#L'Ami Jean

[lounesdarbois]

Le gage de solidité d'un positionnement, d'une marque, d'un produit, d'un business-model, est l'abondance de clientèle anglo-saxonne. Exemple dans la restauration à Paris : quel est l'indice infaillible qui marquait le potentiel du nouveau marché du bistro-cantine modèle "Bouillon" début 2000? C'était la soudaine abondance de clients anglo-australo-américains. Le référencement tardif de Chartier dans les guides de voyage anglo-saxons fit exploser l'affluence. Les premiers bouillons parisiens remontent à 1860. Chartier fondé en 1896 était la seule enseigne du genre encore existante début 2000, c'est-à-dire que cette cantine a mis 110 années pour percer vraiment la glace et voir la floraison en 15 ans des nouvelles cantines populaires: Chartier Montparnasse et Chartier Gare de l'Est, Bouillon Pigalle, Bouillon République, Brasserie des Prés, Brasserie Dubillot, Bellanger… Et leurs versions bistronomies plus pointues Le Baratin, L'Ami Jean, Le Comptoir, Quedubon, Le Verre volé, le Repaire de Cartouche, Racines et surtout Le bistro Paul Bert. Ce modèle va désormais s'exporter dans le monde entier. Au moment de la généralisation des pizzerias dans les années 80 si propice au "déjeuner de trente minutes chrono", la cuisine française a souffert de cette image statufiée Bocuse, Escoffier, Le Bec Fin. Nous n'avons jamais mangé de "canard à l'orange et au sang" et n'en voulons à aucun prix. C'est cette cuisine proudhonnienne populaire toute d'intelligence, de vitesse et de simplicité qui rendra justice au pays. Le Français met longtemps à comprendre qui il est par rapport aux autres, mais quand il le comprend et reste loyal il rencontre de beaux succès.

[claud-e-monet]

Paris - Monday Dinner - L'Ami Jean

The restaurant follows the story of the oldest Basque institution in the capital which I bought in 2004. Nothing about good taste, nothing about conventions, the tavern of yesterday retains its rough charm and dresses of drawings from drawing friends, sometimes anarchists, often rebellious, in any case always speaking loudly and I pay them homage, Siné, Charb… A chandelier, long tables, Basque linen, brick and wood, a lot red, mirrors, heterogeneous objects… for a warm atmosphere, intertwining conversations, a lively moment during which you can sometimes hear me… screaming.

Chef Stéphane Jégo

A keen observer of the evolution of his profession as a restaurateur and changes in customer practices, Stéphane Jégo completes work in his restaurant and proposes to “consume” the restaurant differently. From now on, you will take the Ami Jean home, offer it to those you love, use it for an afternoon to discuss cooking with the chef…

L'Ami Jean has had a makeover in order to facilitate service, save space in the kitchen, simplify circulation, but the essential thing does not change: the chef is still there, facing his customers, in the middle of his brigade that he energizes with his legendary rants. His cuisine, which could be described as bourgeois and creative, is designed to be shared, generate moments of warm pleasure, loosen tongues and sharpen words. And to respect this cuisine which is his own, frank, whole, generous, daring, it was necessary not to touch the fundamentals of the restaurant but to bring light, ease, respect the spirit of the place since the 1930s. No artifice, the restaurant for itself. The kitchen, on the other hand, has been transformed from top to bottom: matte gray tiled walls, a space completely redesigned to add to everyone's working comfort but also to be able to accommodate guests…

Because today, everything is changing, the ways of consuming are multiplying, we want to take the restaurant home, eat well in our kitchen, entertain without stress… It is therefore to respond to all these desires of its customers that it initiates his vision of today's restaurant. It is no longer the place that takes precedence but the cuisine…

And Stéphane Jego refuses to give in to the sirens of design, keen to preserve the spirit and history of the place, he returns to the sources of Ami Jean and… makes something new with something old!

The Story of L'Ami Jean

[amateurvoltaire]

When I'm having a crappy day at work, I sometimes visit "L'Ami du Peuple" during my lunch break. It tends to put all the petty day-to-day stuff into perspective…

During the quieter moments, like today, when room 55 is nearly empty, I can't help but notice a pattern. Every single visitor, upon entering, pauses before the painting.

They do a double-take at the painting's name and give him another look. Some snap a photo they'll probably never look at again.

Then they move on.

Most of them likely have no clue who he is. They don't know he's holding a note from his assassin. If they even notice "L'An Deux" written at the bottom, they're probably confused by it.

But still, for those 30 seconds, David's brushstrokes exquisitely forming the face of this stricken man make them pause. What makes them linger? Is it the vaguely familiar name? The face they've seen on numerous posters and leaflets? The unsettling quiet brutality of the piece?

It doesn’t really matter why. Because, for that half-minute, through their eyes, he exists. He is present. He is contemporary.

[sigurism]

alain delon adieu l'ami dir: jean herman

[comite-de-salut-public]

[lamarseillasie]

September 16th, 1789: 234 years ago, Jean-Paul Marat published the first issue of L'Ami Du Peuple

L'Ami du Peuple, or, as it was called at the time it was founded, L'Ami Du Peuple ou Le Publiciste Parisien, was an active revolutionary newspaper and also one of the most absolutely fascinating and interesting pieces of the entire French Revolution, created and edited by Marat from September 1789.

The year 1789 was a relatively turbulent period for both Marat's career and the history of the Revolution. This can be seen simply by the number of projects that Marat began in a short space of time. In February, just two months after publishing his Offrande à la Patrie (1788), he published the Supplément à l'Offrande (1789). In March, he began to attend the sessions of the electoral assembly of his district, Carmes-Déchaussés, with great assiduity and was soon elected to the electoral committee. In August, he began publishing Le Moniteur Patriote and also published the Projet de déclaration des droits de l'homme et du citoyen suivi d'un Plan de constitution juste, sage et libre. Finally, in September, he published No. 1 of Le Publiciste Parisien, and consequently No. 5 of the then L'Ami Du Peuple ou Le Publiciste Parisien, which marked the birth of the famous Friend of the People, a character Marat would identify with until the last day of his life. It can be said that this newspaper came about when Marat found himself in a situation where he would have to produce and publish newspapers and pamphlets independently and without the approval of his colleagues. He proposed to the committee that it should have a press, which was apparently not accepted by the district.

More than just one of the many periodicals that existed during the course of the revolution, L'Ami du Peuple is a precious historical source of information and there is no doubt that it was important for the unfolding of revolutionary events. Not even Delisle de Sales, in his Essai sur le journalisme depuis 1735 jusqu'à l'an 1800 (1811), a work that expressed the author's deep aversion to the revolutionary process and especially to Marat, denies that L'Ami Du Peuple left a mark on the philosophical memory of the history of French journalism.

Albert Mathiez, in a summary of Gottschalk's Marat in the 1927 AHRF (pp. 599-602), makes an interesting comment on Marat's analysis in the context of revolutionary journalism:

"In my opinion, what makes Marat original among the journalists and statesmen of the Revolution has not been sufficiently appreciated by M. Gottschalk. (...) He was never naïve about the revolution that was taking place. From the first moment, he proclaimed that the proletarians - an expression he had already used in its current sense - would gain nothing. (...) No other revolutionary had the same degree of feeling that the proletariat was a class distinct from the bourgeoisie. (...) What always distinguished Marat, presented as an enlightened man, was the correctness of his vision, the total absence of candor, the profound and even pessimistic realism. Marat was not only one of the most determined and precocious republicans. He also did not conceive of the Republic except in the form of direct rule."

In addition to the abundant and impressive number of issues that were written (L'Ami du Peuple had almost 700 issues in total, not counting the pamphlets and later works), it is even more astonishing when we stop to consider that a large part of all the work produced by Marat during the five years of revolution was almost entirely uninterrupted, but mainly clandestine. He managed not to be prevented even by laws (such as the decree of March 9, 1793, which obliged members of the Convention who were newspaper editors to choose between legislation and journalism) from continuing to produce and publish his writings.

Today's date is important and significant for history - the history of journalism and the revolution, but especially and undoubtedly the history of Marat. L'Ami du Peuple was, above all, a character. He is a truly dedicated patriot, brave and fearless, who cares about his fellow citizens and the people. He is an important character for Marat because the two, at a certain point, become one. L'Ami du Peuple, who initially appears as the construction of a publicity strategy, quickly becomes a kind of romantic hero of the revolution, with whom Marat identifies and whom he also uses to continue ceaselessly defending what was right for him, what fit in with his very well-founded and observed political and social principles. The previous Marat, the Marat Man of the Enlightenment, physicist, doctor and experimenter, had a passion that managed to outshine all his other interests: politics, and of that there is no doubt. Marat found himself moved by this political passion a few times before the Revolution - Chains Of Slavery (1774), for example, which was written incessantly over just three months, with mainly political aims, is living proof of Marat's burning passion in this area - but none of the times he expressed his interest was as strong and as significant for him as the creation of L'Ami du Peuple, which signified Marat's definitive entry into the revolution. L'Ami du Peuple was important to Marat because it was through it that he was able to express and make his politics heard; because L'Ami du Peuple made Marat so passionately committed to a revolution that it gave him, definitively, a homeland: the France.

[azzrael99]

Happy Birthday!! Jean Paul!! 🥳

Today I dedicate this sketch to you. (soon in color) I hope you like "L'Ami du pleuple" I dedicate it to you (excuse my handwriting)

[makiitabaki]

Happy birthday, rat man <3

[illustraction]

ADIEU L'AMI (1968) - ALAIN DELON MOVIE POSTERS (Part 12/20)

A lesser known movie in ALAIN DELON's filmography co-starring Charles Bronson (see part 3)

Above are original movie posters from France, Germany, Italy and Japan (click on each image for details)

Director: Jean Herman Actors: Alain Delon, Charles Bronson, Brigitte Fossey

ALL OUR ALAIN DELON POSTERS ARE HERE

If you like this entry, check the other 19 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The posters above courtesy of ILLUSTRACTION GALLERY

[selidren]

Eté 1926 - Champs-les-Sims

8/10

Il m'a demandée en mariage. Et bien sur j'ai dit oui. Ne te méprends pas, c'est un choix éclairé. Bien sur, c'était une urgence et il me tendait une perche que j'aurai été idiote de ne pas saisir, mais je sais que je ne serai pas malheureuse avec lui. Je pense que j'ai réalisé quelque chose d'important dans tout ce bazar : le mari idéal n'est pas celui qui te fait brûler d'amour comme le pense Cléo, mais l'ami à qui tu peux te remettre. Je ne suis pas amoureuse d'Ange, et je ne crois pas que je le serai un jour. Quand à lui, je ne pense pas qu'il puisse tomber amoureux de moi. Mais pour autant, je ne pense pas que ce sera un mariage malheureux, bien au contraire. Il conservera ses habitudes, et moi les miennes (au détail près que je ne peux plus faire confiance à un homme au point de lui offrir mon intimité), nous aurons un enfant ensemble et ce sera très bien. Comme si Jean n'avais jamais existé.

Reste la question qui me chiffonne, je m'apprête à épouser mon cousin. Je me sens comme une princesse Habsbourg en ce moment, mais je n'avais pas vraiment d'autre choix.

Transcription :

Arsinoé « Mais qu’est-ce que tu fais ? »

Ange « Et bien, je fais ma demande ! Je ne vois personne d’autre ici qui puisse davantage faire l’affaire. »

Arsinoé « Mais… bon sang, dire que je n’y avais même pas pensé... »

Ange « Ce n’est rien. J’admets que l’idée d’épouser son cousin est un peu vieux jeu. Je vois d’ici Cléo lever les yeux au ciel. Je peux continuer ? »

Arsinoé « Non ! Enfin… tu me sauverais la vie, mais qu’est-ce que tu as à y gagner toi ? Pour reprendre ce que dis Grand-Mère, je ne pourrai jamais c… enfin… te donner ce que tu désires ! »

Ange « C’est si joliment dit Noé. Si je t’épouse, vois-tu un inconvénient à ce que je continue à voir mes bons amis lors de mes séjours à Paris ? Ce n’est pas comme si je pouvais les épouser de toute manière… enfin pour la plupart. »

Arsinoé « Jamais je n’oserais te l’interdire mais… attends, tu es en train de me demander ma permission ? »

Ange « Je négocie les termes de notre contrat de mariage. En tant qu’épouse, je comprendrais que tu vois un inconvénient à ce que je pratique l’adultère. Toi comme moi savons que ce ne sera pas un mariage d’amour, mais je tiens à faire les choses correctement. Alors ? »

Arsinoé « Non, je n’ai jamais vu de problèmes à qui tu aimes et notre mariage ne changera pas ça. Mais… et les enfants ? Je porte l’enfant d’un autre ! Tu n’y vois pas de problème ? »

Ange « Sur le papier, l’enfant sera le mien et je serai le père qui l’élèvera alors non, aucun. Pour être parfaitement honnête, ici, tu seras celle qui me rendra service. »

Arsinoé « Vraiment ? »

Ange « Avec mon mode de vie, j’ai fait une croix sur la paternité il y a des années. Pourtant, j’ai toujours rêvé d’avoir des enfants et de devenir père. Me laisser reconnaître ton enfant, l’élever comme le mien… Tu me ferais le plus beau cadeau qui soit. Tu voulais savoir ce que j’ai à y gagner, tu sais tout. »

Arsinoé « Tu n’en avais jamais parlé avant... »

Ange « Vivre avec cette idée était déjà assez difficile, je ne voulais pas retourner le couteau dans la plaie. »

Ange « Sache qu’en plus, je donnerai aussi à ton enfant ce qu’il reste de l’héritage des de Chastel, le nom, ainsi que le titre, pour ce que ça vaut désormais. Au grand dam de mon frère d’ailleurs. La nouvelle ne lui fera pas plaisir. »

Arsinoé « Je comprends que tu n’ai pas envie d’en parler oui. Je comprends aussi pourquoi Grand-Mère a fait appel à toi immédiatement. »

Ange « Cher cousine, nous nous apprêtons à consacrer l’oeuvre de la vie d’Eugénie le Bris, en unissant par le mariage l’argent des Le Bris et le prestige des de Chastel. Mais le plus important, c’est que nous y trouvions tous les deux notre compte. C’est bien le cas n’est-ce pas ? »

Arsinoé « Tout à fait. Je serais folle de refuser. »

Ange « Très bien. Voilà qui mets fin aux négociations. Laisse moi donc reprendre. »

[ninasarchive]

On this date, 230 years ago, a man who played a more than considerable role in the revolution was brutally assassinated.

Jean-Paul Marat — this essential example of a radical journalist who, above all, was a Man of the Lights. A voracious scholar, a cunning scientist who undeniably left his mark on the period in which he existed. A man without a homeland, without support, and without origin, who had to tirelessly fight to integrate into society and participate in its transformations. A true author, reader, doctor, and passionate revolutionary. A man who went from being a monster to a martyr, from a saint to a character. A man who sought above all glory and success in life, and learned in the harshest way that it would only be possible with a lot of sweat and struggle.

Marat: a reflective at fifteen, an observer at eighteen, a thinker at twenty-one.

May this symbol of the fight for freedom of the press, the battle against tyranny and despotism that unfortunately persist to this day, rest in peace. Wherever you may be now, mon cher ami, i hope you are happy. With your inspiration, i hope to become a good journalist as well and ensure that the battle you fought was not in vain. Until the near future, L'Ami Du Peuple.

[kinonostalgie]

In 1968, the world of cinema saw the release of "Adieu l'ami," a French thriller that brought together two iconic actors: Alain Delon and Charles Bronson. This film not only showcased their exceptional talents but also encapsulated the essence of European cinema in the late 1960s, a time marked by cultural upheaval and the rise of new cinematic styles.

Alain Delon, often described as the quintessential French heartthrob, was at the height of his career during this period. Known for his striking looks and brooding demeanor, Delon had established himself as a leading man in both French and international films. His roles often emphasized a complex mix of charm and danger, which resonated with audiences seeking deeper narratives in cinema. Delon’s style, characterized by sharp suits and a nonchalant elegance, became a template for male fashion, influencing generations to come.

Charles Bronson, on the other hand, was an American actor whose rugged persona and tough-guy image made him a prominent figure in Hollywood. Born Charles Buchinsky, he rose to fame through a series of action films and Westerns. In "Adieu l'ami," Bronson's performance complemented Delon's, showcasing a dynamic partnership that added depth to the film's narrative. The contrasting styles of the two actors—Delon's suave sophistication and Bronson's gritty realism—provided a rich viewing experience that highlighted the strengths of both performers.

Set against the picturesque backdrop of the Côte d'Azur, "Adieu l'ami" tells the story of friendship, betrayal, and vengeance, resonating with the turbulent sentiments of the late 1960s. The film's noir-inspired aesthetic and tight plot drew audiences in, making it a memorable entry in both actors’ filmographies. It also reflected a shift in filmmaking, where stories began to explore darker themes and more complex characters, moving away from the idealized heroes of earlier decades.

The late 1960s was also a significant time in French cinema, often referred to as the New Wave, which sought to break away from traditional filmmaking techniques. Directors like François Truffaut and Jean-Luc Godard influenced a generation of filmmakers to experiment with narrative structure and character development, paving the way for films like "Adieu l'ami." This era marked a departure from the rigid conventions of the past and embraced a more personal and innovative storytelling style.

"Adieu l'ami" is remembered not just for its thrilling plot and stellar performances but also as a cultural artifact of its time. The film reflects a moment when European cinema began to assert itself on the global stage, attracting attention for its unique narratives and artistic expression. Delon and Bronson's partnership in this film stands as a testament to the era’s star power and the lasting impact of their contributions to cinema.

The legacy of "Adieu l'ami" continues to influence filmmakers and actors, reminding us of the power of collaboration and the significance of storytelling in shaping cultural identity. As audiences look back on this film and the era it represents, they are reminded of the rich tapestry of cinema that emerged during the 1960s, characterized by its bold choices and innovative spirit.

[perduedansmatete]

pour une fois que je passe quelques jours d'affilé sans avoir l'envie plus ou moins latente de me faire rouler dessus par une voiture (même si on en a rigolé hier soir quand ça aurait pu arriver pour de vrai) je me dis qu'il faut peut-être que je l'écrive quelque part. mardi j'ai pu goûter au plaisir de ne pas me lever avant sept heures et d'avoir l'impression d'être en vacances toute la journée, même si j'avais plein de choses à faire (je ne les ai pas faites du coup). hier j'étais un peu angoissée comme tous les mercredis car j'adore le cours et ma prof mais c'est aussi le jour où je connais le moins de monde et où je me sens un peu seule. mais au final j'ai pris sur moi et c'était une bonne journée, on était peu cette fois mais comme toujours le cours était passionnant. on s'est intéressé aux rapports entre secret, vérité et mensonge, et puis surtout au fait d'imposer une vérité à quelqu'un ou pas et ça a mené à plein de discussions même à la pause du midi où on se racontait nos histoires de mensonges, dont une folle histoire de tromperie à grande échelle sur dix ans où tout un groupe d'amis est au courant mais ne peut rien dire. quand la prof est revenue dans la salle la fille qui nous avait raconté l'histoire lui a fait un schéma tellement c'était complexe et c'était très drôle, notre prof était abattue par la situation. l'après-midi on a réfléchi à nos sujets d'exposés et je vais le faire avec deux M2 sur les agressions sexuelles par des amis (bonne ambiance) on veut s'intéresser à la notion de confiance et à celle de pardon et la prof l'a intitulé "dérapages entre amis" ce qui nous fait beaucoup rire même si ce n'est absolument pas drôle comme sujet. du coup pendant qu'on brainstormait on s'est rendues compte qu'on avait quand même beaucoup de matière à développer rien qu'en partant de nos expériences persos et amicales. (encore une fois bonne ambiance) puis après une réunion bureau des plaintes pendant laquelle cette même prof d'amour nous a demandé de lui faire remonter tout ce qui n'allait pas dans le master on est allées boire un verre puis des verres, puis d'autres copains nous ont rejoint, j'ai d'ailleurs découvert un nouveau bar trop cool avec des cocktails pas chers, bien dosés et absolument délicieux. on a vraiment bien rigolé et j'ai hâte de les revoir demain. sinon comme il était tard l'ami platonique m'a proposé de venir dormir chez lui, j'ai donc récupéré mon super cadeau trop mimi puis j'ai vu toutes les beautés qu'il s'était achetées en plus de mon cadeau et comment je lui aurais trop piqué sa nouvelle veste en jeans westwood absolument divine avec des épaulettes qui donnent une allure à la gaultier... mais il commence à faire trop froid snif... on s'est endormi au petit matin au doux son de la pluie qui tombe sur le velux et la suite on la connait j'ai mangé mon bâton de saucisson avec lui avant d'avaler le remède anti bébé, tout est bien qui finit bien

[sigurism]

alain delon adieu l'ami dir: jean herman

[theartofmetal]

261. Thermidor - Oclofobia (Black Metal, 2022)

Art by Jacques-Louis David: "La Mort de Marat or Marat Assassiné" (The Death of Marat), 1793

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre.

When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple (last image). The blood stained page is preserved. - In the painting, the note Marat is holding is made up by the painter.

[lamarseillasie]

When Marat meets Jeanne D'Arc

This is a little Marat anecdote that I discovered recently, reading some of the issues of L'Ami du Peuple: apparently, Jeanne d'Arc has been venturing into revolutionary France as a true patriot - she even appears in Marat's newspaper!

In February 1791, Marat received letters from a certainly somewhat mysterious person who signed them "Jeanne d'Arc". In the March 4 issue, Marat displayed one of the letters in L'Ami du Peuple, along with some other letters he had also received:

Jeanne d'Arc's letter denounces the Marquis de La Fayette in particular, and also recounts an episode in which his officers apparently violently intimidate some citizens in the Tuileries. In the letter, she refers to La Fayette as 'Mottié', which was also the way Marat used to call him in his newspaper. I'm not sure if it was Marat himself who changed his name to 'Mottié' when transcribing the letter or if it was actually originally written that way. In any case, it's interesting and a little funny to think that Marat might have induced other citizens to "defame" La Fayette by calling him by his family name. Here's a rather poor translation I made of the letter itself:

"The officers of l'état-major entered the Thuileries last Thursday, bayonets out to repel the people. Vinezac pushed the indignity to the point of striking a peaceful citizen with his sword, another citizen who blamed this violence was arrested by the aide-de-camp who usually accompanies the king's wife: but the people soon forced him to release him. A cent-suisse assured me that yesterday they had a man in bourgeois dress at their head to command them; he added that Mottié was a scoundrel who was betraying us; and that l'état-major was made up of nothing but brigands who had sold out to him. Mottié was heard to tell the king "that he had nothing to fear from the populace, that he was going to make them see that this scoundrel was not ready to reason, that the Parisian guard was devoted to him, that he had them marching to the beat, and that he would reply that everything would go as he might wish": a discourse that he had held at Gutgnart dit St.-Priest, when he wanted to withdraw. He knows you, Badauts, this vile scoundrel; he treats you as automatons who do his bidding, as brute beasts who know only the voice of your leaders, as ferocious satellites who would disembowel your mothers, and he does you justice. This is only for the flat soldiers who blindly obey their officers, against their fellow citizens, against their brothers. Among the large number who refuse to treat them badly, and who know their rights, how can there not be someone with a heart, who will put the bayonet in the belly of a Vinezac, a la Jarre, a d'Arbelay, and other brigands on l'état-major? Ah! If only one of them had the courage to put a bullet through the head of the counter-revolutionary Mottié, he would be the liberator of the fatherland, and France would be saved!

Signée Jeanne d'Arc.

Ce 29 février 1791."

Curiously, this is not the only time that Jeanne d'Arc appears in L'Ami du Peuple. In the issue of February 13, 1791, Marat briefly evokes her, praising her and asking her to get in touch.

"Warning.

The excellent patriot who signed her letters Jeanne d'Arc, is asked to give her well hidden address to the doorman of the Hotel de la Faudriere, rue de l'ancienne Comédie. We have something interesting to pass on to her: until now, she has been advised to remain silent, and we wish to obtain information on the important facts she has denounced. We will gratefully receive her new information,

Marat, l'ami du peuple."

It's not known whether Jeanne d'Arc passed her address on to Marat or whether they actually got in touch, as I couldn't find any other record in his newspapers, pamphlets or correspondence that mentioned her. Apparently, her identity was never revealed either and, considering that Marat received numerous letters from various readers of L'Ami Du Peuple, it is practically impossible to deduce who the real person behind these letters was. However, it is clear that she did at least pass on important information to Marat.

Doing a bit more research on the subject, I came across a short thread by historian Paul Chopelin on Twitter, in which he talks about this anecdote. According to him, the year before Jeanne d'Arc appeared in Marat's newspapers, the "Chronique du Manège", a royalist newspaper, mocked the militant activist Théroigne de Méricourt, calling her an "anti-Jeanne d'Arc". In this context, the Jeanne d'Arc who wrote to Marat may have adopted this pseudonym as a way of avenging Madame de Méricourt... Who knows!?

Although there is no concrete proof that can tell us who the mysterious person who signed her letters to Marat as Jeanne d'Arc really was, there is no doubt that this is all very fascinating: It shows us, in the end, that Marat really did have all sorts of people in his secret network of informants and patriotic companions!