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Horn

Horn
Brass instrument
Other names	French horn de: Horn, Waldhorn es: Trompa fr: Cor d'Harmonie it: Corno
Classification	Aerophone Wind Brass
Hornbostel–Sachs classification	423.232 (Valved aerophone sounded by lip movement)
Playing range
in F: sounds one fifth lower than written. However, in older music notes in the bass clef are written one octave lower (thus sounding one fourth higher than written).[1]
Related instruments
Alto horn (tenor horn) Baritone horn Mellophone Natural horn Post horn Saxhorn Vienna horn Wagner tuba
Musicians
List of horn players
More articles
List of horn makers List of horn techniques List of compositions for horn

The horn, commonly known as the French horn, is a brass instrument made of about 12–13 feet (3.7–4.0 m) of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player (or less frequently, a hornist). In informal use, "horn" can refer to nearly any wind instrument with a flared exit for the sound.^[2]

Descended from the natural horn, the instrument is often informally known as the French horn (perhaps to make the sharp distinction with English horn, a woodwind descendant of the oboe da caccia). But the instrument is German in origin, not French, and for this reason the International Horn Society has since 1971 recommended that it be called simply horn.^[3] Despite this guidance, French horn remains the most common name for the instrument in the United States.

Horns have valves, operated with the left hand, to route the air into extra tubing to change the pitch. Most horns have lever-operated rotary valves, but some horns like the Vienna horn use piston valves (similar to trumpet valves). A horn without valves is known as a natural horn, changing pitch along the natural harmonics of the instrument (similar to a bugle), but with a wide range of notes due to the long tubing, coupled with a small mouthpiece, which makes the playable range of the horn higher in the harmonic series, where pitches are closer together.

Three valves control the flow of air in the single horn, which is tuned to F or less commonly, B♭. The more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or the second set of tubing tuned to B♭. Triple horns with five valves are also made, tuned in F, B♭, and a descant E♭ or F. Also common are descant doubles, which typically provide B♭ and Alto F branches. This configuration provides a high-range horn while avoiding the additional complexity and weight of a triple.

General characteristics[link]

The horn is the third highest sounding instrument group in the brass family, below the cornet at second highest, with trumpet being the highest. Horns are mostly tuned in B♭ or F, or a combination of those. In some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, especially in school bands. Compared to the other brass instruments in the orchestra, it has a very different mouthpiece, but has the widest usable range – approximately five octaves, depending on the ability of the player. To produce different notes on the horn, one must do many things – the seven most important are pressing the valves, holding the appropriate amount of lip tension, raising the soft palate, positioning the tongue, lowering the larynx, blowing air into the instrument, and placing the hand in the bell. More lip tension and faster air produces higher notes. Less lip tension and slower air produces lower notes. The right hand, usually cupped at a "three o-clock" position in the bell, can lower the pitch, depending on how far into the bell the player puts it, by as much as a semitone in the instrument's midrange. The horn plays in a higher portion of its overtone series compared to most brass instruments. Its conical bore (as opposed to the cylindrical bore of the trumpet or trombone) is largely responsible for its characteristic tone, often described as "mellow."

Today, music for the horn is typically written in F and sounds a perfect fifth lower than written. The limitations on the range of the instrument are primarily governed by the available valve combinations for the first four octaves of the overtone series and after that by the ability of the player to control the pitch through their air supply and embouchure. The typical written ranges for the horn start at either the F♯ immediately below the bass clef or the C an octave below middle A.

The standard range starting from a low F♯ is based on the characteristics of the single horn in F. However, there is a great deal of music written beyond this range on the assumption that players are using a double horn in F/B♭. This is the standard orchestral instrument and its valve combinations allow for the production of every chromatic tone from two octaves on either side of the horn's written middle-C (sounding F two octaves below the bass clef to F at the top of the treble clef). Although the upper range of the horn repertoire rarely exceeds high C (two octaves above the horn's middle C, sounding F at the top of the treble clef), skilled players can achieve yet higher pitches.

Also important to note is that many pieces from the Baroque to Romantic periods are written in keys other than F. This practice began in the early days of the horn before valves, when the composer would indicate the key the horn should be in (horn in D, horn in C, etc.) and the part would be notated as if it were in C. For a player with a valveless horn that is a help, showing where in the harmonic series a particular note is. A player with a modern instrument must provide the final transposition to the correct pitch. For example, a written C for horn in D must be transposed down a minor third and played as an A on F horn.

History[link]

Horn with three Perinet valves

Early horns were less complex than modern horns, consisting of brass tubes with a slightly flared opening (the bell) wound around a few times. These early "hunting" horns were originally played on a hunt, often while mounted, and the sound they produced was called a recheat. Change of pitch was effected entirely by the lips (the horn not being equipped with valves until the 19th century). Without valves, only the notes within the harmonic series are available. The horn was used, among other reasons, to call hounds on a hunt and created a sound most like a human voice, but carried much farther.

In orchestral settings, the horn (or, more often, pairs of horns) often invoked the idea of the hunt, or, beginning in the later baroque, determined the character of the key being played or represented nobility, royalty, or divinity.

Early horns were commonly pitched in B♭ alto, A, A♭, G, F, E, E♭, D, C, and B♭ basso. Since the only notes available were those on the harmonic series of one of those pitches, they had no ability to play in different keys. The remedy for this limitation was the use of crooks, i.e., sections of tubing of differing length that, when inserted, altered the length of the instrument, and thus its pitch.

Orchestral horns are traditionally grouped into "high" horn and "low" horn pairs. Players specialize to negotiate the unusually wide range required of the instrument. Formerly, in certain situations, composers called for two pairs of horns in two different keys. For example, a composer might call for two horns in C and two in E♭ for a piece in c minor, in order to gain harmonics of the relative major unavailable on the C horns. Eventually, two pairs of horns became the standard, and from this tradition of two independent pairs, each with its own "high" and "low" horn, came the modern convention of writing the 1st and 3rd parts above 2nd and 4th.

In the mid-18th century, horn players began to insert the right hand into the bell to change the length of the instrument, adjusting the tuning up to the distance between two adjacent harmonics depending on how much of the opening was covered. This technique, known as hand-stopping, is generally credited to Anton Joseph Hampel around 1750, and was refined and carried to much of Europe by the influential Giovanni Punto. This offered more possibilities for playing notes not on the harmonic series. By the early classical period, the horn had become an instrument capable of much melodic playing. A notable example of this are the four Mozart Horn Concerti and Concert Rondo (K. 412, 417, 477, 495, 371), wherein melodic chromatic tones are used, owing to the growing prevalence of hand-stopping and other newly emerging techniques.

Around 1815 the use of pistons (later rotary valves) was introduced, initially to overcome problems associated with changing crooks during a performance. Valves' unreliability, musical taste, and players' distrust, among other reasons, slowed their adoption into mainstream. Many traditional conservatories and players refused to use them at first, claiming that the valveless horn, or natural horn, was a better instrument. Some musicians, specializing in period instruments, still use a natural horn when playing in original performance styles, seeking to recapture the sound and tenor in which an older piece was written.

However, the use of valves opened up a great deal more flexibility in playing in different keys; in effect, the horn became an entirely different instrument, fully chromatic for the first time. Although, valves were originally used primarily as a means to play in different keys without crooks, not for harmonic playing. That is reflected in compositions for horns, which only began to include chromatic passages in the late 19th century. When valves were invented, generally, the French made smaller horns with piston valves and the Germans made larger horns with rotary valves. For more information on instrument valves see Brass Instrument Valves. It is the German horn that is erroneously referred to in the English language (and more commonly in the United States and Canada) as the French horn. There is not a clear consensus on the reason or reasons for this nomenclature, and, as there are conflicting proposals, more research is still necessary.

Types of horns[link]

Single horn[link]

Single horns use a single set of tubes connected to the valves. This allows for simplicity of use and a much lighter weight. They are usually in the keys of F or B♭, although many F horns have longer slides to tune them to E♭, and almost all B♭ horns have a valve to put them in the key of A. The problem with single horns is the inevitable choice between accuracy or tone – while the F horn has the "typical" horn sound, above third-space C accuracy is concern for the majority of players because, by its nature, one plays high in the horn's harmonic series where the overtones are closer together. This led to the development of the B♭ horn, which, although easier to play accurately, has a less desirable sound in the mid and especially the low register where it is not able to play all of the notes. The solution has been the development of the double horn, which combines the two into one horn with a single lead pipe and bell. Both main types of single horns are still used today as student models because they are cheaper and lighter than double horns. In addition, the single B♭ horns are sometimes used in solo and chamber performances and the single F survives orchestrally as the Vienna horn. Additionally, single F alto and B♭ alto descants are used in the performance of some baroque horn concertos and F, B♭ and F alto singles are occasionally used by jazz performers.

Dennis Brain's benchmark recordings of the Mozart Horn Concerti were made on a single B♭ instrument by Gebr. Alexander, now on display at the Royal Academy of Music in London.

Double horn[link]

The valves of a Conn 6D double horn. The 3 lever keys (above the large valves) can be depressed toward the large outer tube. The thumb key (near the left-most valve) moves inward toward the 3 finger keys.

Scheme of a double horn (view from underneath)

Despite the introduction of valves, the single F horn proved difficult for use in the highest range, where the partials grew closer and closer, making accuracy a great challenge. An early solution was simply to use a horn of higher pitch—usually B♭. The use of the F versus the B♭ horn was a hotbed of debate between horn players of the late 19th century, until the German horn maker Ed. Kruspe produced a prototype of the "double horn" in 1897.

The double horn also combines two instruments into a single frame: the original horn in F, and a second, higher horn keyed in B♭. By using a fourth valve (usually operated by the thumb), the horn player can quickly switch from the deep, warm tones of the F horn to the higher, brighter tones of the B♭ horn. The two sets of tones are commonly called "sides" of the horn. Using the fourth valve not only changes the basic length (and thus the harmonic series and pitch) of the instrument, it also causes the three main valves to use proportionate slide lengths.^[4]

In the USA, the two most common styles ("wraps") of double horns are named Kruspe and Knopf, after the first instrument makers who developed and standardized them. The Kruspe wrap locates the B♭ change valve above the first valve, near the thumb. The Knopf wrap has the change valve behind the third valve, near the little finger (although the valve's trigger is still played with the thumb). In effect, the air flows in a completely different direction on the other model. Kruspe wrap horns tend to be larger in the bell throat than the Knopf type. Typically, Kruspe models are constructed from nickel silver or German Silver, while Knopf type horns tend to be of yellow brass. Both models have their own strengths and weaknesses, and while the choice of instrument is very personal, an orchestral horn section is usually found to have either one or the other, owing to the differences in tone color, response, and projection of the two different styles.

In Europe the most popular horns are arguably those made by Gebr. Alexander, of Mainz (particularly the Alexander 103), and those made by Paxman in London. In Germany and the Benelux countries, the Alex. 103 is extremely popular. These horns do not fit strictly into the Kruspe or Knopf camps, but have features of both. Alexander prefers the traditional medium bell size, which they have produced for many years, whereas Paxman do offer their models in a range of bell throat sizes. In the United States, the Conn 8D, a mass produced instrument based on the Kruspe design, has been extremely popular in many areas (New York, Los Angeles, Cleveland, Philadelphia). Since roughly the early 1990s, however, for reasons ranging from changing tastes to a general dislike of Conn's newer 8Ds, orchestras have been moving away from the popular Conn 8D. Knopf model horns (by Geyer, Karl Hill, Keith Berg, Steve Lewis, Dan Rauch, and Ricco-Kuhn) are used in other areas (San Francisco, Chicago, Pittsburgh, Boston, Houston). The CF Schmidt double, with its unique piston change valve, is occasionally found in sections playing Geyer/Knopf model equipment.

Compensating double horn[link]

The first design of the double horn did not have a separate set of slides pitched in F. Rather, the main key of the horn was B♭ (the preference of German horn players) and it could be played in F by directing air through the B♭ slides, an F extension, and another set of smaller slides. This "compensated" for the longer length of the F slides, producing a horn now called the compensating double. It was, and still is, widely used by European horn players because of its light weight and ease of playing, especially in the high register.

Triple horn[link]

This relatively new design was created to afford the player even more security in the high register. It employs not only the F and B♭ horns, but also a third, descant horn. This descant horn is usually pitched an octave above the F horn, though it can be alternatively pitched in E♭. It is activated through the use of a second thumb valve. The triple horn was met with considerable resistance when it first appeared. Horn players were reluctant to spend far more money for a triple horn than they would for a double horn, and a feeling that using a triple horn to help with the high register was "cheating" was rampant amongst prominent horn players. Also, the horns were much heavier than the average double horn. Players noted that their arms became fatigued much faster. Moreover, the combination of three different horns creates issues with sonority, because the piping shared among all three sides (that is, the lead pipe and bell) are mathematically disproportional to two or all three horn lengths. Horn makers have had to make concessions to "even out" the sound between all three, often to the loss of sound quality of each side or entire ranges of the instrument. However, advances in horn production are gradually eliminating these drawbacks, and the triple horn is gaining popularity. They are rarely available in anything lower than professional quality. Like double horns, triple horns can come in both full and compensating wraps. Today they are found being played in many professional orchestras, although the substantial cost difference between double and triple horns (often half again to double the price) limits their usage elsewhere.

Other modifications[link]

The horn, although not large, is awkward in its shape and does not lend itself well to transport, especially transport on commercial airlines. To compensate, horn makers can make the bell detachable. This allows for smaller and more manageable horn cases. The player can attach the bell when performing. This also allows use of different bells on the same horn, somewhat alleviating the need for multiple horns for different styles.

Related horns[link]

Natural horn[link]

A natural horn has no valves, but can be tuned to a different key by inserting different tubing, as during a rest period.

The natural horn is the ancestor of the modern horn. It is essentially descended from hunting horns, with its pitch controlled by air speed, aperture (opening of the lips through which air passes) and the use of the right hand moving in and out of the bell. Today it is played as a period instrument. The natural horn can only play from a single harmonic series at a time because there is only one length of tubing available to the horn player. It is however possible to alter the pitch by using a technique that involves partially muting the bell with the right hand, thus enabling the player to reach some notes that are not part of the instrument's natural harmonic series – of course this technique also affects the quality of the tone. The player has a choice of key through changing the length of tubing with crooks.

Vienna horn[link]

Vienna horn

The Vienna horn is a special horn used primarily in Vienna, Austria. Instead of using rotary valves or piston valves, it uses the Pumpenvalve (or Vienna Valve), which is a double-piston operating inside the valve slides, and usually situated on the opposite side of the corpus from the player's left hand, and operated by a long pushrod. Unlike the modern horn, which has grown considerably larger internally (for a bigger, broader, and louder tone), and considerably heavier (with the addition of valves and tubing in the case of the double horn) the Vienna horn very closely mimics the size and weight of the natural horn, (although the valves do add some weight, they are lighter than rotary valves) even using crooks in the front of the horn, between the mouthpiece and the instrument. Although instead of the full range of keys, Vienna horn players usually use an F crook and it is looked down upon to use others, though switching to an A or B♭ crook for higher pitched music does happen on occasion. Vienna horns are often used with funnel shaped mouthpieces similar to those used on the natural horn, with very little (if any) backbore and a very thin rim. The Viennese horn requires very specialized technique and can be quite challenging to play, even for accomplished players of modern horns. The Vienna horn has a warmer, softer sound than the modern horn. Its pumpen-valves facilitate a continuous transition between notes (glissando); conversely, a more precise operating of the valves is required to avoid notes that sound out of tune.

Mellophone[link]

Two instruments are called a mellophone. The first is an instrument shaped somewhat like a horn, in that it is formed in a circle. It has piston valves and is played with the right hand on the valves. Manufacturing of this instrument sharply decreased in the middle of the twentieth century, and this mellophone (or mellophonium) rarely appears today. Amati still makes circular mellophoniums.^[5][6][7] The second instrument is used in modern brass bands and marching bands, and is more accurately called a "marching mellophone" or mellophone. A derivative of the F alto horn, it is keyed in F. It is shaped like a flugelhorn, with piston valves played with the right hand and a forward-pointing bell. These horns are generally considered better marching instruments than regular horns because their position is more stable on the mouth, they project better, and they weigh less. It is primarily used as the middle voice of drum and bugle corps. Though they are usually played with a V-cup cornet-like mouthpiece, their range overlaps the common playing range of the horn. This mouthpiece switch makes the mellophone louder, less mellow, and more brassy and brilliant, making it more appropriate for marching bands. Often now with the use of converters, traditional conical horn mouthpieces are used to achieve the more mellow sound of a horn to make the marching band sound more like a symphonic band.

As they are pitched in F or G and their range overlaps that of the horn, mellophones can be used in place of the horn in brass and marching band settings. However, mellophones are sometimes unpopular with horn players because the mouthpiece change can be difficult and requires a different embouchure. Mouthpiece adapters are available so that a horn mouthpiece can fit into the mellophone lead pipe, but this does not compensate for the many differences that a horn player must adapt to. The bore is generally cylindrical as opposed to the more conical horn; thus, the "feel" of the mellophone can be foreign to a horn player. Another unfamiliar aspect of the mellophone is that it is played with the right hand instead of the left. Intonation can also be an issue when playing the mellophone.

In orchestral concerts, regular concert horns are normally preferred to mellophones because of their tone, which blends better with woodwinds and strings, and their greater intonational subtlety—since the player can adjust the tuning by hand. For these reasons, mellophones are played more usually in marching bands and brass band ensembles, occasionally in jazz bands, and almost never in orchestral settings.

While horn players may be asked to play the mellophone, it is unlikely that the instrument was ever intended tas a substitute for the horn, mainly because of the fundamental differences described.^[8] As an instrument it compromises between the ability to sound like a horn, while being used like a trumpet or flugelhorn; a tradeoff that sacrifices acoustic properties for ergonomics.

Marching horn[link]

The marching horn is quite similar to the mellophone in shape and appearance, but is pitched in the key of B♭ (the same as the B♭ side of a regular double horn). It is also available in F alto (one octave above the F side of a regular double horn). The marching horn is also normally played with a horn mouthpiece (unlike the mellophone, which needs an adapter to fit the horn mouthpiece). It can also be played with a trumpet mouthpiece. These instruments are primarily used in marching bands. However, many college marching bands and drum corps use mellophones instead, which better balance the tone of the other brass instruments.

Wagner tuba[link]

The Wagner tuba is a rare brass instrument that is essentially a horn modified to have a larger bell throat and a vertical bell. Despite its name, it is generally not considered part of the tuba family. Invented for Richard Wagner specifically for his work Der Ring des Nibelungen, it has since been written for by various other composers, including Bruckner, Stravinsky and Richard Strauss. It uses a horn mouthpiece and is available as a single tuba in B♭ or F, or, more recently, as a double tuba similar to the double horn. Its common range is similar to that of the euphonium, but its possible range is the same as that of the horn, extending from low F♯, below the bass clef staff to high C above the treble staff when read in F. These low pedals are substantially easier to play on the Wagner tuba than on the horn.

Repertoire[link]

Orchestral[link]

The horn is most often used as an orchestral instrument, with its singular tone being employed by composers to achieve specific effects. Leopold Mozart, for example, used horns to signify the hunt, as in his Jagdsinfonie (hunting symphony). Once the technique of hand-stopping had been developed, allowing fully chromatic playing, composers began to write seriously for the horn. Telemann wrote much for the horn, and it features prominently in the work of Handel and in Bach's Brandenburg Concerto no. 1. Gustav Mahler made great use of the horn's uniquely haunting and distant sound in his symphonies, notably the famous Nachtmusik (serenade) section of his Symphony No. 7.

Many composers have written works that have become favorites in the horn repertoire. These includes Poulenc (Elegie) and Saint-Saëns (Morceau de Concert for horn and orchestra, op. 94 and Romance, op. 36). Others, particularly Wolfgang Amadeus Mozart, whose friend Joseph Leutgeb was a noted horn player, wrote extensively for the instrument, including concerti and other solo works. Mozart's A Musical Joke satirizes the limitations of contemporary horn playing, including the risk of selecting the wrong crook by mistake. By the end of the 18th Century the horn was sufficiently established as a solo instrument that the horn player Giovanni Punto became an international celebrity, touring Europe and inspiring works by composers as significant as Beethoven.

The development of the valve horn was exploited by romantic composers such as Richard Strauss, Bruckner and Mahler. Strauss's Till Eulenspiegel's Merry Pranks contains one of the best known horn solos from this period, relying on the chromatic facility of the valved horn. Schumann's Konzertstuck for Four Horns and Orchestra is a notable three-movement work.

Horn music in Britain had a renaissance in the mid-20th century when Dennis Brain inspired works such as Britten's Serenade for Tenor, Horn and Strings and other works from contemporary composers such as Michael Tippett, who stretches horn ensemble playing to its technical limits in his Sonata for Four Horns. Peter Maxwell Davies was commissioned by 50 amateur and professional UK horn players to write a horn piece to commemorate the 50th anniversary of Brain's death.

Much of the horn repertoire is scored as featured parts for the orchestral players, especially the principal horn. It is common for leading horn players to move from principal positions in the great orchestras to distinguished solo careers, a path followed by Brain and many since.

Due to the heroic quality of the horn's sound, it is often used in film music. However, Bernard Herrmann's score for On Dangerous Ground uses four horns (and anvils) during a chase sequence to suggest a wild state of mind.

Chamber music[link]

There is an abundance of chamber music repertoire for horn. It is a standard member of the wind quintet and brass quintet, and often appears in other configurations, such as Brahms' "Horn Trio" for violin, horn and piano. Also, the horn can be used by itself in a horn ensemble or "horn choir." The horn choir is especially practical because the extended range of the horn provides the composer or arranger with more possibilities, registerally, sonically, contrapuntally, etc.

Orchestral horns[link]

A horn section in a band

A classical orchestra usually contained two horns. Typically, the 1st horn played a high part and the 2nd horn played a low part. Composers from Beethoven onwards commonly used four horns. Here, the 1st and 2nd horns played as a pair (1st horn being high, 2nd horn being low), and the 3rd and 4th horns played as another pair (3rd horn being high, 4th horn being low). Music written for the modern horn follows a similar pattern with 1st and 3rd horns being high and 2nd and 4th horns being low.

This configuration serves multiple purposes. It is easier to play high when the adjacent player is playing low and vise versa. Pairing makes it easier to write for horns, as the 3rd and 4th horns can take over from the 1st & 2nd horns, or play contrasting material. Music was first written was for the natural horn, which meant that horns could only easily play certain notes. This required that the 1st and 2nd horns be in a different key from the 3rd and 4th horns, so that more notes could be played. For example, if the piece is in C minor, the 1st and 2nd horns might be in C, the tonic major key, which could get most of the notes, and the 3rd and 4th horns might be in E♭, the relative major key, to fill in the gaps.

Many horn sections today also have an assistant^[9] who doubles the 1st horn part for selected passages, joining in loud parts, playing instead of the principal if there is a 1st horn solo approaching, or alternating with the principal if the part is tiring to play.^[10] Playing assistant is often underappreciated, but it is harder than it seems, and takes experience to do it well. Often the assistant is asked to play a passage after resting a long time. Also, he or she may be asked to enter in the middle of a passage, exactly matching the sound, articulation, and overall interpretation of the principal. The assistant is occasionally referred to as a bumper.

Some pieces (like Rachmaninov's Isle of the Dead, Britten's Sinfonia da Requiem, Holst's The Planets and Richard Strauss' Don Quixote) have called for 6 horns, or as many as 20 horns, as found in Alpine Symphony, by Richard Strauss. Here the pairing remains the same, with the odd horns being high parts and the even horns being low parts.

In jazz[link]

or French horn in Jazz

The horn has been rarely used in jazz music. Notable exponents, however, include composer/arranger Gil Evans who included the horn as an ensemble instrument from the 1940s, first in Claude Thornhill's groups, and later with the pioneering cool jazz nonet led by trumpeter Miles Davis, and in many other projects that sometimes also featured Davis, as well as Don Ellis, a trumpet player from Stan Kenton's jazz band. Notable works of Ellis' jazz horn include "Strawberry Soup" and other songs on the album Tears of Joy. Notable improvising horn players in jazz include Julius Watkins, Willie Ruff, John Graas, David Amram, John Clark, Vincent Chancey, Mark Taylor, Giovanni Hoffer, Arkady Shilkloper, Adam Unsworth, and Tom Varner.

Notable horn players[link]

• Hermann Baumann – 1964 winner of the ARD International Music Competition and former principal horn in various orchestras, including the Stuttgart Radio Symphony Orchestra.
• Radek Baborak – Famous Czech horn player, former principal horn in Berlin Philharmonic Orchestra. Winner of the Concertino Praga in 1988 and 1990, holder of a Grammy Award (1995).
• Dennis Brain – former principal horn of the Royal Philharmonic Orchestra and the Philharmonia, with whom Herbert von Karajan made well-known recordings of Mozart's horn concertos.
• John Cerminaro – current principal horn of the Seattle Symphony and former principal horn of the New York Philharmonic and the Los Angeles Philharmonic.
• Roger-Luc Chayer – Lyrical French horn France and Canada. Cannes Symphony (1989–1991), Nice Opera (1984–1991), Toulouse National Capitole Symphony (1992). Solo recordings.
• Dale Clevenger – current principal horn of the Chicago Symphony Orchestra.
• Vincent DeRosa – former principal horn for a number of Hollywood studios and composers including John Williams.
• Richard Dunbar – was a player of the French horn, playing in the free jazz scene. He was born in Brooklyn, New York, on May 29, 1944 and he died suddenly at the age of 61, apparently of a heart attack, on the way to a gig on the February 8, 2006.
• Philip Farkas – former principal horn of the Chicago Symphony Orchestra, developer of the Holton-Farkas horn and author of several books on horn and brass playing.
• Douglas Hill – former principal horn of the Madison Symphony Orchestra. notable teacher and composer
• Philip Myers – principal horn of the New York Philharmonic since 1980.
• Jeff Nelsen – Canadian Brass hornist since 2000 and Indiana University Jacobs School of Music horn faculty since 2006.
• Giovanni Punto – horn virtuoso and hand-stopping pioneer, after whom the International Horn Society's annual horn playing award is named. He was also a violinist, concertmaster and composer.
• David Pyatt – winner of the BBC Young Musician of the Year competition in 1988 and current principal horn of the London Symphony Orchestra.
• Gunther Schuller – former principal horn of the Cincinnati Symphony Orchestra and Metropolitan Opera Orchestra and played with Miles Davis.
• Barry Tuckwell – former principal horn of the London Symphony Orchestra and author of several books on horn playing.
• Radovan Vlatković – 1983 winner of the ARD International Music Competition, former principal horn and soloist of the Berlin Radio Symphony Orchestra and professor at the Mozarteum University of Salzburg.
• William VerMeulen – Internationally renown horn soloist and former principal horn of Honolulu Symphony Orchestra current principal Horn of the Houston Symphony Orchestra and professor at Rice University reputed to have the highest placement rating of his students in American Orchestras.
• Stefan Dohr – current principal horn, Berlin Philharmonic Orchestra

People who are more notable for their other achievements, but also play the horn, include actors Ewan McGregor and David Ogden Stiers, comedian and television host Jon Stewart, The Who bassist and singer John Entwistle, and rapper and record producer B.o.B.

Gallery[link]

• 

  A common double horn.
• 

  A Vienna horn.
• 

  A hunting horn.
• 

  A French Omnitonic horn.
• 

  A natural horn at the Victoria & Albert Museum in London.
• Stanford Natural Horn.JPG

  A replica of a Mozart era natural horn.
• 

  A hunting horn in E♭.
• 

  A natural horn.
• 

  An older, French-made cor à pistons in E♭.

See also[link]

• Brass instrument valve
• List of compositions for horn
• List of horn makers
• List of horn techniques

References[link]

External links[link]

Wikibooks has a book on the topic of Horn/Repertoire

Wikibooks has a book on the topic of Horn

Wikisource has the text of the 1911 Encyclopædia Britannica article Horn (class of wind instruments).

• Homepage of the International Horn Society, one of the largest organizations of horn players in the world.
• British Horn Society, UK-based organisation for horn playing
• Fanfare Sounds, Different horns for playing with Sound (Fanfare)
• First steps of making a horn by hand (QuickTime Movie) at Finke Horns
• From mines to music: The venerable valve, by musicologist Edmund A. Bowles
• Horn maintenance at Paxman, compiled with the assistance of Simon de Souza
• How to dismantle a valve at Finke Horns

The Orchestra
The Orchestra 2008, performing at the Sweden Rock Festival.
Background information
Origin	Birmingham, England
Genres	Rock music, Pop music
Years active	2000–present
Associated acts	Electric Light Orchestra ELO Part II Styx
Website	theorchestra.net
Members
Louis Clark Eric Troyer Mik Kaminski Gordon Townsend Phil Bates Glen Burtnik
Past members
Kelly Groucutt Parthenon Huxley

The Orchestra is a rock band formed by former members of the Electric Light Orchestra and ELO Part II. It is the continuation of ELO Part II following Bev Bevan's departure and selling of the rights to Jeff Lynne.

History[link]

By 2000 Bev Bevan had sold his fifty per cent share of the Electric Light Orchestra name as well as the rights to the ELO Part II name to Jeff Lynne. Lynne, now the full owner of the ELO name, took legal action to prevent the band from continuing to call themselves “ELO Part II”. They initially tried to alter their name to “ELO2”, but they eventually submitted and changed their name to The Orchestra.

In 2001 The Orchestra released a limited number of their CD No Rewind which was produced and released without involvement from a major record label (but was subsequently released in Argentina by Art Music in 2005 and reissued worldwide in 2006). The album contains The Orchestra's best known non-ELO song, Over London Skies, a loving homage to the classic ELO sound in Jewel & Johnny and a cover of Twist and Shout which begins in a slow, plaintive minor key with arpeggiated chords before building to the familiar, rocking major progression. With the release of No Rewind, The Orchestra worked more original material into their set, with Jewel & Johnny and the album's title song becoming staples. The band continues to tour and regularly sells out shows in Chile, Argentina, the UK, Eastern Europe and elsewhere around the world.

In late 2004, a legal dispute almost erupted between The Orchestra and a Florida-based rock band called theOrchestra, but the issue was settled out-of-court.

The Orchestra toured the UK extensively in 2006 following the re-issue of No Rewind. The band were promoted using the descriptive phrase "Electric Light Orchestra Part II Former Members". Lynne sued The Orchestra, claiming copyright infringement. The matter went to litigation and in August 2006, a Los Angeles judge ruled in favour of the members of The Orchestra.^[1]

During The Orchestra's 2006 UK tour, Phil Bates, formerly a member of Trickster, ELO Part II and Bev Bevan's Move, stood in for Parthenon Huxley at a couple of gigs when Huxley had to return unexpectedly to the States to attend the funeral of his father. In July 2007 Huxley left the band to spend more time with his family and was replaced by Bates.

In 2008 The Orchestra participated in the Sweden Rock Festival.

On February 18, 2009 the group returned from a sell out concert in Berlin. But a few hours after returning home, Kelly Groucutt collapsed of a massive heart attack and died the following day. The band decided to carry on and brought in former Styx man Glen Burtnik on bass (Glen had filled in for Kelly previously during a 1998 ELO Part II tour when the latter had taken ill). On July 17, 2009 they opened for the Alan Parsons Live Project at DTE Theater in Clarkston, Michigan. Also in 2009 German bassist Ralf Vornberger played with the band in Israel when Glen was unavailable due to other work commitments booked before he joined the band.

In November 2011 guitarist Phil Bates left The Orchestra again, and Parthenon Huxley reclaimed his position as guitarist/singer. With Huxley on board The Orchestra ended 2011 with a 17-city tour of Eastern Europe, including stops in Russia, Belarus, Poland, Lithuania and the Czech Republic.

Members[link]

Current members[link]

• Louis Clark - keyboards, orchestral arranger and conductor (2000–present) (from ELO and ELO Part II)
• Eric Troyer - keyboards, vocals, guitar (2000–present) (from ELO Part II)
• Mik Kaminski - violin (2000–present) (from ELO and ELO Part II)
• Gordon Townsend - drums (2000–present)
• Parthenon Huxley - guitar, vocals (2000–2007 and 2011 to present) (from ELO Part II)
• Glen Burtnik - bass guitar, vocals (2009–present)

Former Members[link]

• Kelly Groucutt - bass guitar, vocals (2000–2009) (from ELO and ELO Part II)
• Phil Bates - guitar, vocals (2007-2011) (from ELO Part II)

Discography[link]

• No Rewind (2001)

Live albums[link]

• The Orchestra Live (2008)

Videos[link]

• Live in Reno (DVD), (2006)

Live Lineup History[link]

References[link]

1. ^ The P. Hux Chronicles Issue Number Nine

External links[link]

• [1] The Orchestra on Facebook

Morton Feldman (January 12, 1926 – September 3, 1987) was an American composer, born in New York City.

A major figure in 20th century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.

Biography[link]

Feldman was born in Brooklyn, New York City into a family of Russian-Jewish immigrants from Kiev. His father was a manufacturer of children's coats.^[1][2] As a child he studied piano with Vera Maurina Press, who, according to the composer himself, instilled in him a "vibrant musicality rather than musicianship."^[3] Feldman's first composition teachers were Wallingford Riegger, one of the first American followers of Arnold Schoenberg, and Stefan Wolpe, a German-born Jewish composer who studied under Franz Schreker and Anton Webern. Feldman and Wolpe spent most of their time simply talking about music and art.^[4]

In early 1950 Feldman went to hear the New York Philharmonic give a performance of Anton Webern's Symphony, op. 21. After this work, the orchestra was going to perform a piece by Sergei Rachmaninoff, and Feldman left immediately before that, disturbed by the audience's disrespectful reaction to Webern's work.^[5] In the lobby he met John Cage, who was at the concert and had also decided to step out.^[6] The two composers quickly became good friends, with Feldman moving into the apartment on the second floor of the building Cage lived in. Through Cage, he met painters Richard Lippold (who had a studio next door), Sonia Sekula, Robert Rauschenberg, and others, and composers such as Henry Cowell, Virgil Thomson, and George Antheil.^[7]

With encouragement from Cage, Feldman began to write pieces that had no relation to compositional systems of the past, such as the constraints of traditional harmony or the serial technique. He experimented with non-standard systems of musical notation, often using grids in his scores, and specifying how many notes should be played at a certain time, but not which ones. Feldman's experiments with the use of chance in his composition in turn inspired John Cage to write pieces like the Music of Changes, where the notes to be played are determined by consulting the I Ching.

Feldman was commissioned to compose the score for Jack Garfein's 1961 film, Something Wild. However, after hearing the music for the opening scene, in which a character (played by Carroll Baker, incidentally also Garfein's wife) is raped, the director promptly withdrew his commission, opting to enlist Aaron Copland instead. The reaction of the startled director was said to be, "My wife is being raped and you write celesta music?"^[8]

Through Cage, Feldman met many other prominent figures in the New York arts scene, among them Jackson Pollock, Philip Guston and Frank O'Hara. He found inspiration in the paintings of the abstract expressionists,^[9] and throughout the 1970s wrote a number of pieces around twenty-minutes in length, including Rothko Chapel (1971, written for the building of the same name, which houses paintings by Mark Rothko) and For Frank O'Hara (1973). In 1977, he wrote the opera Neither with words by Samuel Beckett.

In 1973, at the age of 47, Feldman became the Edgard Varèse Professor (a title of his own devising) at the University at Buffalo. Prior to that time, Feldman had earned his living as a full-time employee at the family textile business in New York's garment district.

Later, he began to produce his very long works, often in one continuous movement, rarely shorter than half an hour in length and often much longer. These works include Violin and String Quartet (1985, around 2 hours), For Philip Guston (1984, around four hours) and, most extreme, the String Quartet II (1983, which is over six hours long without a break.) Typically, these pieces maintain a very slow developmental pace (if not static) and tend to be made up of mostly very quiet sounds. Feldman said himself that quiet sounds had begun to be the only ones that interested him. In a 1982 lecture, Feldman noted: "Do we have anything in music for example that really wipes everything out? That just cleans everything away?"

Feldman married the Canadian composer Barbara Monk shortly before his death. He died from pancreatic cancer in 1987 at his home in Buffalo, New York, after fighting for his life for three months.

Works[link]

See: List of compositions by Morton Feldman

Notable students[link]

References[link]

• Feldman, Morton. 1968. Give My Regards to Eighth Street, Artnews Annual. Included in Give my regards to Eighth Street: Collected Writings of Morton Feldman (2000), The Music of Morton Feldman, and elsewhere.
• Gagne, Cole, and Caras, Tracey. 1982. Interview with Morton Feldman. In: Soundpieces: Interviews with American Composers, 164–177. Metuchen, New Jersey: The Scarecrow Press Inc, 1982. Available online.
• Hirata, Catherin. 2002. Morton Feldman. In: Sitsky, Larry, ed. 2002. Music of the Twentieth-century Avant-garde. Greenwood Publishing Group.
• Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. ISBN 1-55970-220-6, ISBN 978-1-55970-220-1.
• Ross, Alex. 2006. American Sublime. The New Yorker, June 19, 2006. Available online.
• Zimmerman, Walter, ed. 1985. Morton Feldman Essays. Kerpen: Beginner.

Further reading[link]

• Eldred, Michael The Quivering of Propriation: A Parallel Way to Music, Section II.4.4 A musical subversion of harmonically logical time (Feldman) www.arte-fact.org 2010
• Feldman, Morton. Morton Feldman Says. Chris Villars, ed. London: Hyphen Press, 2006.
• Feldman, Morton. Morton Feldman in Middelburg. Lectures and Conversations. R. Mörchen, ed. Cologne: MusikTexte, 2008.
• Feldman, Morton. Give my regards to Eighth Street: Collected Writings of Morton Feldman. B.H. Friedman, ed. Cambridge, MA: Exact Change, 2000.
• Gareau, Philip. La musique de Morton Feldman ou le temps en liberté. Paris: L'Harmattan, 2006.
• Hirata, Catherin (Winter 1996). "The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman", Perspectives of New Music 34, no.1, 6-27.
• Herzfeld, Gregor. "Historisches Bewusstsein in Morton Feldmans Unterrichtsskizzen", Archiv für Musikwissenschaft Vol. 66, no. 3, (Summer 2009), 218-233.
• Lunberry, Clark. “Departing Landscapes: Morton Feldman's String Quartet II and Triadic Memories.” SubStance 110: Vol. 35, Number 2 (Summer 2006): 17-50. (Available at http://www.cnvill.net/mftexts.htm [#105 on the list])

External links[link]

Wikiquote has a collection of quotations related to: Morton Feldman

• Morton Feldman Page
• Morton Feldman Photographs, 1939-1987 from UBdigit - Digital Collections - University at Buffalo Libraries
• Jan Williams Photos of Morton Feldman, 1974-1979 from UBdigit - Digital Collections - University at Buffalo Libraries
• Morton Feldman in conversation with Thomas Moore
• Morton Feldman: Structures for String Quartet (1951) by Lejaren Hiller
• GregSandow.com: Feldman Draws Blood Village Voice, June 16, 1980
• Morton Feldman profile at New Albion Records
• The New Yorker: The Critics at Large
• Morton Feldman at Pytheas Center for Contemporary Music
• (French) A biography of Morton Feldman, from IRCAM's website.

Listening[link]

• Art of the States: Morton Feldman three works by the composer
• UbuWeb: Morton Feldman featuring The King of Denmark
• Epitonic.com: Morton Feldman featuring tracks from Only – Works for Voice and Instruments
• In Conversation with John Cage, 1966, Part 1
• In Conversation with John Cage, 1966, Part 2
• In Conversation with John Cage, 1966, Part 3
• In Conversation with John Cage, 1966, Part 4
• In Conversation with John Cage, 1966, Part 5

The French Revolution
The storming of the Bastille, 14 July 1789
Participants	French society
Location	France
Date	1789–1799
Result	A cycle of royal power being limited by uneasy constitutional monarchy—then abolition and replacement of the French king, aristocracy and church with a radical, secular, democratic republic—in turn becoming more authoritarian, militaristic and property-based. Radical social change to forms based on Enlightenment principles of citizenship and inalienable rights, as well as nationalism and democracy. Rise of Napoleon Bonaparte Armed conflicts with other European countries

The French Revolution (French: Révolution française; 1789–1799), was a period of radical social and political upheaval in France that had a major impact on France and indeed all of Europe. The absolute monarchy that had ruled France for centuries collapsed in three years. French society underwent an epic transformation, as feudal, aristocratic and religious privileges evaporated under a sustained assault from radical left-wing political groups, masses on the streets, and peasants in the countryside.^[1] Old ideas about tradition and hierarchy – of monarchy, aristocracy and religious authority – were abruptly overthrown by new Enlightenment principles of equality, citizenship and inalienable rights.

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The French Revolution began in 1789 with the convocation of the Estates-General in May. The first year of the Revolution saw members of the Third Estate proclaiming the Tennis Court Oath in June, the assault on the Bastille in July, the passage of the Declaration of the Rights of Man and of the Citizen in August, and an epic march on Versailles that forced the royal court back to Paris in October. The next few years were dominated by tensions between various liberal assemblies and a right-wing monarchy intent on thwarting major reforms.

A republic was proclaimed in September 1792 and King Louis XVI was executed the next year. External threats also played a dominant role in the development of the Revolution. The French Revolutionary Wars started in 1792 and ultimately featured spectacular French victories that facilitated the conquest of the Italian Peninsula, the Low Countries and most territories west of the Rhine – achievements that had defied previous French governments for centuries.

Internally, popular sentiments radicalized the Revolution significantly, culminating in the rise of Maximilien Robespierre and the Jacobins and virtual dictatorship by the Committee of Public Safety during the Reign of Terror from 1793 until 1794 during which between 16,000 and 40,000 people were killed.^[2] After the fall of the Jacobins and the execution of Robespierre, the Directory assumed control of the French state in 1795 and held power until 1799, when it was replaced by the Consulate under Napoleon Bonaparte.

After the Napoleonic Wars and ensuing rise and fall of Napoleon's First French Empire, a restoration of absolutist monarchy was followed by two further successful smaller revolutions (1830 and 1848). This meant the 19th century and process of modern France taking shape saw France again successively governed by a similar cycle of constitutional monarchy (1830–48), fragile republic (Second Republic) (1848–1852), and empire (Second Empire) (1852–1870). The modern era has unfolded in the shadow of the French Revolution. The growth of republics and liberal democracies, the spread of secularism, the development of modern ideologies and the invention of total war^[3] all mark their birth during the Revolution.

Causes[link]

The government of King Louis XVI of France faced a fiscal crisis in the 1780s.

Adherents of most historical models identify many of the same features of the Ancien Régime as being among the causes of the Revolution. Economic factors included hunger and malnutrition in the most destitute segments of the population, due to rising bread prices (from a normal 8 sous for a four-pound loaf to 12 sous by the end of 1789),^[4] after several years of poor grain harvests. Bad harvests (caused in part by extreme weather from El Niño along with volcanic activity at Laki and Grímsvötn in 1783–1784), rising food prices, and an inadequate transportation system that hindered the shipment of bulk foods from rural areas to large population centers contributed greatly to the destabilization of French society in the years leading up to the Revolution.

Another cause was the state's effective bankruptcy due to the enormous cost of previous wars, particularly the financial strain caused by French participation in the American Revolutionary War. The national debt amounted to some 1,000–2,000 million^{[citation needed]} livres. The social burdens caused by war included the huge war debt, made worse by the loss of France's colonial possessions in North America and the growing commercial dominance of Great Britain. France's inefficient and antiquated financial system was unable to manage the national debt, something which was both partially caused and exacerbated by the burden of an inadequate system of taxation. To obtain new money to head off default on the government's loans, the king called an Assembly of Notables in 1787.

Meanwhile, the royal court at Versailles was seen as being isolated from, and indifferent to, the hardships of the lower classes. While in theory King Louis XVI was an absolute monarch, in practice he was often indecisive and known to back down when faced with strong opposition. While he did reduce government expenditures, opponents in the parlements successfully thwarted his attempts at enacting much needed reforms. Those who were opposed to Louis' policies further undermined royal authority by distributing pamphlets (often reporting false or exaggerated information) that criticized the government and its officials, stirring up public opinion against the monarchy.^[5]

Many other factors involved resentments and aspirations given focus by the rise of Enlightenment ideals. These included resentment of royal absolutism; resentment by peasants, laborers and the bourgeoisie toward the traditional seigneurial privileges possessed by the nobility; resentment of the Church's influence over public policy and institutions; aspirations for freedom of religion; resentment of aristocratic bishops by the poorer rural clergy; aspirations for social, political and economic equality, and (especially as the Revolution progressed) republicanism; hatred of Queen Marie-Antoinette, who was falsely accused of being a spendthrift and an Austrian spy; and anger toward the King for firing finance minister Jacques Necker, among others, who were popularly seen as representatives of the people.^[6]

Pre-revolution[link]

Financial crisis[link]

Caricature of the Third Estate carrying the First Estate (clergy) and the Second Estate (nobility) on its back.

Louis XVI ascended to the throne amidst a financial crisis; the state was nearing bankruptcy and outlays outpaced income.^[7] This was because of France’s financial obligations stemming from involvement in the Seven Years War and its participation in the American Revolutionary War.^[8] In May 1776, finance minister Turgot was dismissed, after he failed to enact reforms. The next year, Jacques Necker, a foreigner, was appointed Comptroller-General of Finance. He could not be made an official minister because he was a Protestant.^[9]

Necker realized that the country's extremely regressive tax system subjected the lower classes to a heavy burden,^[9] while numerous exemptions existed for the nobility and clergy.^[10] He argued that the country could not be taxed higher; that tax exemptions for the nobility and clergy must be reduced; and proposed that borrowing more money would solve the country's fiscal shortages. Necker published a report to support this claim that underestimated the deficit by roughly 36 million livres, and proposed restricting the power of the parlements.^[9]

This was not received well by the King's ministers, and Necker, hoping to bolster his position, argued to be made a minister. The King refused, Necker was fired, and Charles Alexandre de Calonne was appointed to the Comptrollership.^[9] Calonne initially spent liberally, but he quickly realized the critical financial situation and proposed a new tax code.^[11]

The proposal included a consistent land tax, which would include taxation of the nobility and clergy. Faced with opposition from the parlements, Calonne organised the summoning of the Assembly of Notables. But the Assembly failed to endorse Calonne's proposals and instead weakened his position through its criticism. In response, the King announced the calling of the Estates-General for May 1789, the first time the body had been summoned since 1614. This was a signal that the Bourbon monarchy was in a weakened state and subject to the demands of its people.^[12]

Estates-General of 1789[link]

The Estates-General was organized into three estates: the clergy, the nobility, and the rest of France.^[13] On the last occasion that the Estates-General had met, in 1614, each estate held one vote, and any two could override the third. The Parlement of Paris feared the government would attempt to gerrymander an assembly to rig the results. Thus, they required that the Estates be arranged as in 1614.^[14] The 1614 rules differed from practices of local assemblies, where each member had one vote and third estate membership was doubled. For example, in the Dauphiné the provincial assembly agreed to double the number of members of the third estate, hold membership elections, and allow one vote per member, rather than one vote per estate.^[15]

The "Committee of Thirty," a body of liberal Parisians, began to agitate against voting by estate. This group, largely composed of the wealthy, argued for the Estates-General to assume the voting mechanisms of Dauphiné. They argued that ancient precedent was not sufficient, because "the people were sovereign."^[16] Necker convened a Second Assembly of Notables, which rejected the notion of double representation by a vote of 111 to 333.^[16] The King, however, agreed to the proposition on 27 December; but he left discussion of the weight of each vote to the Estates-General itself.^[17]

Elections were held in the spring of 1789; suffrage requirements for the Third Estate were for French-born or naturalised males only, at least 25 years of age, who resided where the vote was to take place and who paid taxes.

Pour être électeur du tiers état, il faut avoir 25 ans, être français ou naturalisé, être domicilié au lieu de vote et compris au rôle des impositions.^[18]

Strong turnout produced 1,201 delegates, including: "291 nobles, 300 clergy, and 610 members of the Third Estate."^[17] To lead delegates, "Books of grievances" (cahiers de doléances) were compiled to list problems.^[13] The books articulated ideas which would have seemed radical only months before; however, most supported the monarchical system in general. Many assumed the Estates-General would approve future taxes, and Enlightenment ideals were relatively rare.^[14][19]

Pamphlets by liberal nobles and clergy became widespread after the lifting of press censorship.^[16] The Abbé Sieyès, a theorist and Catholic clergyman, argued the paramount importance of the Third Estate in the pamphlet Qu'est-ce que le tiers état? ("What is the Third Estate?"), published in January 1789. He asserted: "What is the Third Estate? Everything. What has it been until now in the political order? Nothing. What does it want to be? Something."^[14][20]

The meeting of the Estates General on 5 May 1789 in Versailles.

The Estates-General convened in the Grands Salles des Menus-Plaisirs in Versailles on 5 May 1789 and opened with a three-hour speech by Necker. The Third Estate demanded that the verification of deputies' credentials should be undertaken in common by all deputies, rather than each estate verifying the credentials of its own members internally; negotiations with the other estates failed to achieve this.^[19] The commoners appealed to the clergy who replied they required more time. Necker asserted that each estate verify credentials and "the king was to act as arbitrator."^[21] Negotiations with the other two estates to achieve this, however, were unsuccessful.^[22]

National Assembly (1789)[link]

The National Assembly taking the Tennis Court Oath (sketch by Jacques-Louis David).

On 10 June 1789, Abbé Sieyès moved that the Third Estate, now meeting as the Communes (English: "Commons"), proceed with verification of its own powers and invite the other two estates to take part, but not to wait for them. They proceeded to do so two days later, completing the process on 17 June.^[23] Then they voted a measure far more radical, declaring themselves the National Assembly, an assembly not of the Estates but of "the People." They invited the other orders to join them, but made it clear they intended to conduct the nation's affairs with or without them.^[24]

In an attempt to keep control of the process and prevent the Assembly from convening, Louis XVI ordered the closure of the Salle des États where the Assembly met, making an excuse that the carpenters needed to prepare the hall for a royal speech in two days. Weather did not allow an outdoor meeting, so the Assembly moved their deliberations to a nearby indoor real tennis court, where they proceeded to swear the Tennis Court Oath (20 June 1789), under which they agreed not to separate until they had given France a constitution.^[25]

A majority of the representatives of the clergy soon joined them, as did 47 members of the nobility. By 27 June, the royal party had overtly given in, although the military began to arrive in large numbers around Paris and Versailles. Messages of support for the Assembly poured in from Paris and other French cities.^[25]

National Constituent Assembly (1789–1791)[link]

Storming of the Bastille[link]

By this time, Necker had earned the enmity of many members of the French court for his overt manipulation of public opinion. Marie Antoinette, the King's younger brother the Comte d'Artois, and other conservative members of the King's privy council urged him to dismiss Necker as financial advisor. On 11 July 1789, after Necker published an inaccurate account of the government's debts and made it available to the public, the King fired him, and completely restructured the finance ministry at the same time.^[26]

Many Parisians presumed Louis's actions to be aimed against the Assembly and began open rebellion when they heard the news the next day. They were also afraid that arriving soldiers – mostly foreign mercenaries – had been summoned to shut down the National Constituent Assembly. The Assembly, meeting at Versailles, went into nonstop session to prevent another eviction from their meeting place. Paris was soon consumed by riots, chaos, and widespread looting. The mobs soon had the support of some of the French Guard, who were armed and trained soldiers.^[27]

The Declaration of the Rights of Man and of the Citizen of 26 August 1789

On 14 July, the insurgents set their eyes on the large weapons and ammunition cache inside the Bastille fortress, which was also perceived to be a symbol of royal power. After several hours of combat, the prison fell that afternoon. Despite ordering a cease fire, which prevented a mutual massacre, Governor Marquis Bernard de Launay was beaten, stabbed and decapitated; his head was placed on a pike and paraded about the city. Although the fortress had held only seven prisoners (four forgers, two noblemen kept for immoral behavior, and a murder suspect), the Bastille served as a potent symbol of everything hated under the Ancien Régime. Returning to the Hôtel de Ville (city hall), the mob accused the prévôt des marchands (roughly, mayor) Jacques de Flesselles of treachery and butchered him.^[28]

The King, alarmed by the violence, backed down, at least for the time being. The Marquis de la Fayette took up command of the National Guard at Paris. Jean-Sylvain Bailly, president of the Assembly at the time of the Tennis Court Oath, became the city's mayor under a new governmental structure known as the commune. The King visited Paris, where, on 17 July he accepted a tricolore cockade, to cries of Vive la Nation ("Long live the Nation") and Vive le Roi ("Long live the King").^[29]

Necker was recalled to power, but his triumph was short-lived. An astute financier but a less astute politician, Necker overplayed his hand by demanding and obtaining a general amnesty, losing much of the people's favour.

As civil authority rapidly deteriorated, with random acts of violence and theft breaking out across the country, members of the nobility, fearing for their safety, fled to neighboring countries; many of these émigrés, as they were called, funded counter-revolutionary causes within France and urged foreign monarchs to offer military support to a counter-revolution.^[30]

By late July, the spirit of popular sovereignty had spread throughout France. In rural areas, many commoners began to form militias and arm themselves against a foreign invasion: some attacked the châteaux of the nobility as part of a general agrarian insurrection known as "la Grande Peur" ("the Great Fear"). In addition, wild rumours and paranoia caused widespread unrest and civil disturbances that contributed to the collapse of law and order.^[31]

Working toward a constitution[link]

On 4 August 1789, the National Constituent Assembly abolished feudalism (although at that point there had been sufficient peasant revolts to almost end feudalism already), in what is known as the August Decrees, sweeping away both the seigneurial rights of the Second Estate and the tithes gathered by the First Estate. In the course of a few hours, nobles, clergy, towns, provinces, companies and cities lost their special privileges.

On 26 August 1789, the Assembly published the Declaration of the Rights of Man and of the Citizen, which comprised a statement of principles rather than a constitution with legal effect. The National Constituent Assembly functioned not only as a legislature, but also as a body to draft a new constitution.

Necker, Mounier, Lally-Tollendal and others argued unsuccessfully for a senate, with members appointed by the crown on the nomination of the people. The bulk of the nobles argued for an aristocratic upper house elected by the nobles. The popular party carried the day: France would have a single, unicameral assembly. The King retained only a "suspensive veto"; he could delay the implementation of a law, but not block it absolutely. The Assembly eventually replaced the historic provinces with 83 départements, uniformly administered and roughly equal in area and population.

Amid the Assembly's preoccupation with constitutional affairs, the financial crisis had continued largely unaddressed, and the deficit had only increased. Honoré Mirabeau now led the move to address this matter, and the Assembly gave Necker complete financial dictatorship.

Women's March on Versailles[link]

Engraving of the Women's March on Versailles, 5 October 1789

Fueled by rumors of a reception for the King's bodyguards on 1 October 1789 at which the national cockade had been trampled upon, on 5 October 1789 crowds of women began to assemble at Parisian markets. The women first marched to the Hôtel de Ville, demanding that city officials address their concerns.^[32] The women were responding to the harsh economic situations they faced, especially bread shortages. They also demanded an end to royal efforts to block the National Assembly, and for the King and his administration to move to Paris as a sign of good faith in addressing the widespread poverty.

Getting unsatisfactory responses from city officials, as many as 7,000 women joined the march to Versailles, bringing with them cannons and a variety of smaller weapons. Twenty thousand National Guardsmen under the command of La Fayette responded to keep order, and members of the mob stormed the palace, killing several guards.^[33] La Fayette ultimately persuaded the king to accede to the demand of the crowd that the monarchy relocate to Paris.

On 6 October 1789, the King and the royal family moved from Versailles to Paris under the "protection" of the National Guards, thus legitimizing the National Assembly.

Revolution and the Church[link]

In this caricature, monks and nuns enjoy their new freedom after the decree of 16 February 1790

The Revolution caused a massive shift of power from the Roman Catholic Church to the state. Under the Ancien Régime, the Church had been the largest single landowner in the country, owning about 10% of the land in the kingdom.^[34] The Church was exempt from paying taxes to the government, while it levied a tithe—a 10% tax on income, often collected in the form of crops—on the general population, which it then redistributed to the poor.^[34] The power and wealth of the Church was highly resented by some groups. A small minority of Protestants living in France, such as the Huguenots, wanted an anti-Catholic regime and revenge against the clergy who discriminated against them. Enlightenment thinkers such as Voltaire helped fuel this resentment by denigrating the Catholic Church and destabilizing the French monarchy.^[35] As historian John McManners argues, "In eighteenth-century France throne and altar were commonly spoken of as in close alliance; their simultaneous collapse ... would one day provide the final proof of their interdependence."^[36]

This resentment toward the Church weakened its power during the opening of the Estates General in May 1789. The Church composed the First Estate with 130,000 members of the clergy. When the National Assembly was later created in June 1789 by the Third Estate, the clergy voted to join them, which perpetuated the destruction of the Estates General as a governing body.^[37] The National Assembly began to enact social and economic reform. Legislation sanctioned on 4 August 1789 abolished the Church's authority to impose the tithe. In an attempt to address the financial crisis, the Assembly declared, on 2 November 1789, that the property of the Church was "at the disposal of the nation."^[38] They used this property to back a new currency, the assignats. Thus, the nation had now also taken on the responsibility of the Church, which included paying the clergy and caring for the poor, the sick and the orphaned.^[39] In December, the Assembly began to sell the lands to the highest bidder to raise revenue, effectively decreasing the value of the assignats by 25% in two years.^[40] In autumn 1789, legislation abolished monastic vows and on 13 February 1790 all religious orders were dissolved.^[41] Monks and nuns were encouraged to return to private life and a small percentage did eventually marry.^[42]

The Civil Constitution of the Clergy, passed on 12 July 1790, turned the remaining clergy into employees of the state. This established an election system for parish priests and bishops and set a pay rate for the clergy. Many Catholics objected to the election system because it effectively denied the authority of the Pope in Rome over the French Church. Eventually, in November 1790, the National Assembly began to require an oath of loyalty to the Civil Constitution from all the members of the clergy.^[42] This led to a schism between those clergy who swore the required oath and accepted the new arrangement and those who remained loyal to the Pope. Overall, 24% of the clergy nationwide took the oath.^[43] Widespread refusal led to legislation against the clergy, "forcing them into exile, deporting them forcibly, or executing them as traitors."^[40] Pope Pius VI never accepted the Civil Constitution of the Clergy, further isolating the Church in France. During the Reign of Terror, extreme efforts of de-Christianization ensued, including the imprisonment and massacre of priests and destruction of churches and religious images throughout France. An effort was made to replace the Catholic Church altogether, with civic festivals replacing religious ones. The establishment of the Cult of Reason was the final step of radical de-Christianization. These events led to a widespread disillusionment with the Revolution and to counter-rebellions across France. Locals often resisted de-Christianization by attacking revolutionary agents and hiding members of the clergy who were being hunted. Eventually, Robespierre and the Committee of Public Safety were forced to denounce the campaign,^[44] replacing the Cult of Reason with the deist but still non-Christian Cult of the Supreme Being. The Concordat of 1801 between Napoleon and the Church ended the de-Christianization period and established the rules for a relationship between the Catholic Church and the French State that lasted until it was abrogated by the Third Republic via the separation of church and state on 11 December 1905. The persecution of the Church led to a counter-revolution known as the Revolt in the Vendée, whose suppression is considered by some to be the first modern genocide^{[citation needed]}.

Intrigues and radicalism[link]

Factions within the Assembly began to clarify. The aristocrat Jacques Antoine Marie de Cazalès and the abbé Jean-Sifrein Maury led what would become known as the right wing, the opposition to revolution (this party sat on the right-hand side of the Assembly). The "Royalist democrats" or monarchiens, allied with Necker, inclined toward organising France along lines similar to the British constitutional model; they included Jean Joseph Mounier, the Comte de Lally-Tollendal, the comte de Clermont-Tonnerre, and Pierre Victor Malouet, comte de Virieu.

The "National Party", representing the centre or centre-left of the assembly, included Honoré Mirabeau, La Fayette, and Bailly; while Adrien Duport, Barnave and Alexandre Lameth represented somewhat more extreme views. Almost alone in his radicalism on the left was the Arras lawyer Maximilien Robespierre. Abbé Sieyès led in proposing legislation in this period and successfully forged consensus for some time between the political centre and the left. In Paris, various committees, the mayor, the assembly of representatives, and the individual districts each claimed authority independent of the others. The increasingly middle-class National Guard under La Fayette also slowly emerged as a power in its own right, as did other self-generated assemblies.

The Fête de la Fédération on 14 July 1790 celebrated the establishment of the constitutional monarchy

The Assembly abolished the symbolic paraphernalia of the Ancien Régime— armorial bearings, liveries, etc. – which further alienated the more conservative nobles, and added to the ranks of the émigrés. On 14 July 1790, and for several days following, crowds in the Champ de Mars celebrated the anniversary of the fall of the Bastille with the Fête de la Fédération; Talleyrand performed a mass; participants swore an oath of "fidelity to the nation, the law, and the king"; the King and the royal family actively participated.^[45]

The electors had originally chosen the members of the Estates-General to serve for a single year. However, by the terms of the Tennis Court Oath, the communes had bound themselves to meet continuously until France had a constitution. Right-wing elements now argued for a new election, but Mirabeau prevailed, asserting that the status of the assembly had fundamentally changed, and that no new election should take place before completing the constitution.^{[citation needed]}

In late 1790, the French army was in considerable disarray. The military officer corps was largely composed of noblemen, who found it increasingly difficult to maintain order within the ranks. In some cases, soldiers (drawn from the lower classes) had turned against their aristocratic commanders and attacked them. At Nancy, General Bouillé successfully put down one such rebellion, only to be accused of being anti-revolutionary for doing so. This and other such incidents spurred a mass desertion as more and more officers defected to other countries, leaving a dearth of experienced leadership within the army.^[46]

This period also saw the rise of the political "clubs" in French politics. Foremost among these was the Jacobin Club; 152 members had affiliated with the Jacobins by 10 August 1790. The Jacobin Society began as a broad, general organization for political debate, but as it grew in members, various factions developed with widely differing views. Several of these fractions broke off to form their own clubs, such as the Club of '89.^[47]

Meanwhile, the Assembly continued to work on developing a constitution. A new judicial organisation made all magistracies temporary and independent of the throne. The legislators abolished hereditary offices, except for the monarchy itself. Jury trials started for criminal cases. The King would have the unique power to propose war, with the legislature then deciding whether to declare war. The Assembly abolished all internal trade barriers and suppressed guilds, masterships, and workers' organisations: any individual gained the right to practice a trade through the purchase of a license; strikes became illegal.^[48]

In the winter of 1791, the Assembly considered, for the first time, legislation against the émigrés. The debate pitted the safety of the Revolution against the liberty of individuals to leave. Mirabeau prevailed against the measure, which he referred to as "worthy of being placed in the code of Draco".^[46] But Mirabeau died on 2 April 1791 and, before the end of the year, the new Legislative Assembly adopted this draconian measure.^[49]

Royal flight to Varennes[link]

The return of the royal family to Paris on 25 June 1791, after their failed flight to Varennes

Louis XVI, egged on by Marie Antoinette and other members of his family, opposed the course of the Revolution, but rejected the potentially treacherous aid of the other monarchs of Europe. He cast his lot with General Bouillé, who condemned both the emigration and the Assembly, and promised him refuge and support in his camp at Montmédy. On the night of 20 June 1791, the royal family fled the Tuileries Palace dressed as servants, while their servants dressed as nobles.

However, late the next day, the King was recognised and arrested at Varennes (in the Meuse département). He and his family were brought back to Paris under guard, still dressed as servants. Pétion, Latour-Maubourg, and Antoine Pierre Joseph Marie Barnave, representing the Assembly, met the royal family at Épernay and returned with them. From this time, Barnave became a counselor and supporter of the royal family. When they returned to Paris, the crowd greeted them in silence. The Assembly provisionally suspended the King. He and Queen Marie Antoinette remained held under guard.^{[50][51][52][53][54]}

Completing the constitution[link]

As most of the Assembly still favoured a constitutional monarchy rather than a republic, the various groups reached a compromise which left Louis XVI as little more than a figurehead: he was forced to swear an oath to the constitution, and a decree declared that retracting the oath, heading an army for the purpose of making war upon the nation, or permitting anyone to do so in his name would amount to abdication.^[55]

However, Jacques Pierre Brissot drafted a petition, insisting that in the eyes of the nation Louis XVI was deposed since his flight. An immense crowd gathered in the Champ de Mars to sign the petition. Georges Danton and Camille Desmoulins gave fiery speeches. The Assembly called for the municipal authorities to "preserve public order". The National Guard under La Fayette's command confronted the crowd. The soldiers responded to a barrage of stones by firing into the crowd, killing between 13 and 50 people.^[56]

In the wake of this massacre the authorities closed many of the patriotic clubs, as well as radical newspapers such as Jean-Paul Marat's L'Ami du Peuple. Danton fled to England; Desmoulins and Marat went into hiding.^{[citation needed]}

Meanwhile, a new threat arose from abroad: Holy Roman Emperor Leopold II, Frederick William II of Prussia, and the King's brother Charles-Philippe, comte d'Artois, issued the Declaration of Pillnitz, which considered the cause of Louis XVI as their own, demanded his absolute liberty and implied an invasion of France on his behalf if the revolutionary authorities refused its conditions.^[57] The French people expressed no respect for the dictates of foreign monarchs, and the threat of force merely hastened their militarisation.^[58]

Even before the "Flight to Varennes", the Assembly members had determined to debar themselves from the legislature that would succeed them, the Legislative Assembly. They now gathered the various constitutional laws they had passed into a single constitution, showed remarkable strength in choosing not to use this as an occasion for major revisions, and submitted it to the recently restored Louis XVI, who accepted it, writing "I engage to maintain it at home, to defend it from all attacks from abroad, and to cause its execution by all the means it places at my disposal". The King addressed the Assembly and received enthusiastic applause from members and spectators. With this capstone, the National Constituent Assembly adjourned in a final session on 30 September 1791.^[59]

Mignet argued that the "constitution of 1791... was the work of the middle class, then the strongest; for, as is well known, the predominant force ever takes possession of institutions... In this constitution the people was the source of all powers, but it exercised none."^[55]

Legislative Assembly (1791–1792)[link]

Failure of the constitutional monarchy[link]

Under the Constitution of 1791, France would function as a constitutional monarchy. The King had to share power with the elected Legislative Assembly, but he still retained his royal veto and the ability to select ministers. The Legislative Assembly first met on 1 October 1791, and degenerated into chaos less than a year later. In the words of the 1911 Encyclopædia Britannica: "In the attempt to govern, the Assembly failed altogether. It left behind an empty treasury, an undisciplined army and navy, and a people debauched by safe and successful riot."^[60] The Legislative Assembly consisted of about 165 Feuillants (constitutional monarchists) on the right, about 330 Girondists (liberal republicans) and Jacobins (radical revolutionaries) on the left, and about 250 deputies unaffiliated with either faction.^{[citation needed]} Early on, the King vetoed legislation that threatened the émigrés with death and that decreed that every non-juring clergyman must take within eight days the civic oath mandated by the Civil Constitution of the Clergy. Over the course of a year, such disagreements would lead to a constitutional crisis.^{[citation needed]}

Constitutional crisis[link]

This unreferenced section requires citations to ensure verifiability.

On 10 August 1792 the Paris Commune stormed the Tuileries Palace and massacred the Swiss Guards

On the night of 10 August 1792, insurgents and popular militias, supported by the revolutionary Paris Commune, assailed the Tuileries Palace and massacred the Swiss Guards who were assigned for the protection of the king. The royal family ended up prisoners and a rump session of the Legislative Assembly suspended the monarchy; little more than a third of the deputies were present, almost all of them Jacobins.^[61]

What remained of a national government depended on the support of the insurrectionary Commune. The Commune sent gangs into the prisons to try arbitrarily and butcher 1400 victims, and addressed a circular letter to the other cities of France inviting them to follow this example. The Assembly could offer only feeble resistance. This situation persisted until the Convention, elected by universal male suffrage and charged with writing a new constitution, met on 20 September 1792 and became the new de facto government of France. The next day it abolished the monarchy and declared a republic. This date was later retroactively adopted as the beginning of Year One of the French Republican Calendar.

War and Counter-Revolution (1792–1797)[link]

A uniform from the French Revolution period.

The politics of the period inevitably drove France towards war with Austria and its allies. The King, many of the Feuillants, and the Girondins specifically wanted to wage war. The King (and many Feuillants with him) expected war would increase his personal popularity; he also foresaw an opportunity to exploit any defeat: either result would make him stronger. The Girondins wanted to export the Revolution throughout Europe and, by extension, to defend the Revolution within France. The forces opposing war were much weaker. Barnave and his supporters among the Feuillants feared a war they thought France had little chance to win and which they feared might lead to greater radicalization of the revolution. On the other end of the political spectrum Robespierre opposed a war on two grounds, fearing that it would strengthen the monarchy and military at the expense of the revolution, and that it would incur the anger of ordinary people in Austria and elsewhere. The Austrian emperor Leopold II, brother of Marie Antoinette, may have wished to avoid war, but he died on 1 March 1792.^[62] France preemptively declared war on Austria (20 April 1792) and Prussia joined on the Austrian side a few weeks later. The invading Prussian army faced little resistance until checked at the Battle of Valmy (20 September 1792), and forced to withdraw.

The new-born Republic followed up on this success with a series of victories in Belgium and the Rhineland in the fall of 1792. The French armies defeated the Austrians at the Battle of Jemappes on 6 November, and had soon taken over most of the Austrian Netherlands. This brought them into conflict with Britain and the Dutch Republic, which wished to preserve the independence of the southern Netherlands from France. After the king's execution in January 1793, these powers, along with Spain and most other European states, joined the war against France. Almost immediately, French forces faced defeat on many fronts, and were driven out of their newly conquered territories in the spring of 1793. At the same time, the republican regime was forced to deal with rebellions against its authority in much of western and southern France. But the allies failed to take advantage of French disunity, and by the autumn of 1793 the republican regime had defeated most of the internal rebellions and halted the allied advance into France itself.

The stalemate was broken in the summer of 1794 with dramatic French victories. They defeated the allied army at the Battle of Fleurus, leading to a full Allied withdrawal from the Austrian Netherlands. They followed up by a campaign which swept the allies to the east bank of the Rhine and left the French, by the beginning of 1795, conquering Holland itself. The House of Orange was expelled and replaced by the Batavian Republic, a French satellite state. These victories led to the collapse of the coalition against France. Prussia, having effectively abandoned the coalition in the fall of 1794, made peace with revolutionary France at Basel in April 1795, and soon thereafter Spain, too, made peace with France. Of the major powers, only Britain and Austria remained at war with France.

	La Marseillaise The French national anthem La Marseillaise was written during the revolution in 1792.
Problems listening to this file? See media help.

It was during this time that La Marseillaise was first sung. Originally titled Chant de guerre pour l'Armée du Rhin ("War Song for the Army of the Rhine"), the song was written and composed by Claude Joseph Rouget de Lisle in 1792. It was adopted in 1795 as the nation's first anthem.

National Convention (1792–1795)[link]

Execution of Louis XVI[link]

Execution of Louis XVI in what is now the Place de la Concorde, facing the empty pedestal where the statue of his grandfather, Louis XV, had stood.

In the Brunswick Manifesto, the Imperial and Prussian armies threatened retaliation on the French population if it were to resist their advance or the reinstatement of the monarchy. This among other things made Louis appear to be conspiring with the enemies of France. On 17 January 1793 Louis was condemned to death for "conspiracy against the public liberty and the general safety" by a close majority in Convention: 361 voted to execute the king, 288 voted against, and another 72 voted to execute him subject to a variety of delaying conditions. The former Louis XVI, now simply named Citoyen Louis Capet (Citizen Louis Capet), was executed by guillotine on 21 January 1793 on the Place de la Révolution, former Place Louis XV, now called the Place de la Concorde.^[63] Royalty across Europe was horrified and many heretofore neutral countries soon joined the war against revolutionary France.

Economy[link]

When war went badly, prices rose and the sans-culottes — poor labourers and radical Jacobins – rioted; counter-revolutionary activities began in some regions. This encouraged the Jacobins to seize power through a parliamentary coup, backed up by force effected by mobilising public support against the Girondist faction, and by utilising the mob power of the Parisian sans-culottes. An alliance of Jacobin and sans-culottes elements thus became the effective centre of the new government. Policy became considerably more radical, as "The Law of the Maximum" set food prices and led to executions of offenders.^[64] This policy of price control was coeval with the Committee of Public Safety's rise to power and the Reign of Terror. The Committee first attempted to set the price for only a limited number of grain products but, by September 1793, it expanded the "maximum" to cover all foodstuffs and a long list of other goods.^[65] Widespread shortages and famine ensued. The Committee reacted by sending dragoons into the countryside to arrest farmers and seize crops. This temporarily solved the problem in Paris, but the rest of the country suffered. By the spring of 1794, forced collection of food was not sufficient to feed even Paris and the days of the Committee were numbered. When Robespierre went to the guillotine in July of that year the crowd jeered, "There goes the dirty maximum!"^[66]

Reign of Terror[link]

Satirical cartoon from England lampooning the excesses of the Revolution as symbolized through the guillotine: between 18,000 and 40,000 people were executed during the Reign of Terror

Queen Marie Antoinette on the way to the guillotine on 16 October 1793 (drawing by Jacques-Louis David)

The Committee of Public Safety came under the control of Maximilien Robespierre, a lawyer, and the Jacobins unleashed the Reign of Terror (1793–1794). According to archival records, at least 16,594 people died under the guillotine or otherwise after accusations of counter-revolutionary activities.^[67] A number of historians note that as many as 40,000 accused prisoners may have been summarily executed without trial or died awaiting trial.^[67][68]

On 2 June 1793, Paris sections — encouraged by the enragés ("enraged ones") Jacques Roux and Jacques Hébert – took over the Convention, calling for administrative and political purges, a low fixed price for bread, and a limitation of the electoral franchise to sans-culottes alone.^[69] With the backing of the National Guard, they managed to persuade the Convention to arrest 31 Girondin leaders, including Jacques Pierre Brissot. Following these arrests, the Jacobins gained control of the Committee of Public Safety on 10 June, installing the revolutionary dictatorship. On 13 July, the assassination of Jean-Paul Marat — a Jacobin leader and journalist known for his bloodthirsty rhetoric — by Charlotte Corday, a Girondin, resulted in further increase of Jacobin political influence. Georges Danton, the leader of the August 1792 uprising against the King, undermined by several political reversals, was removed from the Committee and Robespierre, "the Incorruptible", became its most influential member as it moved to take radical measures against the Revolution's domestic and foreign enemies.^[70]

Meanwhile, on 24 June, the Convention adopted the first republican constitution of France, variously referred to as the French Constitution of 1793 or Constitution of the Year I. It was progressive and radical in several respects, in particular by establishing universal male suffrage. It was ratified by public referendum, but normal legal processes were suspended before it could take effect.^[71]

War in the Vendée[link]

The War in the Vendée was a royalist uprising that was suppressed by the republican forces in 1796

In Vendée, peasants revolted against the French Revolutionary government in 1793. They resented the changes imposed on the Roman Catholic Church by the Civil Constitution of the Clergy (1790) and broke into open revolt in defiance of the Revolutionary government's military conscription.^[72] This became a guerrilla war, known as the War in the Vendée.^[73] North of the Loire, similar revolts were started by the so-called Chouans (royalist rebels).^[74]

After the defeat at Savenay, when regular warfare in the Vendée was at an end, the French general Francois Joseph Westermann is argued by some historians to have penned a letter (its veracity is disputed)^[75][76] to the Committee of Public Safety, stating:

"There is no more Vendée. It died with its wives and its children by our free sabres. I have just buried it in the woods and the swamps of Savenay. According to the orders that you gave me, I crushed the children under the feet of the horses, massacred the women who, at least for these, will not give birth to any more brigands. I do not have a prisoner to reproach me. I have exterminated all. The roads are sown with corpses. At Savenay, brigands are arriving all the time claiming to surrender, and we are shooting them non-stop... Mercy is not a revolutionary sentiment."^[77][78]

Other historians doubt the authenticity of this document and point out that the claims in it were patently false — there were in fact thousands of living Vendean prisoners, the revolt had been far from crushed, and the Convention had explicitly decreed that women, children and unarmed men were to be treated humanely.^[79] It has been hypothesized that if the letter is authentic, Westermann may have been attempting to exaggerate the intensity of his actions and his success, because he was eager to avoid being purged for his opposition to sans-culotte generals (he was later guillotined together with Danton's group).^[80]

The revolt and its suppression, including both combat casualties and massacres and executions on both sides, are thought to have taken between 117,000 and 250,000 lives (170,000 according to the latest estimates).^[81] Because of the extremely brutal forms that the Republican repression took in many places, certain historians such as Reynald Secher have called the event a "genocide". This description has become popular in the mass media,^[82] but has largely been rejected by mainstream scholars.^[83]

Facing local revolts and foreign invasions in both the East and West of the country, the most urgent government business was the war. On 17 August, the Convention voted for general conscription, the levée en masse, which mobilized all citizens to serve as soldiers or suppliers in the war effort.

The National Convention subsequently enacted more legislation, voting on 9 September to establish sans-culottes paramilitary forces, revolutionary armies, and to force farmers to surrender grain demanded by the government. On 17 September, the Law of Suspects was passed, which authorized the charging of counter-revolutionaries with "crimes against liberty." On 29 September, the Convention extended price limits from grain and bread to other household goods and established the Law of the Maximum, intended to prevent price gouging and supply food to the cities.^[84]

The guillotine as a symbol[link]

The guillotine became the symbol of a string of executions. Louis XVI had already been guillotined before the start of the terror; Queen Marie Antoinette, Barnave, Bailly, Brissot and other leading Girondins, Philippe Égalité (despite his vote for the death of the King), Madame Roland and many others were executed by guillotine. The Revolutionary Tribunal summarily condemned thousands of people to death by the guillotine, while mobs beat other victims to death.

The Festival of the Supreme Being on 8 June 1794

At the peak of the terror, the slightest hint of counter-revolutionary thoughts or activities (or, as in the case of Jacques Hébert, revolutionary zeal exceeding that of those in power) could place one under suspicion, and trials did not always proceed according to contemporary standards of due process. Sometimes people died for their political opinions or actions, but many for little reason beyond mere suspicion, or because some others had a stake in getting rid of them. Most of the victims received an unceremonious trip to the guillotine in an open wooden cart (the tumbrel). In the rebellious provinces, the government representatives had unlimited authority and some engaged in extreme repressions and abuses. For example, Jean-Baptiste Carrier became notorious for the Noyades ("drownings") he organized in Nantes;^[85] his conduct was judged unacceptable even by the Jacobin government and he was recalled.^[86]

Another anti-clerical uprising was made possible by the installment of the Republican Calendar on 24 October 1793. Against Robespierre's concepts of Deism and Virtue, Hébert's (and Chaumette's) atheist movement initiated a religious campaign to dechristianize society. The climax was reached with the celebration of the flame of Reason in Notre Dame Cathedral on 10 November.^[87]

The Reign of Terror ultimately weakened the revolutionary government, while temporarily ending internal opposition. The Jacobins expanded the size of the army, and Carnot replaced many aristocratic officers with soldiers who had demonstrated their patriotism, if not their ability. The Republican army was able to throw back the Austrians, Prussians, British, and Spanish. At the end of 1793, the army began to prevail and revolts were defeated with ease. The Ventôse Decrees (February–March 1794) proposed the confiscation of the goods of exiles and opponents of the Revolution, and their redistribution to the needy. However this policy was never fully implemented.^[88]

In the spring of 1794, both extremist enragés such as Hébert and moderate Montagnard indulgents such as Danton were charged with counter-revolutionary activities, tried and guillotined. On 7 June Robespierre, who had previously condemned the Cult of Reason, advocated a new state religion and recommended the Convention acknowledge the existence of the "Supreme Being".^[89]

Thermidorian Reaction[link]

The execution of Robespierre on 28 July 1794 marked the end of the Reign of Terror

On 27 July 1794, the Thermidorian Reaction led to the arrest and execution of Robespierre, Louis de Saint-Just, and other leading Jacobins. The new government was predominantly made up of Girondists who had survived the Terror, and after taking power, they took revenge as well by persecuting even those Jacobins who had helped to overthrow Robespierre, banning the Jacobin Club, and executing many of its former members in what was known as the White Terror.^[90][91]

In the wake of excesses of the Terror, the Convention approved the new "Constitution of the Year III" on 22 August 1795. A French plebiscite ratified the document, with about 1,057,000 votes for the constitution and 49,000 against.^[92] The results of the voting were announced on 23 September 1795, and the new constitution took effect on 27 September 1795.^[92]

The Constitutional Republic: The Directory (1795–1799)[link]

The new constitution created the Directoire (English: Directory) and the first bicameral legislature in French history.^[93] The parliament consisted of two houses: the Conseil des Cinq-Cents (Council of the Five Hundred), with 500 representatives, and the Conseil des Anciens (Council of Elders), with 250 senators. Executive power went to five "directors," named annually by the Conseil des Anciens from a list submitted by the Conseil des Cinq-Cents. Furthermore, the universal male suffrage of 1793 was replaced by limited suffrage based on property.^[94]

With the establishment of the Directory, contemporary observers might have assumed that the Revolution was finished. Citizens of the war-weary nation wanted stability, peace, and an end to conditions that at times bordered on chaos. Those who wished to restore the monarchy and the Ancien Régime by putting Louis XVIII on the throne, and those who would have renewed the Reign of Terror were insignificant in number. The possibility of foreign interference had vanished with the failure of the First Coalition. The earlier atrocities had made confidence or goodwill between parties impossible. The same instinct of self-preservation which had led the members of the Convention to claim so large a part in the new legislature and the whole of the Directory impelled them to keep their predominance. However, many French citizens distrusted the Directory,^[95] and the directors could achieve their purposes only by extraordinary means. They habitually disregarded the terms of the constitution, and, even when the elections that they rigged went against them, the directors routinely used draconian police measures to quell dissent. Moreover, to prolong their power the directors were driven to rely on the military, which desired war and grew less and less civic-minded.^[96]

Other reasons influenced them in the direction of war. State finances during the earlier phases of the Revolution had been so thoroughly ruined that the government could not have met its expenses without the plunder and the tribute of foreign countries. If peace were made, the armies would return home and the directors would have to face the exasperation of the rank-and-file who had lost their livelihood, as well as the ambition of generals who could, in a moment, brush them aside. Barras and Rewbell were notoriously corrupt themselves and screened corruption in others. The patronage of the directors was ill-bestowed, and the general maladministration heightened their unpopularity.^[97]

Napoléon Bonaparte in the coup d'état of 18 Brumaire, which marked the end of the revolution

The constitutional party in the legislature desired toleration of the nonjuring clergy, the repeal of the laws against the relatives of the émigrés, and some merciful discrimination toward the émigrés themselves. The directors baffled all such endeavours. On the other hand, the socialist conspiracy of Babeuf was easily quelled. Little was done to improve the finances, and the assignats continued to fall in value.^{[citation needed]}

The new régime met opposition from remaining Jacobins and the royalists. The army suppressed riots and counter-revolutionary activities. In this way the army and its successful general, Napoleon Bonaparte eventually gained total power.

On 9 November 1799 (18 Brumaire of the Year VIII) Napoleon Bonaparte staged the coup of 18 Brumaire which installed the Consulate. This effectively led to Bonaparte's dictatorship and eventually (in 1804) to his proclamation as Empereur (emperor), which brought to a close the specifically republican phase of the French Revolution.^[98]

Symbolism in the French Revolution[link]

Early depiction of the tricolour in the hands of a sans-culotte during the French Revolution

The French Revolution was a time of upheaval, especially towards traditional ideology, in almost every sense: the current monarch, King Louis XVI, was executed; the Catholic Church was all but abolished; a new calendar was created; and a new Republican government was established. In order to effectively illustrate the differences between the new Republic and the old regime, the leaders needed to implement a new set of symbols to be celebrated instead of the old religious and monarchical symbolism. To this end, symbols were borrowed from historic cultures and redefined, while those of the old regime were either destroyed or reattributed acceptable characteristics. These revised symbols were used to instill in the public a new sense of tradition and reverence for the Enlightenment and the Republic.^[99]

Fasces[link]

Fasces, likes many other symbols of the French Revolution, are Roman in origin. Fasces are a bundle of birch rods containing an axe. In Roman times, the fasces symbolized the power of magistrates who could order the beating of a criminal, representing union and accord with the Roman Republic.^[99] The French Republic continued this Roman symbol to represent state power, justice, and unity. During the French Revolution the fasces image is seen in conjunction with many other symbols. This is seen with many emblems of the French Revolution. Though seen throughout the French Revolution, perhaps the most well known French reincarnation of the fasces is the Fasces surmounted by a Phrygian cap. This image has no display of an axe or a strong central state; rather, it symbolizes the power of the liberated people by placing the Liberty Cap on top of the classical symbol of power.^[99]

Liberty cap[link]

The Liberty cap, also known as the Phrygian cap, or pileus, is a brimless, felt cap that is conical in shape with the tip pulled forward. The cap was originally worn by ancient Romans and Greeks.^[100] The cap implies ennobling effects, as seen in its association with Homer’s Ulysses and the mythical twins, Castor and Pollux. The emblem’s popularity during the French Revolution is due in part to its importance in ancient Rome: its use alludes to the Roman ritual of manumission of slaves, in which a freed slave receives the bonnet as a symbol of his newfound liberty. The Roman tribune Lucius Appuleius Saturninus incited the slaves to insurrection by displaying a pileus as if it were a standard.^[101] The pileus cap is often red in color. This type of cap was worn by revolutionaries at the fall of the Bastille. According to the Revolutions de Paris, it became "the symbol of the liberation from all servitudes, the sign for unification of all the enemies of despotism."^[99] The pileus competed with the Phrygian cap, a similar cap that covered the ears and the nape of the neck, for popularity. The Phrygian cap eventually supplanted the pileus and usurped its symbolism, becoming synonymous with republican liberty.^[99]

Liberty Tree[link]

The Liberty Tree, officially adopted in 1792, is a symbol of the everlasting Republic, national freedom, and political revolution.^[99] It has historic roots in revolutionary France as well as America, as a symbol that was shared by the two nascent republics.^[102] The tree was chosen as a symbol of the French Revolution because it is a symbol of fertility in French folklore,^[103] which provided a simple transition from revering it for one reason to another. The American colonies also used the idea of a Liberty Tree to celebrate their own acts of insurrection against the British, starting with the Stamp Act riot in 1765.^[104] The riot culminated in the hanging in effigy of two Stamp Act politicians on a large elm tree. The elm tree began to be celebrated as a symbol of Liberty in the American colonies.^[104] It was adopted as a symbol that needed to be living and growing, along with the Republic. To that end, the tree is portrayed as a sapling, usually of an oak tree in French interpretation.^[105] The Liberty Tree serves as a constant celebration of the spirit of political freedom.

Hercules[link]

The symbol of Hercules was first adopted by the Old Regime to represent the monarchy.^[106] Hercules was an ancient Greek hero who symbolized strength and power. The symbol was used to represent the sovereign authority of the King over France during the reign of the Bourbon monarchs.^[107] However, the monarchy was not the only ruling power in French history to use the symbol of Hercules to declare its power.

During the Revolution, the symbol of Hercules was revived to represent nascent revolutionary ideals. The first use of Hercules as a revolutionary symbol was during a festival celebrating the National Assembly’s victory over federalism on 10 August 1793.^[108] This Festival of Unity consisted of four stations around Paris which featured symbols representing major events of the Revolution which embodied revolutionary ideals of liberty, unity, and power.^[109] The statue of Hercules, placed at the station commemorating the fall of Louis XVI, symbolized the power of the French people over their former oppressors. The statue’s foot was placed on the throat of the Hydra, which represented the tyranny of federalism which the new Republic had vanquished.^[108] In one hand, the statue grasped a club, a symbol of power, while in the other grasping the fasces which symbolized the unity of the French people.^[110] The image of Hercules assisted the new Republic in establishing its new Republican moral system.^[109] Hercules thus evolved from a symbol of the sovereignty of the monarch into a symbol of the new sovereign authority in France: the French people.^[111] This transition was made easily for two reasons. First, because Hercules was a famous mythological figure, and had previously been used by the monarchy, he was easily recognized by educated French observers.^[107] It was not necessary for the revolutionary government to educate the French people on the background of the symbol. Additionally, Hercules recalled the classical age of the Greeks and the Romans, a period which the revolutionaries identified with republican and democratic ideals. These connotations made Hercules an easy choice to represent the powerful new sovereign people of France.

During the more radical phase of the Revolution from 1793 to 1794, the usage and depiction of Hercules changed. These changes to the symbol were due to revolutionary leaders believing the symbol was inciting violence among the common citizens.^[112] The triumphant battles of Hercules and the overcoming of enemies of the Republic became less prominent. In discussions over what symbol to use for the Seal of the Republic, the image of Hercules was considered but eventually ruled out in favor of Marianne.^[112] Hercules was on the coin of the Republic.^[112] However, this Hercules was not the same image as that of the pre-Terror phases of the Revolution. The new image of Hercules was more domesticated. He appeared more paternal, older, and wiser, rather than the warrior-like images in the early stages of the French Revolution.^[112] Unlike his 24 foot statue in the Festival of the Supreme Being, he was now the same size as Liberty and Equality.^[112] Also the language on the coin with Hercules was far different than the rhetoric of pre-revolutionary depictions. On the coins the words, "uniting Liberty and Equality" were used.^[112] This is opposed to the forceful language of early Revolutionary rhetoric and rhetoric of the Bourbon monarchy. By 1798, the Council of Ancients had discussed the "inevitable" change from the problematic image of Hercules, and Hercules was eventually phased out in favor of an even more docile image.^[112]

Role of women[link]

Women had no political rights in pre-Revolutionary France; they could not vote or hold any political office. They were considered "passive" citizens; forced to rely on men to determine what was best for them in the government. It was the men who defined these categories, and women were forced to accept male domination in the political sphere.^[113] The Encyclopédie, published by a group of philosophers over the years 1751–1777, summarized French male beliefs of women. A woman was a "failed man," the fetus not fully developed in the womb. "Women’s testimony is in general light and subject to variation; this is why it is taken more seriously than that of men" as opposed to men, upon whom "Nature seems to have conferred… the right to govern." In general, "men are more capable than women of ably governing particular matters".^[114] Instead, women were taught to be committed to their husbands and "all his interests… [to show] attention and care… [and] sincere and discreet zeal for his salvation." A woman’s education often consisted of learning to be a good wife and mother; as a result women were not supposed to be involved in the political sphere, as the limit of their influence was the raising of future citizens.^[115]

When the Revolution opened, some women struck forcefully, using the volatile political climate to assert their active natures. In the time of the Revolution, women could not be kept out of the political sphere; they swore oaths of loyalty, "solemn declarations of patriotic allegiance, [and] affirmations of the political responsibilities of citizenship." Throughout the Revolution, women such as Pauline Léon and her Society of Revolutionary Republican Women fought for the right to bear arms, used armed force and rioted.^[116]

Even before Léon, some liberals had advocated equal rights for women including women's suffrage. Nicolas de Condorcet was especially noted for his advocacy, in his articles published in the Journal de la Société de 1789, and by publishing De l'admission des femmes au droit de cité ("For the Admission to the Rights of Citizenship For Women") in 1790.

Feminist agitation[link]

The March to Versailles is but one example of feminist militant activism during the French Revolution. While largely left out of the thrust for increasing rights of citizens, as the question was left indeterminate in the Declaration of the Rights of Man,^[117] activists such as Pauline Léon and Théroigne de Méricourt agitated for full citizenship for women.^[118] Women were, nonetheless, "denied political rights of ‘active citizenship’ (1791) and democratic citizenship (1793)."^[117]

Pauline Léon, on 6 March 1792, submitted a petition signed by 319 women to the National Assembly requesting permission to form a garde national in order to defend Paris in case of military invasion.^[118] Léon requested permission be granted to women to arm themselves with pikes, pistols, sabers and rifles, as well as the privilege of drilling under the French Guards. Her request was denied.^[119] Later in 1792, Théroigne de Méricourt made a call for the creation of "legions of amazons" in order to protect the revolution. As part of her call, she claimed that the right to bear arm would transform women into citizens.^[120]

On 20 June 1792 a number of armed women took part in a procession that "passed through the halls of the Legislative Assembly, into the Tuilleries Gardens, and then through the King’s residence."^[121] Militant women also assumed a special role in the funeral of Marat, following his murder on 13 July 1793. As part of the funeral procession, they carried the bathtub in which Marat had been murdered as well as a shirt stained with Marat’s blood.^[122]

The most radical militant feminist activism was practiced by the Society of Revolutionary Republican Women, which was founded by Léon and her colleague, Claire Lacombe on 10 May 1793.^[123] The goal of the club was "to deliberate on the means of frustrating the projects of the enemies of the Republic." Up to 180 women attended the meetings of the Society.^[124] Of special interest to the Society was "combating hoarding [of grain and other staples] and inflation."^[125]

Later, on 20 May 1793, women were at the fore of a crowd that demanded "bread and the Constitution of 1793."^[126] When their cries went unnoticed, the women went on a rampage, "sacking shops, seizing grain and kidnapping officials."^[127]

Most of these outwardly activist women were punished for their actions. The kind of punishment received during the Revolution included public denouncement, arrest, execution, or exile. Théroigne de Méricourt was arrested, publicly flogged and then spent the rest of her life sentenced to an insane asylum. Pauline Léon and Claire Lacombe were arrested, later released, and continued to receive ridicule and abuse for their activism. Many of the women of the Revolution were even publicly executed for "conspiring against the unity and the indivisibility of the Republic".^[128]

These are but a few examples of the militant feminism that was prevalent during the French Revolution. While little progress was made toward gender equality during the Revolution, the activism of French feminists was bold and particularly significant in Paris.^{[citation needed]}

Women writers[link]

Olympe de Gouges was the author of the Declaration of the Rights of Woman and the Female Citizen in 1791

While some women chose a militant, and often violent, path, others chose to influence events through writing, publications, and meetings. Olympe de Gouges wrote a number of plays, short stories, and novels. Her publications emphasized that women and men are different, but this shouldn’t stop them from equality under the law. In her "Declaration on the Rights of Woman" she insisted that women deserved rights, especially in areas concerning them directly, such as divorce and recognition of illegitimate children. De Gouges also expressed non-gender political views; even before the start of the terror, Olympe de Gouges addressed Robespierre using the pseudonym "Polyme" calling him the Revolution’s "infamy and shame." She warned of the Revolution’s building extremism saying that leaders were "preparing new shackles if [the French people’s liberty were to] waver." Stating that she was willing to sacrifice herself by jumping into the Seine if Robespierre were to join her, de Gouges desperately attempted to grab the attention of the French citizenry and alert them to the dangers that Robespierre embodied.^[129] In addition to these bold writings, her defense of the king was one of the factors leading to her execution. An influential figure, one of her suggestions early in the Revolution, to have a voluntary, patriotic tax, was adopted by the National Convention in 1789.^[130]

Madame Roland (aka Manon or Marie Roland) was another important female activist. Her political focus was not specifically on women or their liberation. She focused on other aspects of the government, but was a feminist by virtue of the fact that she was a woman working to influence the world. Her personal letters to leaders of the Revolution influenced policy; in addition, she often hosted political gatherings of the Brissotins, a political group which allowed women to join. While limited by her gender, Madame Roland took it upon herself to spread Revolutionary ideology and spread word of events, as well as to assist in formulating the policies of her political allies. Though unable to directly write policies or carry them through to the government, Roland was able to influence her political allies and thus promote her political agenda. Roland attributed women’s lack of education to the public view that women were too weak or vain to be involved in the serious business of politics. She believed that it was this inferior education that turned them into foolish people, but women "could easily be concentrated and solidified upon objects of great significance" if given the chance.^[131] As she was led to the scaffold, Madame Roland shouted "O liberty! What crimes are committed in thy name!" Witnesses of her life and death, editors, and readers helped to finish her writings and several editions were published posthumously. While she did not focus on gender politics in her writings, by taking an active role in the tumultuous time of the Revolution, Roland took a stand for women of the time and proved they could take an intelligent active role in politics.^[132]

Though women did not gain the right to vote as a result of the Revolution, they still greatly expanded their political participation and involvement in governing. They set precedents for generations of feminists to come.

Counter-revolutionary women[link]

A major aspect of the French Revolution was the dechristianisation movement, a movement that many common people did not agree with. Especially for women living in rural areas of France, the demise of the Catholic Church meant a loss of normalcy. For instance, the ringing of Church bells resonating through the town called people to confession and was a symbol of unity for the community.^[133] With the onset of the dechristianisation campaign the Republic silenced these bells and sought simultaneously to silence the religious fervor of the majority Catholic population.^[133] When these revolutionary changes to the Church were implemented, it spawned a counter-revolutionary movement, particularly amongst women. Although some of these women embraced the political and social amendments of the Revolution, they opposed the dissolution of the Catholic Church and the formation of revolutionary cults like the Cult of the Supreme Being advocated by Robespierre.^[134] As Olwen Hufton argues, these women began to see themselves as the “defenders of faith”.^[135] They took it upon themselves to protect the Church from what they saw as a heretical change to their faith, enforced by revolutionaries.

Counter-revolutionary women resisted what they saw as the intrusion of the state into their lives.^[136] Economically, many peasant women refused to sell their goods for assignats because this form of currency was unstable and was backed by the sale of confiscated Church property.^[135] By far the most important issue to counter-revolutionary women was the passage and the enforcement of the Civil Constitution of the Clergy in 1790. In response to this measure, women in many areas began circulating anti-oath pamphlets and refused to attend masses held by priests who had sworn oaths of loyalty to the Republic.^[136] This diminished the social and political influence of the juring priests because they presided over smaller congregations and counter-revolutionary women did not seek them for baptisms, marriages or confession.^[137] Instead, they secretly hid nonjuring priests and attended clandestine traditional masses.^[138] These women continued to adhere to traditional practices such as Christian burials and naming their children after saints in spite of revolutionary decrees to the contrary.^[139]

It was this determined resistance to the Civil Constitution of the Clergy and the dechristianisation campaigns that played a major role in the re-emergence of the Catholic Church as a prominent social institution. In fact, Olwen Hufton notes about the Counter-Revolutionary women: “for it is her commitment to her religion which determines in the post-Thermidorean period the re-emergence of the Catholic Church…”.^[140] Although they struggled, these women were eventually vindicated in their bid to reestablish the Church and thereby also to reestablish traditional family life and social stability.^[141] This was seen in the Concordat of 1801, which formally reinstated the Catholic Church in France.^[142] This act came after years of failed attempts at dechristianisation or state-controlled religion, which were thwarted in part due to the resistance of devout counter-revolutionary women. After the upheaval of the revolutionary period, the reestablishment of the Church was seen by many people as a welcome return to normalcy.

Legacy[link]

The French Revolution has received enormous amounts of historical attention, both from the general public and from scholars and academics. The views of historians, in particular, have been characterized as falling along ideological lines, with disagreement over the significance and the major developments of the Revolution.^[143] Alexis de Tocqueville argued that the Revolution was a manifestation of a more prosperous middle class becoming conscious of its social importance.^[144] Other thinkers, like the conservative Edmund Burke, maintained that the Revolution was the product of a few conspiratorial individuals who brainwashed the masses into subverting the old order—a claim rooted in the belief that the revolutionaries had no legitimate complaints.^[145] Other historians, influenced by Marxist thinking, have emphasized the importance of the peasants and the urban workers in presenting the Revolution as a gigantic class struggle.^[146] In general, scholarship on the French Revolution initially studied the political ideas and developments of the era, but it has gradually shifted towards social history that analyzes the impact of the Revolution on individual lives.^[147]

Historians widely regard the Revolution as one of the most important events in human history, and the end of the early modern period, which started around 1500, is traditionally attributed to the onset of the French Revolution in 1789.^[148] The Revolution is, in fact, often seen as marking the "dawn of the modern era".^[149] Within France itself, the Revolution permanently crippled the power of the aristocracy and drained the wealth of the Church, although the two institutions survived despite the damage they sustained. After the collapse of the First Empire in 1815, the French public lost the rights and privileges earned since the Revolution, but they remembered the participatory politics that characterized the period, with one historian commenting: "Thousands of men and even many women gained firsthand experience in the political arena: they talked, read, and listened in new ways; they voted; they joined new organizations; and they marched for their political goals. Revolution became a tradition, and republicanism an enduring option."^[150] Some historians argue that the French people underwent a fundamental transformation in self-identity, evidenced by the elimination of privileges and their replacement by rights as well as the growing decline in social deference that highlighted the principle of equality throughout the Revolution.^[151] The Revolution represented the most significant and dramatic challenge to political absolutism up to that point in history and, despite its failures, spread democratic ideals throughout Europe and ultimately the world.^[152] It had a profound impact on the Russian Revolution and its ideas inspired Mao Zedong in his efforts at constructing a communist state in China.^[153]

See also[link]

Audio files[link]

	Paul Wranitzky: Symphony Op. 31 "The (French) Revolution" Or "La Paix". First part of the Introduction. Porticodoro / SmartCGArt Media Productions — Classical Orchestra.
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	Paul Wranitzky: "Funeral March for the Death of the King Louis XVI" from the Symphony Op. 31 "The Revolution" or "La Paix", Mov. 2 Pt. 2. Porticodoro / SmartCGArt Media Productions — Classical Orchestra.
Problems listening to this file? See media help.

Other revolutions or rebellions in French history[link]

Notes[link]

References[link]

Further reading[link]

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article French Revolution, The.

Wikimedia Commons has media related to: French Revolution

• "French Revolution" in the Catholic Encyclopedia
• Open University course
• Entry on Encyclopedia.com from the Columbia Encyclopedia
• Primary source documents from The Internet Modern History Sourcebook
• Liberty, Equality, Fraternity: Exploring the French Revolution, a collaborative site by the Center for History and New Media (George Mason University) and the American Social History Project (City University of New York)
• The Origins of the French Revolution, The French Revolution: The Moderate Stage, 1789–1792, and The French Revolution: The Radical Stage, 1792–1794, three essays from The History Guide: Lectures on Modern European Intellectual History
• Vancea, S. The Cahiers de Doleances of 1789, Clio History Journal, 2008.
• english.republique.de A large collection of links