physiognomyâ and a quite monotonous voice.
Charlotte Robespierre â an anonymous doctor who claimed to have run into Charlotte in 1833, the year before her death, described her as âvery thin.â Jules Simon, who reported to have met her the following year, did him too describe her as âa very thin woman, very upright in her small frame, dressed in the antique style with very puritanical cleanliness.â
Camille Desmoulins â described as âquite tall, with good shouldersâ in number 16 of the hostile journal Chronique du ManĂšge (1790). Described as ugly by both said journal, the journal Journal GĂ©nĂ©ral de la Cour et de la Ville in 1791, his friend François Suleau in 1791, former teacher Proyart in 1795, Galart de Montjoie in 1796, Georges Duval in 1841, Amandine Rolland in 1864 (she does however add that it was âwith that witty and animated ugliness that pleasesâ) and even himself in 1793. Proyart describes his complexion as âblack,â Duval as âbilious.â Both of them agree in calling his eyes âsinister.â Duval also claims that Desmoulinsâ physiognomy was similar to that of an ospray. Montjoie writes that Desmoulins had âa difficult pronunciation, a hard voice, no oratorical talent,â Proyart that âhe spoke very heavily and stammered in speechâ and Camille himself that he has âdifficulty in pronunciationâ in a letter dated March 1787, and confesses âthe feebleness of my voice and my slight oratorical powersâ in number 4 of the Vieux Cordelier. In his very last letter to his wife, dated April 1 1794, Desmoulins reveals that he wears glasses.
Lucile Desmoulins â The concierge at the Sainte-PĂ©lagie prison documented the following when Lucille was brought before him on April 4 1794: âheight of five pieds and one and a half pouce (166 cm). Brown hair, eyebrows and eyes. Middle sized nose and mouth. Round face and chin. Ordinary front. A mark above the chin on the right.â Cited in Camille et Lucile Desmoulins: un rĂȘve de rĂ©publique (2018). Described as beautiful by the journal Journal GĂ©nĂ©ral de la Cour et de la Ville in 1791 (it specifies her to be âas pretty as her husband is uglyâ), former Convention deputy Pierre Paganel in 1815, Louis Marie Prudhomme in 1830, Amandine Rolland in 1864 and ThĂ©odore de Lameth (memoirs published 1913).
Georges Danton â Described as having an ugly face by both Manon Roland in 1793, Vadier in 1794, the anonymous pamphlet Histoire, caractĂšre de Maximilien Robespierre et anecdotes sur ses successeurs in 1794, Louis-SĂ©bastien Mercier in 1797, Antoine Fantin-Desodoards in 1807, John Gideon Millingen in 1848, Ălisabeth Duplay Lebas in the 1840s, the memoirs (1860) of François-RenĂ© Chateaubriand (he specifies that Danton had âthe face of a gendarme mixed with that of a lustful and cruel prosecutorâ) as well as the MĂ©moires de la SocietĂ© dâagriculture, commerce, sciences et arts du department de la Marse, Chalons-sur-Marne (1862). As reason for this ugliness, Millingen lifts his âcourse, shaggy hairâ (that apparently gave him the apperance of a âwild beastâ), the fact he was deeply marked with small-poxes, and that his eyes were unusually small (âand sparkling in surrounding darknessâ), while Chateaubriand instead underlines that he was âsnub-nosed,â with âwindy nostrils [and] seamed flats.â Mercier writes that Dantonâs face was âhideously crushed.â The former Convention deputy Alexandre Rousselin (1774-1847) reported in his Danton â Fragment Historique that Danton developed a lip deformity after getting gored by a bull as a baby, had his nose crushed by another bull, got trampled in the face by a group of pigs and finally survived âa very serious case of smallpoxes, accompanied by purpura.â In 1792, John Moore reported that âDanton is not so tall, but much broader than Roland; his form is coarse and uncommonly robust,â while Vadier claims that Danton possessed a ârobust form, colossal eloquence,â the anonymous pamphlet that âhe was very strong, he said himself that he had athletic forms,â Desodoards that he âheld the nature of athletic and colossal forms,â Chateaubriand that he was âa vandal in the size of Gothâ (donât know who heâs referring to), Pierre Paganel (in Essai historique et critique sur la rĂ©volution française: ses causes, ses rĂ©sultats, avec les portraits des hommes les plus cĂ©lĂšbres (1815)) that he was of an âenormous stature,â while the pamphlet described him as a âgigantic oratorâ whose voice âshook the vaults of the hall.â RenĂ© Levasseur in 1829, John Moore, Millingen, Paganel and Desodoards all agreed with this, the first four writing that Danton possessed a âstentorian voice,â the latter that he had âa very strong voice, without being sonorous or flexible.â In her memoirs (1834) Charlotte Robespierre claims that â[Danton] did not at all conserve the dignity suited to the representative of a great people in his manners; his toilette was in disorder.â
Louis Antoine Saint-Just â In Saint-Just (1985) Bernard Vinot writes that Saint-Justâs childhood friend Augustin Lejeune recalled his âhonest physiognomy,â and that his sister Louise would evoke her brotherâs âgreat beautyâ for her grandchildren (I unfortunately canât find the original sources here). The elderly Ălisabeth Le Bas too stated that âhe was handsome, Saint-Just, with his pensive face, on which one saw the greatest energy, tempered by an air of indefinable gentleness and candorâ (testimony found in Les Carnets de David dâAngers (1838-1855) by Pierre-Jean David dâAngers, cited in Veuve de Thermidor: le rĂŽle et l'influence d'Ălisabeth Duplay-Le Bas (1772-1859) sur la mĂ©moire et l'historiographie de la RĂ©volution française (2023) by JolĂšne Audrey Bureau, page 127). In Souvenirs de la rĂ©volution et de lâempire, Charles Nodier (who was twelve years old when he met Saint-JustâŠ) agrees in calling him âhandsome,â but adds that he âwas far from offering this graceful combination of cute features with which we have seen it endowed by the euphemistic pencil of a lithograph,â had an âample and rather disproportionate chin,â that âthe arc of his eyebrows, instead of rounding into smooth and regular semi-circles, was closer to a straight line, and its interior angles, which were bushy and severe, merged into one another at the slightest serious thought that one saw pass on his foreheadâ and finally that âhis soft and fleshy lips indicated an almost invincible inclination to laziness and voluptuousness.â How would you know what his lips were like, Nodier. In Essai historique et critique sur la rĂ©volution française (1815) Pierre Paganel writes that Saint-Just had âregular features and austere physiognomy.â He describes his complexion as âbiliousâ while Nodier calls it âpale and grayish, like that of most of the active men of the revolution.â Similar to Ălisabethâs description, Nodier writes that Saint-Justâs eyes were big and âusually thoughtful,â while Paganel instead writes they were âsmall and lively.â Saint-Just was of âaverage heightâ according to Paganel, but âof small statureâ according to Nodier. According to Paganel, Saint-Just had a âhealthy body [and] proportions which expressed strength,â while Saint-Justâs colleague Levasseur de la Sarthe instead wrote in his memoirs that he was âweak in body, to the point of fearing the whistling of bullets.â Finally, Paganel also gives the following details: âlarge head, thick hair, disdainful gaze, strong but veiled voice, a general tinge of anxiety, the dark accent of concern and distrust, an extreme coldness in tone and manners.â In Lettre de Camille Desmoulins, dĂ©putĂ© de Paris Ă la Convention, August gĂ©nĂ©ral Dillon en prison aux Madelonettes (1793) Desmoulins jokingly writes that âone can see by [Saint-Justâs] gait and bearing that he looks upon his own head as the corner-stone of the Revolution, for he carries it upon his shoulders with as much respect and as if it was the Sacred Host.â In Histoire de la RĂ©volution française(1878), Jules Michelet claims that Ălisabeth Le Bas had told him that this portrait, depicting Saint-Just as having âa very low forehead, [with] the top of his head flattened, so that his hair, without being long, almost touched his eyes,â was similar to what he had looked like.
Jacques-Pierre Brissot â The following was documented after Brissot had been arrested at Moulins on June 10 1793 â âheight of five pieds (162 cm), a small amount of flat dark brown hair, eyebrows of the same color, high forehead and receding hairline, gray-brown, quite large and covered eyes, long and not very large nose, average mouth, long chin with a dimple, black beard, oval face narrow at the bottomâ (cited in J.-P. Brissot mĂ©moires (1754-1793); [suivi de] correspondance et papiers (1912)). In Journal During a Residence in France, from the Beginning of August, to the Middle of December, 1792 John Moore described Brissot as âa little man, of an intelligent countenance, but of a weakly frame of bodyâ and claimed that a person had told him that Brissot had told him that he is âof so feeble a constitutionâ that he wonât be able to put up any resistance was someone try to assassinate him.
JĂ©rĂŽme PĂ©tion â described as âbig and fatâ (grand et gros) by Louis-Philippe in 1850 (cited in The Croker Papers: the Correspondence and Diaries of the late right honourable John Wilson CrokerâŠÂ (1885) volume 3, page 209). Manon Roland wrote in her memoirs that PĂ©tion âhad nothing to regret physically; his size, his face, his gentleness, his urbanity, speak in his favorâ as well as that he âspoke fairly well,â a descriptions which Louis Marie Prudhomme partly agreed with, himself recording that PĂ©tion âhad a proud countenance, a fairly handsome face, an affable look, a gentle eloquence, movements of talent and address; but his manners were composed, his eyes were dull, and he had something glistening in his features which repelled confidenceâ in Paris pendant le rĂ©volution (1789-1798) ou le nouveau Paris (1798). In Quelques notices pour lâhistoire, et le rĂ©cit de mes pĂ©rils depuis le 31 mai 1793 (1794) Jean-Baptiste Louvet reported that, while on the run from the authorities after the insurrection of May 31, the less than forty years old PĂ©tion already had a white hair and beard. This is confirmed by FrĂ©dĂ©ric Vaultier, who in Souvenirs de l'insurrection Normande, dite du FĂ©dĂ©ralisme, en 1793 (1858) described PĂ©tion during the same period as âa good-looking man, with a calm and open physiognomy and beautiful white hair,â as well as by the examination of his mangled courpse on June 26 1794, which states he had âgrayish hairâ (cited in Charlotte de Corday et les Girondins: piĂšces classĂ©es et annotĂ©es (1872) by Charles Vatel, volume 2, page 154.
François Buzot â according to the memoirs (1793) of Manon Roland, he had âa noble figure and elegant size.â In the examination made of Buzotâs body after the suicide there is to read that he had black hair (cited in Charlotte de Corday et les Girondins: piĂšces classĂ©es et annotĂ©es (1872) by Charles Vatel, volume 2, page 153)
Charles Barbaroux â his son wrote in Jeunesse de Barbaroux (1822) that ânature had richly endowed Barbaroux; a robust and large body; a charming, fine and witty physiognomy.â In 1867, François Laprade, who had witnessed Barbarouxâ execution as a thirteen year old, recollected that âhe was a brown man - that is to say he had brownish skin, black hair and beard, reclining figureâ (cited in Charlotte de Corday et les Girondins: piĂšces classĂ©es et annotĂ©es, volume 3, page 728)
Marguerite-Ălie Guadet â According to his passport (cited in Charlotte de Corday et les Girondins: piĂšces classĂ©es et annotĂ©es, volume 3, page 672): âheight of 5 pieds, 5 pouces (176 cm) middle sized mouth, black hair and eyebrows, ordinary chin, blue eyes, big forehead, thin face, upturned nose.â According to FrĂ©dĂ©ric Vaultierâs Souvenirs de l'insurrection Normande, dite du FĂ©dĂ©ralisme, en 1793(1858), âGuadet was a man of fine height, meagre, brown, bilious complexion, black beard, most expressive face.â
Joseph Le Bon â his passport description (cited in Louis Jacob, Joseph Le Bon, (1932) by Louis Jacob, volume 1, page 63) gives the following information: âHeight of five pieds six pouces (178 cm), light brown hair and eyebrows, high forehead, average nose, blue eyes, medium-sized mouth, smallpox scars.â
Claire Lacombe â the concierge of the Sainte PĂ©lagie documented the following about the imprisoned Lacombe: âheight of 5 pieds, 2 pouces (168 cm). Brown hair, eyebrows and eyes, medium nose, large mouth, round face and chin, plain foreheadâ (cited in Trois femmes de la RĂ©volution : Olymps de Gouges, ThĂ©roigne de MĂ©ricourt, Rose Lacombe (1900) by LĂ©opold Lacour)
Charlotte Corday â according to her passport, âheight of five pieds one pouce (165 cm), brown hair and eyebrows, gray eyes, high forehead, long nose, medium mouth, round, forked (fourchu) chin, oval face.â (cited in Dossiers du procĂšs criminel de Charlotte Corday, devant le Tribunal rĂ©volutionnaire(1861) by Charles-Joseph Vatel, page 55)
Prieur de la Marne â a passport dated October 1 1793 gives the following details: âage of 37 years, height of 5 pieds 5 pouces (176 cm), blondish brown hair and eyebrows, receding hairline, long nose, grey eyes, large mouth.â
Maurice Duplay â âheight of 5 pieds 6 pouces (179 cm), blondish brown hair and eyebrows, receding hairline, grey eyes, long, open nose, large mouth, round, full chin and face.â Descriptions given in 1795 and cited in Les deniers montagnards (1874) by Jules Claretie.
Jean Lambert Tallien â Both a spy report written in 1794 found among Robespierreâs papers and Mme de la Tour du Pin, a noblewoman who met Tallien in late 1793, describe Tallienâs hair as blonde. Mme de la Tour du Pin adds that said hair was curly and that he had a pretty face.
#might eventually reblog a part 2 i ran out of links for the moment#frev#french revolution#robespierre#georges danton#jean paul marat#albertine marat#simonne Ă©vrard#maximilien robespierre#augustin robespierre#camille desmoulins#desmoulins#lucile desmoulins#charlotte robespierre#charlotte corday#brissot#pĂ©tion#prieur de la marne#maurice duplay#jean lambert tallien#joseph lebon#charles barbaroux#françois buzot#saint-just#louis antoine de saint just#yes robespierre was taller than brissot this is no drill#i like this beauty and the beast thing camille and lucile seemed to have going thoâŠ
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"Nothing out of the ordinary has happened here, and it is to be hoped that the evil-doers will not succeed in their maneuvers this time. Panic terror is gripping many minds, and the crowds at the bakers' are considerable. Marat's death will probably be useful to the Republic because of the circumstances surrounding it. It's a cy-devant from Caen, deliberately sent by Barbaroux and other scoundrels, addressed first to a member of the right wing in Paris, that fanatic Duperrey who twice drew the saber in the Assembly and repeatedly threatened Marat. We have indicted him as an accomplice to the assassination. You will see the details of this affair in the newspapers, and it will not be difficult for you to judge the men we were dealing with. The Minister of the Interior had, it seems, been singled out for the dagger of this monstrous woman who brought Marat down under her blows; Danton and Maximilien are still threatened; one remarkable thing is the means this infernal female used to gain access to our colleague's home. While Marat was being painted as a monster, in such a terrible way that the whole of France was fooled into believing that there was no cannibal comparable to that citizen, that woman nevertheless begged for his commiseration by writing to him: "It's enough to be unhappy to be heard". This circumstance is well suited to demaratizing Marat and opening the eyes of those who see us as bloodthirsty men. You should know that Marat lived like a Spartan and gave everything he had to those who came to him. On several occasions he said to me and my colleagues: "I can no longer satisfy the wretched crowd that comes to me, I will send some of them to you", and he did so on many times. Judge our political situation, a situation brought about by slander. Ardent but unenlightened patriots are currently agreeing with the conspirators to Pantheonize Marat. Such are the circumstances, that this proposal may eternalize the calumnies, that the hatred which seems to abandon a corpse will attach itself to Marat in the grave, and that the system of the enemies of liberty will resume with greater force than if our colleague were still among us. The most astute observer must be astonished that the most terrible weapon of the enemies of liberty is slander, and must groan at the ignorance and credulity of a people who constantly disregard it. A slander, no matter how absurd, cannot be erased, and Paris, which sees its most ardent defenders slaughtered and is content to shed tears over their graves, will still have to defend itself for centuries to come against its detractors, while Evreux, Caen, Lyon and Marseille will enjoy an almost immortal glory, because these cities will have the most skilful of conspirators and the most wicked of men as their defenders."
Augustin Robespierre in a letter to Antoine-Joseph Buissart, July 15th, 1793. From Maximilien et Augustin Robespierre, Correspondance recueillie et publiée par M. Georges Michon [p. 174-175].
#marat#jean paul marat#my translation !!#marat assassiné#frev#french revolution#the death of marat#la mort de marat#my posts
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FREV SEXYMAN (AND WOMAN) POLL!
The pairings for round 1 are:
ROBESPIERRE VS DANTON
BRISSOT VS LEPELETIER
MARAT VS DESMOULINS
HEBERT VS COLLOT
TALLIEN VS FOUCHE
BONAPARTE VS BILLAUD-VARENNE
CARNOT VS CARRIER
BARBAROUX VS CHARLOTTE ROBESPIERRE
SAINT-JUST VS COUTHON
BARERE VS VADIER
AUGUSTIN ROBESPIERRE VS LACOMBE
PETION VS COUTHON
HEURALT VS FABRE
LE BAS VS MME. ROLAND
DAVID VS CONDERCET
LAFAYETTE VS LEON
One Red Group round and one Blue Group round will be posted daily.
#frev#french revolution#robespierre#marat#desmoulins#danton#saint just#not tagging everyone thats too much#frev sexyman poll
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I sweAR TO GOD- If thereâs one thing makes me question if Iâm really aroace, itâs 18th century French men. Let me say it againâŠ
EIGHTEEN CENTURY MFING FRENCH MEN-
LIKE WHY ARE THEY SO- AUUUUGGGHH
I know this is aesthetic attraction, BUT IMMA KEEP IT REAL WIT YâALL- Some of these mfs sLAP! LIKE THEY CAN HIT. ME. UP.
PUHLEASE!
Hand in marriage, Citoyen. HAND IN MARR- Nah Iâm joking.
But seriously, why make them this fine bruh, like- oh my GodâŠ
IF I MISSED SOME OF YOUR FAVS OR FLOPS, PLEASE DO MENTION THEM!
#also joseph bologne (middle bottom pic) is actually a guadeloupean creole#however his father is french i believeâŠ#probably my first post on frev#frev#french revolution#maximilien robespierre#louis antoine de saint just#camille desmoulins#georges couthon#herault de sechelles#augustin robespierre#barbaroux#joseph bologne#collot d'herbois
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CALIFICACIĂN PERSONAL: 7 / 10
TĂtulo Original: HHhH AKAÂ The Man with the Iron Heart
Año: 2017
DuraciĂłn: 120 min
PaĂs: Francia
Director: CĂ©dric Jimenez
Guion: Audrey Diwan, David Farr, CĂ©dric Jimenez. Novela: Laurent Binet
MĂșsica: Laurent Tangy
FotografĂa: Augustin Barbaroux
Reparto: Jason Clarke, Rosamund Pike, Jack O'Connell, Mia Wasikowska, Jack Reynor, Geoff Bell, Volker Bruch, Noah Jupe, Barry Atsma, Kosha Engler, Krisztina Goztola, Björn Freiberg, Luca Fiorilli, James Fred Harkins Jr., KristĂłf Ădor, Stephen Graham, Gilles Lellouche, Adam Nagaitis
Productora: CoproducciĂłn Francia-BĂ©lgica-Reino Unido-Estados Unidos; LĂ©gende Films, Echo Lake Productions. Distribuidora: The Weinstein Company
GĂ©nero: Action, Biography, Thriller
https://www.imdb.com/title/tt3296908/
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Hey, My name is Oren Gerner, I make and love short films. you can find me here: https://www.facebook.com/groups/ShortFilmsSociety/ SYNOPSIS A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he separates from the rest of group and starts to wander alone. He slowly drifts away from the searching crew, deeper into the forest. Starring: Thomas Doret, Eliott Le Corre. Directed and written by Oren Gerner Produced by Mélissa Malinbaum (WHY NOT PRODUCTIONS) Director of photography: Adi Mozes Assistant director: François-Xavier Dupas Edited by Juliette Alexandre Casting director: Julia Malinbaum Light Design: Georges Harnack Sound Recording and sound design by Colin Favre-Bulle Sound mix by Clément Laforce Color by Augustin Barbaroux and Yoav Raz Art Director: Marie-Cerise Bruel Directeur de production: Thomas Hakim Special effects by Daniel Falik Short Film Society: https://www.facebook.com/groups/ShortFilmsSociety/
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Hey, My name is Oren Gerner, I make and love short films. you can find me here: https://www.facebook.com/groups/ShortFilmsSociety/ SYNOPSIS A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he separates from the rest of group and starts to wander alone. He slowly drifts away from the searching crew, deeper into the forest. Starring: Thomas Doret, Eliott Le Corre. Directed and written by Oren Gerner Produced by Mélissa Malinbaum (WHY NOT PRODUCTIONS) Director of photography: Adi Mozes Assistant director: François-Xavier Dupas Edited by Juliette Alexandre Casting director: Julia Malinbaum Light Design: Georges Harnack Sound Recording and sound design by Colin Favre-Bulle Sound mix by Clément Laforce Color by Augustin Barbaroux and Yoav Raz Art Director: Marie-Cerise Bruel Directeur de production: Thomas Hakim Special effects by Daniel Falik Short Film Society: https://www.facebook.com/groups/ShortFilmsSociety/
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Hey, My name is Oren Gerner, I make and love short films. you can find me here: https://bit.ly/2Z0Yqni SYNOPSIS A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he separates from the rest of group and starts to wander alone. He slowly drifts away from the searching crew, deeper into the forest. Starring: Thomas Doret, Eliott Le Corre. Directed and written by Oren Gerner Produced by Mélissa Malinbaum (WHY NOT PRODUCTIONS) Director of photography: Adi Mozes Assistant director: François-Xavier Dupas Edited by Juliette Alexandre Casting director: Julia Malinbaum Light Design: Georges Harnack Sound Recording and sound design by Colin Favre-Bulle Sound mix by Clément Laforce Color by Augustin Barbaroux and Yoav Raz Art Director: Marie-Cerise Bruel Directeur de production: Thomas Hakim Special effects by Daniel Falik Short Film Society: https://bit.ly/2Z0Yqni
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Dans les Yeux
Selection : San Sebastian Film Festival // Premiers Plans Angers Film Festival // Melbourne Queer Film Festival // Zinegoak Bilbao Film Festival // Torino Film Festival // Creteil Film Festival
Production : Jerome Blesson & Claudia Schebesta Image : Augustin Barbaroux Montage : Heloise Pelloquet Son : Gael Eleon, Olivier Voisin & Victor Praud
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Teddy, Ludovic Boukherma and Zoran Boukherma (2020)
#Ludovic Boukherma#Zoran Boukherma#Anthony Bajon#Christine Gautier#Ludovic Torrent#Guillaume Mattera#Noémie Lvovsky#Augustin Barbaroux#Amaury Chabauty#2020
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Frev nicknames compilation
Maximilien Robespierre â the Incorruptible (first used by FrĂ©ron, and then Desmoulins, in 1790).
Augustin Robespierre â Bonbon, by Antoine Buissart (1, 2), RĂ©gis Deshorties and Ălisabeth Lebas. Ălisabeth confirmed this nickname came from Augustinâs middlename Bon.
Charlotte Robespierre â Charlotte Carraut (hid under said name at the time of her arrest, also kept it afterwards according to Ălisabeth Lebas). Caroline Delaroche (according to Laignelot in 1825, an anonymous doctor in 1849 and Pierre Joigneaux in 1908).
Louis Antoine Saint-Just â Florelle (by himself), Monsieur le Chevalier de Saint-Just (by Salle and Desmoulins)
Jean-Paul Marat â the Friend of the People (lâAmi du Peuple) (self-given since 1789, when he started his journal with the same name)
Georges-Jacques Danton â Marius (by FrĂ©ron and Lucile Desmoulins).
ĂlĂ©onore Duplay â CornĂ©lie (according to the memoirs of Charlotte Robespierre and Paul Barras. Barras also adds that Danton jokingly called ĂlĂ©onore âCornelie Copeau, the Cornelie that is not the mother of Gracchusâ)
Ălisabeth Duplay â Babet (by Robespierre and Philippe Lebas in her memoirs)
Jacques Maurice Duplay â my little friend (by Robespierre), our little patriot (by Robespierre)
Camille Desmoulins â Camille (given by contemporaries since 1790. Most likely a play on the Roman emperor Camillus who saved Rome from Brennus in the 4th century like Camille saved the revolution on July 12, and not a reference to Camille behaving like a manchild to the people around him like is commonly stated.) Loup (wolf) by FrĂ©ron and Lucile (1, 2), Loup-loup by FrĂ©ron (1, 2), Monsieur Hon by Lucile.
Lucile Desmoulins â Loulou (by Camille 1, 2), Loup by Camille, Lolotte (by Camille (1, 2), Rouleau by FrĂ©ron (1, 2) and Camille, the chaste Diana (by FrĂ©ron), Bouli-Boula by FrĂ©ron (1, 2).
Horace Desmoulins â little lizard (Camille), little wolf (Ricord), baby bunny (FrĂ©ron).
Annette Duplessis (Lucileâs mother) â MelpomĂšne (by FrĂ©ron), Daronne (by Camille)
Stanislas FrĂ©ron â Lapin (bunny) (by himself (1, 2, 3, 4, 5) and Lucile. According to Marcellin Matton, publisher of the Desmoulins correspondence and friend of Lucileâs mother and sister, FrĂ©ron obtained this nickname from playing with the bunnies at Lucileâs parents country house everytime he visited there, and Lucile was the one who came up with it). Martin by Camille and himself (likely a reference to the drawing âMartin FrĂ©ron mobbed by Voltaireâ which depicts FrĂ©ronâs father Ălie FrĂ©ron as a donkey called âMartin Fâ.)
Manon Roland â Sophie (by herself in a letter to Buzot).
Charles Barbaroux â Nysus by Manon Roland
François Buzot â Euryale by Manon Roland
Pierre Jacques Duplain â Saturne (by FrĂ©ron)
Guillaume Brune â Patagon (by FrĂ©ron)
Antoine Buissart (Robespierreâs pretend dad from Arras) â BaromĂštre (due to his interest in science)
Comment who had the best/worse nickname!
#french revolution#robespierre#danton#desmoulins#buzot#barbaroux#marat#frĂ©ron#maximilien robespierre#charlotte robespierre#augustin robespierre#camille desmoulins#lucile desmoulins#horace desmoulins#stanislas frĂ©ron#georges danton#manon roland#saint-just#louis antoine de saint just#Ă©lisabeth lebas#Ă©lisabeth duplay#Ă©lĂ©onore duplay#frĂ©ron really likes nicknamesâŠ#frev compilation
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Hey, My name is Oren Gerner, I make and love short films. you can find me here: https://ift.tt/2D9fuPr SYNOPSIS A teenager is walking through the forest with his classmates, looking for Gabriel, a kid from his boarding school who went missing. After a violent incident, he separates from the rest of group and starts to wander alone. He slowly drifts away from the searching crew, deeper into the forest. Starring: Thomas Doret, Eliott Le Corre. Directed and written by Oren Gerner Produced by Mélissa Malinbaum (WHY NOT PRODUCTIONS) Director of photography: Adi Mozes Assistant director: François-Xavier Dupas Edited by Juliette Alexandre Casting director: Julia Malinbaum Light Design: Georges Harnack Sound Recording and sound design by Colin Favre-Bulle Sound mix by Clément Laforce Color by Augustin Barbaroux and Yoav Raz Art Director: Marie-Cerise Bruel Directeur de production: Thomas Hakim Special effects by Daniel Falik Short Film Society: https://ift.tt/2D9fuPr
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Was suicide really seen as noble during the French Revolution? Was there any recorded tension regarding this cultural shift with more religious or less revolutionary people/groups? Thanks!
In the book La libertĂ© ou la mort: mourir en dĂ©putĂ© 1792-1795 (2015) can be found a list of all the deputies of the National Convention that died unnatural deaths between 1792 and 1799. Of the 96 names included on it, 16 were those of suicide victims, and to these must also me added a number of botched suicide attempts as well.Â
Only a single one of these suicides appears to have been driven by something outside of politics, that of the deputy Charlier, who shot himself in his apartment on February 23 1797, two years after the closing of the Convention. The rest of the suicides are all very clearly politically motivated, more specifically, deputies killing themselves just as the machinery of revolutionary justice was about to catch up to them. Thereâs those who killed themselves while on the run and unsheltered from the hostile authorities â the girondin Rebecqui who on May 1 1794 drowned himself in Old Port of Marseille, PĂ©tion and Buzot who on June 24 1794 shot themselves after getting forced to leave the garret where they for the last few months had been hiding out, Maure who shot himself while in hiding on 3 June 1795 after having been implicated in the revolt of 1 Prairial, Brunel, who on May 27 shot himself after failing to quell a riot in Toulon, and Tellier, who similarily shot himself on September 17 1795 due to a revolt directed against him in the commune of Chartres. Barbaroux too attempted to shoot himself on June 18 1794 but only managed to blow his jaw off. He was instead captured and guillotined. Thereâs those that put an end to their days once cornered by said authorities â Lidon, who on November 2 1793 shot himself after having been discovered at his hiding place by two gendarmes (he did however first fire three shots at said gendarmes, one of whom got hit in the cheek) and Le Bas who shot himself in the night between July 27 and 28 1794 as National guardsmen stormed the HĂŽtel de Ville where he and his allies were hiding out (according to his wifeâs memoirs, already a few days before this he had told her that he would kill them both right then and there wasnât it for the fact they had an infant son). In an interrogation held two oâclock in the morning on July 28 1794, Augustin Robespierre too revealed that the reason he a few hours earlier had thrown himself off the cordon of the HĂŽtel de Ville was âto escape from the hands of the conspirators, because, having been put under a decree of accusation, he believed his death inevitable,â and thereâs of course an eternal debate on whether or not his older brother too had attemped to commit suicide at HĂŽtel de Ville that night or if he was shot by a guard (to a lesser extent, this debate also exists regarding Couthon). Thereâs those who committed suicide in prison to avoid an unfriendly tribunal â Baille who hanged himself while held captive in the hostile Toulon on September 2 1793, Condorcet who took poison and was found dead in his cell in Bourg-la-Reine on 29 March 1794 (though here there exists some debate on whether it really was suicide or if he âjustâ died from exhaustion) and RĂŒhl, who stabbed himself while in house arrest on May 29 1795. On March 17 1794, Chabot tried to take his life in his cell in the Luxembourg prison by overdosing on medicine (he reported that he shouted âvive la rĂ©publiqueâ after drinking the liquor) but survived and got guillotined. Finally, thereâs those who held themselves alive for the whole trial but killed themselves as soon as they heard the pronounciation of the death sentence â  the girondin ValazĂ© who stabbed himself to death on October 30 1793 and the so called âmartyrs of prairialâ Duquesnoy, Romme, Goujon, Bourbotte (in a declaration written shortly before his death he wrote: âVirtuous Cato, no longer will it be your example alone that teaches free men how to escape the scaffold of tyrannyâ), Duroy and Soubrany who did the same thing on June 17 1795 (only the first three did however succeed with their suicide, the rest were executed the very same day).
To these 24 men must also be added other revolutionaries that werenât Convention deputies, such as Jacques Roux who on February 10 1794 stabbed himself in prison, former girondin ministers Ătienne ClaviĂšre who did the same thing on December 8 1793 (learning of his death, his wife killed herself as well) and Jean Marie Roland who on November 10 1793 ran a sword through his heart while in hiding, after having been informed of his wifeâs execution, Gracchus Babeuf and Augustin DarthĂ© who attempted to stab themselves on May 27 1797 after having been condemned in the so called âconspiracy of equals,â but survived and were executed the next day, as well as two jacobins from Lyon â Hidins who killed himself in prison before the city got âliberated,â and Gaillard who did the same thing shortly after the liberation, after having spent several weeks in jail.
With all that said, I think you could say taking your life was considered ânobleâ in a way, if it allowed you to die with greater dignity than letting the imposition of revolutionary judgement take it instead did. It was at least certainly a step up compared to before 1789, when suicide (through the Criminal Ordinance of 1670) was considered a crime which could lead to confiscation of property, opprobium cast on the victimâs family and even subjection of the courpse to various outrages, like dragging it through the street. To nuance this a bit, it is however worth recalling that this was only in theory, and that in practise, most of these penalties had ceased to be carried out already in the decades before the revolution, a period during which suicide, in the Enlightenentâs spirit of questioning everything, had also started getting discussed more and more. The word âsuicideâ itself entered the French dictionary in 1734. Most of the enlightenment philosophes reflected on suicide and the ethics behind it. Thereâs also the widely spread The Sorrows of Young Werther that was first released in 1774. Furthermore, most revolutionaries were also steeped in the culture of Antiquity, where suicide was seen as an admirable response to political defeat, perhaps most notably those of Brutus and Cato the younger, big heroes of the revolutionaries. Over the course of the revolution, we find several patriotic artists depicting famous suicides of Antiquity â such as Socrates (whose death is considered by some to have been a sort of suicide) (1791) by David, The Death of Cato of Utica (1795) by Guillaume Guillon-LethiĂšre, and The death of Caius Gracchus (1798) by François Topino-Lebrun. According to historian Dominique Godineau, the 18th century saw âthe inscription [of suicide] in the social landscape, at least in large cities: it has become âpublic,â people talk about it, it is less hidden than at the beginning of the century,â and she therefore argues that the decision to decriminalize it in the reformed penal code (it didnât state outright that suicide was now OK, but it no longer listed it as a crime) of 1791 wasnât particulary controversial.
Furthermore, that committing suicide was more noble than facing execution was still far from an obvious, universal truth during the revolution. In his memoirs, Brissot does for example recall that, right after the insurrection of August 10, when he and other âgirondinsâ discussed what to do was an act of accusation to be issued against them, Buzot argued that âthe death on the scaffold was more courageous, more worthy for a patriot, and especially more useful for the cause of libertyâ than committing suicide to avoid it. The feared news of their act of accusation did however arrive before the girondins had reached a definitive conclusion on what to do, leading to some fleeing (among them Buzot, who of course ironically ended up being one of the revolutionaries that ultimately chose suicide over the scaffold) and some calmly awaiting their fate. In her memoirs, Madame Roland did her too consider going to the scaffold with her head held high to be an act of virtue â âShould I wait for when it pleases my executioners to choose the moment of my death and to augment their triumph by the insolent clamours of the mob to which I would be exposed? Certainly!â In his very last speech to the Convention, convinced that his enemies were rounding up on him, Robespierre exclaimed he would âdrink the hemlock,â a reference to the execution of Socrates. The girondin Vergniaud is also said to have carried poison on him but chosen to have go out with his friends on the scaffold, although Iâve not yet discovered what the source for this is. It can also be noted that the number of Convention deputies who let revolutionary justice have its course with them was still considerably higher than those who attempted to put an end to their days before the sentence could be carried out.
According to Patterns and prosecution of suicide in eighteenth-century Paris (1989) by Jeffrey Merrick, there was indeed tension regarding the rising amount of suicides in the decades leading up to the revolution. Merrick cites first and foremost the printer and bookseller SimĂ©on Prosper Hardy, who in his journal Mes loisirs ou journal des evenements tels qu'ils parviennent a ma connaissance (1764-1789),  documented a total of 259 cases of Parisian suicides. Hardy saw these deaths as an unwelcome import from the English, who for their part were led to kill themselves due to âthe dismal climate, unwholesome diet, and excessive liberty.â He also blamed the suicides on "the decline of religion and morals," caused by the philosophes, who in their âbad booksâ popularized English ways of thinking and undermined traditional values. He was not alone in drawing a connection between the suicides and the new ideas. According to Merrick, the clergy in general âdenounced the philosophes for legitimizing this unforgiveable crime against God and society, which they now associated with systematic unbelief more than the traditional diabolical temptation.â In practice, many parish priests did however still quietly bury the bodies of persons who killed themselves. The future revolutionary Louis SĂ©bastien Mercier did on the other hand blame the government and its penchant for inflated prices and burdensome taxes for the alleged epidemic of suicides in his Tableau de Paris (1782-1783).
In La libertĂ© ou la mort: mourir en dĂ©putĂ©, 1792-1795 it is also established that there werenât that many participants of the king that killed themselves once the wind started blowing in the wrong direction, but that is not to say they didnât exist. As example is cited the case of a man who in April 1793 shot himself on the Place de la RĂ©volution, before having written âI die for you and your familyâ on a gravure representimg the head of Louis XVI. Thereâs also the case of Michel Peletierâs murderer Philippe Nicolas Marie de PĂąris, royalist and former kingâs guard, who, similar to Lidon, blew his brains out when the authorities had him cornered a week after the murder.
Sources:
Patterns and prosecution of suicide in eighteenth-century Paris (1989) by Jeffrey MerrickÂ
Pratiques du suicide à Paris pendant la Révolution française by Dominique Godineau
La libertĂ© ou la mort: mourir en dĂ©putĂ©, 1792-1795 (2015) by Michel Biard, chapter 5, âMourir en Romain,â le choix de suicide.
Choosing Terror (2014) by Marisa Linton, page 276-279, section titled âChoosing how to die.â
#well. this is depressing đ#frev#french revolution#ask#would tag everyone that (tried to) killed themselves but that would take ages
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CALIFICACIĂN PERSONAL: 6.5 / 10
TĂtulo Original: Coming Home in the Dark
Año: 2021
DuraciĂłn: 93 min
PaĂs: Nueva Zelanda
Director: James Ashcroft
Guion: James Ashcroft, Eli Kent. Historia: Owen Marshall
MĂșsica: Matt Henley
FotografĂa: Augustin Barbaroux
Reparto: Daniel Gillies, Erik Thomson, Miriama McDowell, Matthias Luafutu, Billy Paratene, Frankie Paratene
Productora: Light in the Dark Productions
GĂ©nero: Comedy, Drama, Horror
https://www.imdb.com/title/tt6874762/
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CALIFICACIĂN PERSONAL: 5 / 10
TĂtulo Original: Teddy
Año: 2020
DuraciĂłn: 89 min
PaĂs: Francia
Director: Ludovic Boukherma, Zoran Boukherma
Guion: Ludovic Boukherma, Zoran Boukherma
MĂșsica: Amaury Chabauty
FotografĂa: Augustin Barbaroux
Reparto: Anthony Bajon, Christine Gautier, Ludovic Torrent, Noémie Lvovsky, Christine Gaillard, Jeannine Dufour
Productora: Baxter FIlms, Les Films Velvet
GĂ©nero: Comedy, Drama, Horror
https://www.imdb.com/title/tt10469804/
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