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  • I'm Richard Clay,

  • I'm an art historian.

  • I don't just study the creation of art, I study its destruction.

  • In many ways, I study the history of art from below.

  • In this film, I'm going to tell the story of the French Revolution

  • through the destruction of art, buildings and symbols.

  • These are often used by those in power

  • as weapons to enforce the status quo.

  • In a revolution, the destruction and transformation of art and symbols

  • is a way to turn the tables. It's called iconoclasm.

  • The inside story

  • of great revolutions can be uncovered

  • through the smashed, altered and reshaped art of the past.

  • This is a story about art,

  • it's a story about symbols, it's a story about the power of the monarchy,

  • the power of the church, the power of aristocracy.

  • Were the French revolutionaries just a mob?

  • Why were their governments so afraid of them?

  • This is the history of art,

  • this is a story about the breaking of images,

  • this is a story of the city being transformed through destruction,

  • arguably the birth of the modern world.

  • The French Revolution of 1789 changed the world.

  • Inspired by the enlightenment notions of liberty, equality and brotherhood,

  • the people of France tore control of their destiny from the king, nobility and church,

  • giving birth to a new way of seeing the world around us.

  • The revolution was a war whose battlefield was the visual world,

  • where the symbols of royal, religious and aristocratic power

  • had long controlled people's lives.

  • Revolutionaries took these symbols and they destroyed them,

  • creating a new political order.

  • The word "vandalism" was invented to describe them.

  • But I don't think that they were mindless barbarians.

  • This battle over who controlled Paris began 24 kilometres outside

  • the city, here in Versailles.

  • Begun in 1632, King Louis's forebears expanded the Palace of Versailles

  • to boast an astonishing 750 rooms with extravagant gardens

  • covering 800 hectares.

  • This building was the ultimate expression of French, royal power.

  • Versailles is famous for being an extravagant piece of architecture

  • with beautiful art.

  • That's all true, but it's also the heart of ancien regime government.

  • The King's apartments are a tiny fraction of this vast palace.

  • The rest of it is administration, as well as servants, of course.

  • And that's the important thing for the revolution -

  • this is where government is done,

  • this is the place to come to get decisions made.

  • For all its gold leaf, I'm not here to visit the Palace of Versailles,

  • because the French Revolution effectively began nearby,

  • in this unassuming back street, at the Royal Tennis Courts.

  • I've genuinely studied the revolution for almost half my life.

  • I've never been in this space before.

  • It's amazing.

  • This is the truth.

  • This is probably, for me at least,

  • the most important place in recent French history.

  • In 1789, the French world of politics was in turmoil,

  • divided into three groups called estates - the church at the top, nobility in the middle,

  • and everybody else at the bottom.

  • The French people were hungry and angry

  • and taxed heavily by a cash-strapped elite.

  • France is effectively bankrupt,

  • they keep losing wars, it's an expensive business.

  • So the King says,

  • "I rule by divine right, I request that representatives of

  • "the three estates that make up French society

  • "come to Versailles and help me find a way

  • "of getting my accounts in order."

  • The third estate and its champions in the press

  • start to say,

  • "Well, we're the vast majority of the French people,

  • "surely we should have more representatives than everybody else?"

  • And when they tried to gather,

  • the King refused to let them meet in the allotted space

  • and they found the doors locked, so they came to the tennis court

  • and they swore an oath, they swore that they would sit in perpetuity

  • until a constitution was written for France.

  • This is the moment when constitutional politics is born.

  • David's painting of the tennis court,

  • it seems to be such a scene of consensus,

  • all these arms thrusting to the centre towards Bailly,

  • who's leading this oath.

  • But it isn't entirely a scene of consensus.

  • We've got a figure in the bottom right hand corner who sits gesturing,

  • firmly holding his arms to his chest, he is not going to raise

  • his arm and swear this oath, it's too big.

  • Robespierre stands clutching his chest.

  • He's realising the enormity of the moment.

  • He's not a renowned figure yet,

  • but, as we all know, he certainly will gain a reputation.

  • And in the very centre, just at the feet of Bailly,

  • there is Sieyes, who's such a key writer in the run-up to this event

  • and he sits as if in the eye of the storm, totally still,

  • as if contemplating what his writing has unleashed.

  • This is the birth of modern France.

  • The world has been turned upside down.

  • It's no longer about the divine right of kings,

  • it's about power, sovereignty, emanating from below.

  • It's the power of the people.

  • For the first time in their history,

  • the people had a representative government.

  • The King, his nobles and the church

  • were losing their control over the people's lives

  • and the world around them, a symbolic world that daily demonstrated

  • the power of King, church and aristocracy.

  • For aristocrats, art was primarily an intellectual experience.

  • Perhaps the first thing they'd observe on approaching this painting

  • would be, "Oh, look at this masterly final touch of the painter

  • "that brings the surface of the painting to life.

  • "Look at this astonishing fold in this fabric,

  • "described with a single brushstroke.

  • "Oh, the spontaneity of the artist and his genius."

  • This is an aesthetic object.

  • It's also an object that tells a moral story.

  • This is a young girl looking boldly at the viewer

  • with a bird on her finger,

  • but in the history of art, this elite would know,

  • the bird in a cage is virginity.

  • A bird that's escaped a cage is lost virginity.

  • This is a girl who's confident about her sexual virtue,

  • holds a bird on her finger.

  • There is an element of morality for the viewer to discuss,

  • but perhaps most importantly, for them it's a fabulous painting,

  • it has aesthetic value.

  • With their extensive education, the French aristocracy and middle classes

  • enjoyed nothing better than showing off their knowledge over a snapshot

  • of mythical life, the racier the better.

  • This is a historical painting, the subject Diana,

  • goddess of hunting, at her bath.

  • Othello, called Actaeon, a mythical Peeping Tom,

  • is watching her from the bushes.

  • And she sees him and she turns him into a stag,

  • and has him hunted down - it's a warning to the voyeur.

  • That kind of interpretation of this object was only really open to

  • those people who had a vast knowledge of antiquity and of mythology,

  • highly educated, a highly educated and a tiny elite,

  • particularly made up of an aristocracy who weren't allowed to work for a living,

  • who lived the kind of leisured life we see depicted here.

  • Who used their knowledge of the past to mark their social distinction,

  • and justify their role in society.

  • But in a way isn't this rather like the way that

  • we think about art today too?

  • That we go to the Louvre and we can demonstrate our knowledge of aesthetics,

  • and we queue to see the Mona Lisa

  • to be able to say we've seen something of historical value.

  • The fact that we today share this way of looking at art as a cerebral adventure,

  • suggests we've forgotten how powerful and controlling art

  • could be for the people of France in 1789.

  • For the majority of Parisians,

  • through religion, art had a power

  • to literally change their worlds.

  • Here, Santa Genevieve, on her knees, beseeches the Virgin Mary to ask God

  • to intercede and save people suffering because of drought.

  • Every religious image has this potential,

  • not just to save your soul

  • but also to help address the challenges of existence.

  • For most people, religious art was an immersive and very real experience

  • that helped them elevate their minds to God,

  • whose power could change the world.

  • This painting from the 18th century

  • shows this was a kind of 18th century sculptural installation.

  • These women aren't here to contemplate

  • the brilliance of this sculptural work,

  • they're not interested in aesthetics, nor in history.

  • These women are here in the hope that Christ and God will help them

  • in their day-to-day struggles.

  • Diderot, the great philosopher of the 18th century, said that he thought

  • that this chapel was theatrical, he thought it was dangerous,

  • that its immersive environment encouraged the poor particularly,

  • but people in general, to suspend their disbelief,

  • just as if they were at a theatre.

  • It's precisely this fear of the role that images can play

  • in people's lives that leads them to become such contested objects

  • during the revolution.

  • It was during the very first crisis of the French Revolution

  • that art was used as a weapon in the struggle

  • between those with power and those without.

  • With the assembly threatening the power of the King,

  • rumours had spread that Royalist troops were gathering outside Paris.

  • The people were furious.

  • Their target was a fortified gateway into Paris

  • where astronomic customs duties were raised on imports into the city.

  • Known as the Barriere de la Conference,

  • it no longer exists today.

  • To Parisians, it was a hated building loaded with economic

  • and political significance.

  • The 12th July 1879, the Parisians

  • were walking out of Paris and they were walking out of Paris

  • to the Barriere de la Conference on their route to Versailles.

  • They wanted to get to Versailles, they wanted to see the King.

  • But when they get there, they stop,

  • and what they do is they attack the Barriere de la Conference

  • which was just at this site.

  • But really interestingly, this mob of vandals,

  • this ignorant bunch of barbarians,

  • had turned up with stone masons and their tools.

  • This sounds like they might have had a plan.

  • Next to the barrier there were statues.

  • One of those statues, a female figure,

  • has a shield, on the shield are the fleurs-de-lis.

  • The fleurs-de-lis are the symbols of royal France.

  • This is, as far as the crowd are concerned, a symbol of royal France.

  • The stone masons are there because they have a plan,

  • and their plan is to decapitate the statue.

  • And that is precisely what they do.

  • Many historians of the revolution

  • cite this as the first example

  • of mindless mobs committing acts of wanton vandalism.

  • I disagree.

  • This moment of unrest, of violence,

  • although nobody's wounded, but violence is against property,

  • isn't meaningless, it's meaningful.

  • This statue at the gates of Paris in 1789

  • says to anybody who's entering Paris from Versailles

  • that Royalist France is like a body politic without a head.

  • This powerful symbol is not the product

  • of the behaviour of ignorant vandals.

  • 'Doctor Guillaume Mazeau, at the Sorbonne,

  • 'has been looking at what made the revolutionaries tick.

  • 'Were they the violent mob of popular myth?'

  • These popular protests, these, in some cases, armed protests,

  • are these the protests of, of mobs?

  • No, er, a lot of these protestors want to avoid violence,

  • not because they are peaceful people but they knew that

  • the Royal Dragoons can stop these protests by violence.

  • So, we can't say that it is a mob because these protestors are not

  • influenced by their, only their emotion, their passions,

  • their irrational behaviours, but they have - what is quite new,

  • is that these protestors acts, erm, in a very modern way.

  • What makes these protests of July 1789 so strikingly modern?

  • Because they are influenced by other revolutions of the 18th century,

  • I mean by the American Revolution

  • but also about, by the European revolutions

  • and they perfectly knew what freedom means, what equality means.

  • So, it's not a mob it's a, it's a political protest.

  • Deep within the archives of the Bibliotheque nationale,

  • prints from the periods used symbolism of the headless royal statue

  • to show us the reality of the situation.

  • And this decapitated statue, it seems to me, is a key part of the composition.

  • The King no longer is just the simple head of state that he once was,

  • now something new has to emerge.

  • A member of the people standing where the head was.

  • They are now sovereign.

  • Even today, transforming symbols of power

  • through modification and destruction

  • is still a provocative form of protest.

  • Deep under the streets of Paris

  • are the remains of perhaps the greatest act of iconoclasm

  • of the whole French Revolution.

  • These stones are all that remains today of

  • the huge royal jail, the Bastille,

  • the ultimate symbol of royal despotism.

  • But the revolutionaries turned it from a symbol of cruelty

  • into an emblem of freedom.

  • In the days before the storming of the Bastille,

  • Parisians were, to say the least, agitated.

  • They'd been concerned that the city was surrounded by Royal troops

  • and it was. We get Parisians starting to arm themselves.

  • And the reason they stormed the Bastille is, Parisians are furious.

  • They want to take over the prison because they want the guns and the gunpowder that they

  • believe are in there, that's why they march on this symbol.

  • But it is also incredibly symbolically significant,

  • it is the symbol of despotism.

  • After a day-long siege, the Bastille's defenders were overwhelmed.

  • Soon the situation turned ugly.

  • The prison governor was decapitated by the angry crowd,

  • and his head stuck on a pike.

  • The people who'd stormed the Bastille begin to demolish it.

  • This incredibly powerful symbol of royal despotism is being

  • raised to the ground, brick by brick, by the people themselves.

  • This is the Place de la Bastille, the greatest, biggest, emptiest space

  • probably left by an act of iconoclasm in Paris.

  • For me, the siege of the Bastille

  • lead to one of the great symbolic transformations.

  • It lies here, in a storehouse 100 kilometres from Paris.

  • Straight after the fall of the Bastille in July 1789,

  • the Commune, a new revolutionary government of Paris,

  • were hearing that the people of Paris

  • had started to dismantle the Bastille.

  • The Commune decided they needed to take action,

  • they needed to show that the violence was over

  • that they were in control of space,

  • and that included all acts of violence against powerful symbols.

  • The official responsible for the dismantling of the Bastille,

  • Pierre-Francois Palloy, understood

  • the powerful messages communicated by symbols.

  • He produced dozens of models of the building

  • and sent them to all 83 Departements of France.

  • Now the Bastille no longer symbolised the despotic power of royalty.

  • As a result, this kind of plaster model ended up being circulated

  • around France by Palloy, in his entrepreneurial mode,

  • so that groups of French people could celebrate

  • this act of iconoclasm - others would call it vandalism, I wouldn't, -

  • and they could march together in revolutionary festivals,

  • perhaps on Bastille Day.

  • It's just such a beautifully detailed piece of work.

  • The windows, two of them, still there, barred.

  • It makes me wonder whether Palloy and his team are actually using metal from the Bastille.

  • Certainly much of the metal that was salvaged from the site

  • was being cast into souvenirs and sold.

  • Whether or not it's from the Bastille, every single set of windows

  • bears the signs of having had bars, as a really prominent reminder

  • of what a fortress prison this really was.

  • This isn't just an incredibly detailed model of the Bastille,

  • it's a message that's being sent to the Departements of France,

  • that the storming of the Bastille wasn't just

  • the efforts of the Parisians,

  • it was an effort made by the nation, on behalf of the whole nation.

  • The storming of the Bastille frightened

  • the new Parisian government.

  • They needed to take control of the situation and they needed money.

  • Their eyes turned to the wealth of the churches of Paris

  • in what was to be the first act of officially sponsored iconoclasm.

  • The clergy of San St Peters were incredibly well connected,

  • they knew the law was going to change and that silverware

  • would be demanded from them in October 1789.

  • So they gave a lot of it away in late September.

  • The church leaders beseeched the revolutionaries

  • to spare their massive silver statue of Mary.

  • This statue was particularly symbolic because it was made

  • from the old silver that had been given to the clergy by parishioners,

  • melted down to create this incredible sculpture by Bouchardon.

  • But as the revolution progressed it became clear that the statue

  • was going to have to be melted down, that a request made by a pamphleteer

  • in the name of the Virgin Mary that it should be used

  • for charitable purposes to help the nation

  • was going to have to be met.

  • And it wouldn't stop there.

  • As the revolution had progressed,

  • often beyond the control of the authorities,

  • so the calls for ever more radical iconoclasm would increase.

  • Paris is a city of revolution. They've had five in total

  • since the Bastille was stormed.

  • Like the revolution of 1789,

  • the anti-capitalist riots of 1968

  • engulfed most of the city.

  • Known as the soixante-huitard,

  • the young radicals who manned the barricades are still around.

  • Perhaps one of their number, Serge Aberdam, can give me an insight

  • into how a revolution acquires a life of its own.

  • The first time I was involved in a violent demonstration

  • was at that time when they saw them acting like, like a mob.

  • They were using those wooden clubs

  • and, er, hitting people actually on the middle of the street.

  • There were many people there,

  • and they were hitting as heavily as they could.

  • I was astonished, I was on the side and I was not involved at the time.

  • A few hours later I was. Really?

  • Till the people were beginning to act as a group,

  • asking the liberty of their streets and movement.

  • Did you have a sense of the fact that you were

  • part of a French tradition, a legacy?

  • Oh, yes, we did.

  • Those days in May when we build barricades in the upper, in the Latin District there,

  • and people thought they were in a tradition and raising those barricades.

  • 'Serge really set me thinking about what it was like

  • 'on the 12th July or the 14th July'

  • and I started to get a sense of how, what starts as a small group

  • of protesters can rapidly expand

  • into an entire society in rebellion.

  • It's an astonishing frontline insight.

  • Like the uprising of 1968,

  • revolutionary fervour spread throughout the city in 1789.

  • The old world of church and aristocracy was now officially under

  • attack and the marks of this destruction of the old world

  • are still embedded in the walls of the city today.

  • There's nothing more familiar in cities than their walls,

  • but it's odd how quickly the familiar can become strange.

  • Latin graffiti on the wall of a 17th century church.

  • "Omnia Communia" - everything belongs to all.

  • Then iron bars sticking out of the wall, rusted.

  • What was hung from these bars? They look like legs.

  • And then a horizontal piece of concrete above. This was a crucifix.

  • This was pulled down during de-Christianisation

  • in the French Revolution, 1793 or 4.

  • And then empty walls.

  • A period of peace, perhaps, in Paris.

  • And a door with a triangle on top with no religious sign.

  • Liberty, equality, fraternity.

  • Across Paris, teams of sculptors began removing the symbols

  • of the hated oppressors of the Ancien Regime.

  • A damaged work of art or even an empty space above a doorway

  • speaks volumes about the power struggle at the heart of the revolution.

  • A door with roundels chipped out.

  • What was here?

  • Fleurs-de-lis, all the way up the door,

  • both sides of the door, and two roundels with nothing in them.

  • What was there? Royal signs, religious signs, signs of feudalism?

  • Two harmless, armless cherubs holding nothing.

  • Why? Why were their arms chipped off?

  • This single wall of a single church in Paris,

  • tells the story of a succession of revolutionary conflicts.

  • This wall also tells a story of contemporary struggle.

  • Omnia Communia? Everything belongs to all.

  • The walls speak, we just have to listen and look.

  • The aristocrats and their coats of arms that used to plaster Paris

  • were also in the firing line.

  • So, in August 1789, the National Assembly had just abolished

  • feudalism, very sudden, very total.

  • All of the signs of feudalism that were all over Paris

  • suddenly looked rather out of place

  • and it wasn't particularly good to be an aristocrat with your emblems

  • on the outside of your townhouse.

  • Hence, at a place like this,

  • now the Bibliotheque Historique de la Ville de Paris,

  • it used to the house of the Lamoignon family, and here we've

  • got a black inlay that's been placed on later,

  • because what would have happened is the Lamoignon family plastered over

  • their coat of arms because they were no longer aristocrats.

  • Possibly hoping that one day

  • this abolition of the aristocracy would be revoked.

  • As the revolution progressed, the temporary solution of just plastering

  • over the coats of arms of aristocrats

  • was no longer really working.

  • They'd been doing that work but now they were starting to emigrate.

  • The revolutionary authorities needed a more permanent solution, and this

  • solution was simply to chip out the coats of arms above the town houses' doorways, like this example.

  • Incredibly elaborate aristocratic frontispiece,

  • but with a great big empty space in the middle of it.

  • All record of the existence of these families over the generations in

  • Paris was being completely erased.

  • Only months into the revolution

  • and the streets and buildings of Paris had changed significantly.

  • But in the summer of 1789, bread was still too expensive

  • and people were hungry. Dissent spread on the streets of Paris.

  • In October 1789, Paris was hungry.

  • Paris was also angry. This combination of hunger and anger

  • leads to a kind of protest movement that grows, and in due course,

  • 5th October, several thousand Parisians end up

  • marching out to Versailles

  • and they camp here, and the next day, when they head back to

  • Paris, they head back with the Royal family,

  • the centre of government has moved from Versailles back to Paris.

  • With the royals safely in the heart of Paris,

  • the people could keep their eyes on the King.

  • Now in Paris, King Louis kept his head down,

  • endorsing revolutionary redistribution of church wealth.

  • But Louis was no fool - he knew his family was in danger.

  • They made a fateful decision to try and escape to Marie Antoinette's homeland, Austria,

  • in the summer of 1791, but they were captured at the Austrian border.

  • The family was brought back to Paris in very real danger.

  • This is a moment on the 26th July 1791, when the royal family

  • are brought back to Paris having tried to escape to Varennes,

  • and the people of Paris line the streets as they always would for a royal entry into the city,

  • But this time they don't cheer, this time they stand in silence

  • and in many places they actually stand

  • with their backs to the royal family's carriage.

  • This print maker's chosen an amazing moment,

  • which is the moment when Louise XVI comes past the statue

  • to Louis XV on to the way into the Tuilerie Palace.

  • And there are young boys who have clambered up on to the statue of Louis XV,

  • this much detested king,

  • and they're blindfolding the statue,

  • as if to say, even Louis XV

  • wouldn't want to see this awful scene of a cowardly king

  • who's abandoned his people and abandoned the revolution.

  • This was a kind of iconoclasm.

  • The revolutionaries used a statue of Louis XV

  • as a weapon of protest against the traitorous King.

  • To find out what they were really trying to achieve,

  • who better to speak to than a modern day so-called vandal.

  • What's the link between us and the revolution, what are we doing here?

  • Well, you reckon you're vandals, you call yourselves vandals, he's wearing a T-shirt that says vandal on it.

  • And I write about vandalism during the French Revolution,

  • but I'm saying these people weren't vandals, this wasn't vandalism,

  • they're not blind, ignorant barbarians,

  • they're incredibly smart people

  • and they understand that monuments in public space

  • are being used to try and control them.

  • So they pour shit on their heads or write graffiti on it.

  • OK. So, why they hell are you a graffiti artist?

  • This whole project was the idea of demonstrating

  • that we're not vandals, we're truly artists.

  • I like it.

  • In 2010, Parisian graffiti artist So What

  • lead a 40-strong team that covered the walls of a huge abandoned supermarket with art.

  • What was the driving force behind this incredible

  • installation of graffiti?

  • When I was 16 year old

  • I was angry at the world,

  • I wanted to burn and graffiti was a way for me

  • to get that to the world, you know.

  • I had all the reasons in the world to do it.

  • We think we're right to do it, and in a lot of places we are right to do it.

  • What fascinated us is that this place has been heavily squatted,

  • gypsy families, and our government spend a month-and-a-half

  • leading a war on gypsies, dismantling gypsy camps

  • because they cannot do anything about the economy so they were giving a hard times to the most

  • fragile population in this country.

  • It's really sophisticated art, it's really thought provoking,

  • I'm just wondering whether you got a response

  • where anyone's calling it vandalism still?

  • I'll tell you this, the whole idea was to make a statement

  • that they call us vandals but that's not what we are, you know,

  • we are artists,

  • I mean, I'm clear about that, at this age,

  • I might not have been clear about it at 20 years old but now I am.

  • But this is what the project is.

  • For me, the beauty of this graffiti

  • is that So What and friends were using a controversial building

  • as a vehicle for protest.

  • Not what I would call vandalism.

  • This is incredibly relevant to what else we've been looking at.

  • We've been looking at how in the 18th century people would transform,

  • physically transform a sculpture,

  • but they'd also talk about it in a different way,

  • so you can take a symbol and transform it, my dear vandal.

  • Exactly, exactly. Are you for a vandal?

  • I'm delighted to have met a pair of vandals.

  • All right. Pleased to meet you. Who I now think are ignorant barbarians(!)

  • So What - what an astonishing name, So What.

  • what I love about So What is that this incredibly avant garde graff artist

  • sees this historical tradition and this historical tradition

  • is like, I don't know,

  • kind of part of the DNA of the culture of Paris,

  • this culture of resistance, this culture of contestation,

  • that just because you can afford to build the massive monument,

  • like the Eiffel Tower,

  • that doesn't mean that you are actually in control.

  • Anyone who can hold a pen, a spray can, they have power, too.

  • The Parisian ability to take a symbol like the statue of Louis XV,

  • and turn it into a witty and cutting attack on the traitorous King

  • is alive and well in the guise of So What.

  • In the summer of 1792, at a public appearance,

  • revolutionaries forced the shamed Louis XVI

  • to wear a red revolutionary bonnet.

  • Now it wasn't just royal statues that were being

  • transformed and used for mockery, it was the King's own body.

  • A man who'd once claimed to rule by divine right

  • is now dangerously close to becoming an all too human target.

  • On the 11th July 1792,

  • the National Assembly declared the country to be in danger

  • from Austrian invasion.

  • Led by the radicals of the Commune,

  • the people went after the King in the Tuilerie Palace.

  • On the 10th August 1792, Parisians accompanied by National Guards

  • from all of the sections of Paris, and by Marseilles troops

  • who had marched all the way from Marseilles to protect Paris from

  • Austrian invasion,

  • stormed up the Tuilerie Palace gardens.

  • Halfway down they faltered and Theroigne de Mericout, a woman,

  • stood up and led the charge. The men, shamed by this leadership, followed

  • her into a hail of musket fire from Swiss Guard.

  • Despite the presence of close to 1,000 Swiss mercenaries

  • the crowd won the day.

  • By the end of that day, Swiss Guards bodies littered the palace gardens

  • and the entirety of the palace.

  • Almost to a man they were massacred.

  • The people, once they got into the Louvre found the royal family cowering in the meeting

  • room of the National Assembly.

  • A debate opened up and the Assembly managed to calm down the invaders

  • to a point where they were dispersing.

  • But the next day it became clear that the conclusion of the National Assembly

  • was they would simply suspend the monarchy.

  • To the people of Paris this was not going to be good enough.

  • What would happen the next day was the statues of kings would begin to topple.

  • Before the revolution,

  • royal power was asserted through statues of kings.

  • It was backed up by the threat of violence.

  • For these statues of kings,

  • these are very specific representations of the monarch.

  • He's enormous, he's herculean,

  • he's in armour, he carries a martial baton,

  • tiny little fleurs-de-lis all the way along it, he's a military leader.

  • Behind the power of the king is the power to exert violence on his people

  • if necessary.

  • This is really about the power of the monarchy.

  • Even today, you can find examples of the struggle to control the images

  • around us.

  • On a column in the centre of the city

  • you can find a symbol of Napoleonic power, an eagle.

  • Just below, the modern day artist Invader

  • has added one of his creations.

  • The weird thing is this witty, clever, quite sympathetic intervention in a public space

  • is illegal, but that monstrosity, totally out of keeping with the city,

  • Paris sponsored by Volkswagen, isn't illegal.

  • So who does own the right to make meaning in public space with symbols?

  • The space invader artist or global corporations?

  • And on the 11th August, 1789, it wasn't images of corporate power

  • that got attacked,

  • but the detested royal statue of the King's grandfather, Louis XV.

  • To actually topple a statue is no mean feat.

  • Anybody who's seen the footage of the statue of Saddam Hussein

  • being brought down by American Marines during the Gulf War

  • will understand the scale of the task.

  • There it took an armoured car several attempts to get the statue to the ground.

  • So the Parisians are engaging in a complex engineering task.

  • When they finally get the statue on to the floor they then begin to break it up, and actually

  • that's an important gesture,

  • because when the National Assembly give the official go ahead

  • for this kind of unlicensed iconoclasm

  • a couple of days later, they say the debris should be taken to the forge,

  • melted down to create cannons to fire on the armies of kings.

  • This is a material transformation of the statue.

  • The statue itself is going to become

  • a series of powerful, military symbols - cannons.

  • Even the much-loved Henry IV was under threat of destruction.

  • Come mid-August 1792, the statues of kings were toppling across the city,

  • but the statue of Henry IV still sitting in the centre of the Pont Neuf.

  • Parisians are trying to decide what they're to do with this much-loved

  • statue of this much-loved king.

  • Were they to pull down even the good King Henry,

  • who they'd constructed as being a sympathiser of

  • the revolution?

  • In the end, they decided they would, the debris toppled.

  • Mercier said, "It turns out it wasn't solid bronze after all.

  • "They couldn't melt it down to form cannons, the statue is as hollow as the power of kings."

  • Of course, you might be wondering why this statue

  • is still here.

  • This is an inferior copy, it's put up later by royalists after a kind of counter revolution.

  • How very Parisian.

  • The radical government of Paris, the Commune,

  • becomes increasingly influential.

  • The monarchy was abolished.

  • From now on, members of the National Assembly,

  • like Robespierre, were struggling to limit the Commune's power.

  • All royal symbols were at risk,

  • even those on the front of Paris's cathedral,

  • Notre Dame.

  • The facade of Notre Dame has been restored since,

  • but in 1793 the statues of kings were annoying radicals

  • and the government of Paris.

  • Early September 1793,

  • the controversy over the statues of kings at Notre Dame

  • was reaching a boiling point.

  • On 5th September the national convention had declared terror to be the order of the day,

  • these were the original terrorists, self-proclaimed.

  • Meanwhile, at Notre Dame, the radical sectionaires are saying why have we got these colossal statues of kings,

  • still sitting on front of Notre Dame?

  • Dougone, Francoise Dougone, a stonemason, and his team,

  • come down to Notre Dame by order of the authorities

  • and erect an enormous scaffold

  • and they work their way along these statues of kings.

  • His team got to work surgically chipping off the crowns and royal symbolism

  • like fleurs-de-lis from the statues.

  • But this wasn't enough, they had to come down.

  • The noose is pulled round the neck of the statue

  • and the statue is pulled down, and it crashes onto the pavement.

  • And this is the major concern in the aftermath of each of

  • these falling from that height for the revolutionary authorities -

  • we've broken the pavement.

  • The debris is piled up beside Notre Dame,

  • where a contemporary diarist noticed it was being used as a toilet and it stank to high heaven.

  • He says, "The sight of these objects, the smell of these objects

  • "is disgusting, but it's not as awful as the smell of the past

  • "that they represent."

  • In a way, I think,

  • he's playing with carnivalesque notions

  • of the role of shit in culture.

  • The funny thing about shit is, whether you're a soldier,

  • a member of the people or you're a king, you all shit.

  • But not all revolutionaries thought the statues were worthless.

  • The heads were rescued and unofficially preserved for the future.

  • The marks on them hold clues to what the revolutionaries were trying to achieve.

  • In 1793, things hadn't been looking too good

  • for the statues of kings,

  • but the amazing thing is that in 1977,

  • when building work starts on a bank, in the basement,

  • discovered, wrapped in plaster are these remains

  • of the heads of the statues of kings.

  • This was a deliberate act of preservation.

  • After all, these had been condemned as being grotesque gothics,

  • which is to say, in very bad taste.

  • What we see are some of the traces of the act of breaking.

  • So all of these heads are missing their noses.

  • Now, this seems too incredible a coincidence, did they all fall flat on their faces from the gallery

  • when they hit the path at the outside of Notre Dame?

  • I don't think so.

  • Clues as to what was going on can be found in recent history, too.

  • The cutting out of the faces on the images of despots by revolutionaries,

  • like this defacing of the posters of Gaddafi - powerful political acts.

  • Were they actively defaced afterwards,

  • perhaps as they're lying beside Notre Dame being used as a public toilet?

  • That actually seems plausible to me

  • but is this an act of vandalism? I'm not so sure.

  • 1793 saw more than the destruction of statues.

  • Radicals like Robespierre within the National Assembly

  • introduced a policy of terror,

  • the arrest and execution of those unfaithful to the revolution.

  • Here we are, back on the Place de la Concorde, the kind of beating heart

  • of the terror in Paris.

  • The beating heart as in the place where all the beating hearts were stopped.

  • The real beating heart's probably the revolutionary tribunals

  • which are sending people to the guillotine, sometimes with just 24 hours notice.

  • But a guillotine was mounted here.

  • The irony of having just across the river nowadays the Assemblee Nationale

  • is pretty significant.

  • But this square saw an awful lot of bloodshed.

  • The famous Mr Guillotine.

  • "A machine proposed to the Assembly Nationale,

  • "for the punishment of criminals by Monsieur Guillotine."

  • I think we all know how it works.

  • It's quick, it's humane, it's enlightened,

  • and it used to sit in the Place Louis XV.

  • Finally, in early 1793,

  • after being found guilty of treason against France,

  • the King was executed.

  • The statue of Louis XV had been toppled and it's directly

  • opposite the empty pedestal that Louis XVI is executed

  • on the 21st January 1793, and his head held up.

  • With the destruction of the royals, the radicals within the government

  • moved on to the other great power, the church.

  • This attack on the church, known as de-Christianisation,

  • would engulf the most cherished religious spaces of Paris.

  • This comprehensive attack on Christian France began here at

  • the great cathedral of Notre Dame.

  • On 10th November 1793, radicals, from the Commune,

  • decide to challenge the authority of God.

  • In the autumn of 1793, a visitor to Notre Dame could have come in

  • and happened upon the first ever festival of reason,

  • and in coming to the crossing of the knave they might have seen

  • a mountain, and on it an actress, an actress in a church,

  • who when she died wouldn't even be worthy of being buried in church grounds because she was regarded

  • as being tantamount to a prostitute.

  • And this actress was playing the role of the deity of reason,

  • in a ceremony that was a festival of reason.

  • This is an extraordinary moment in the history of this church,

  • its first day in a new life,

  • not as a church but as a temple of reason.

  • Notre Dame wasn't alone. Across Paris the great churches

  • ceased to be Christian and they became temples of reason.

  • Central to their new status was a state-sponsored campaign,

  • the wholesale removal, alteration or destruction of religious symbols.

  • On 5th September, 1793,

  • the section finally got to hold its first festival of reason.

  • Probably all of these chapels to the side were sealed off

  • with drapery so you couldn't see the imagery and it's in the pulpit that

  • a local sectionaire stands and says to his audience,

  • "So, if this god exists,

  • "why doesn't he strike me down right now with a bolt of thunder?"

  • And then he gazed pregnantly at the ceiling, for a moment,

  • and says, "There you go, no thunder, he doesn't exist."

  • At the end of this ceremony, the whole of the section take two

  • of the wooden statues and they process them to a local square,

  • where they burn them.

  • With God banished, next to go were the symbols and art.

  • The sculptor who brought down the kings at Notre Dame, Dougone,

  • worked on the 240-foot high towers of Saint-Sulpice.

  • What was so important that it meant risking life and limb?

  • Francois Dougone's time at Saint-Sulpice, eight weeks,

  • involved making hundreds of changes to the symbolism of the church,

  • but this work right outside is the first thing that

  • revolutionaries visiting the space would have seen.

  • Right over the main door, begins with this bas relief of Faith.

  • Here Faith used to hold a chalice,

  • but instead now she holds a flaming torch

  • that symbolises the enlightenment

  • that the visitor is going to receive inside.

  • The little cherub beside her once held a cross.

  • Now the cherub holds instead, fasces,

  • fasces, that symbol of Roman unity,

  • also Roman law and order,

  • that eventually becomes the symbol that gives the name to fascists.

  • In this bas relief, the cherub to the left, this time the cross

  • has been turned into a sword, a kind of military symbol, surely.

  • So the real work of Dougone began once he got inside the church.

  • All of these trophies that line the knave high up,

  • that are now blank, re-sculptured by Dougone,

  • working at this vast height on scaffolding

  • that his team had brought to the church and assembled there.

  • But working on the high ceiling was just the beginning.

  • Dougone and his team had to go even higher.

  • This graffiti here,

  • we're on the way to the chapel of the students

  • and its Saint Sulpician priests.

  • Oh great, it's getting narrower(!)

  • 1967, somebody last came up here.

  • We're running out of graffiti.

  • This is it, people lose the will to write as they get to this altitude,

  • perhaps I'm not the only person who's afraid of heights!

  • Above the knave, the interior of the church is covered in graffiti.

  • I just can't resist looking for a hastily scrawled "Dougone was here".

  • Who are these men who took the time to carve their names

  • into this wall, at this height?

  • Is that a revolutionary?

  • 1808...

  • 1859,

  • 1830 - the year of the revolution.

  • Dougone didn't leave his signature behind, it seems.

  • At a height of about 200 feet, I reach the bells -

  • even these didn't escape the revolution.

  • Wow, the bells - they're all new. During the revolution

  • they were all pulled down, all but one of them,

  • to turn them into thousands and thousands of coins, each bearing

  • the symbol of the republic, for distribution around the country.

  • That's transformation of symbols.

  • At 240 feet in the air, I can get a sense of the lengths

  • Dougone and his team were going to in their roles

  • as revolutionary iconoclasts.

  • So Dougone, in his report for the work he did at Saint Sulpice,

  • said, "I was working at a really prodigious height,

  • "and the weather was appalling."

  • And this is kind of why he charged so much, now I'm up here

  • I kind of understand what he means, and his team must have been

  • hanging off here with ropes to chip out the church's signs

  • that are just beneath where I'm standing on this tower.

  • They must have been working in a similar way on the floor down,

  • where the bells are, going outside of the safety of the walls

  • to alter the statues.

  • Yeah, they were charging a lot of money,

  • but even taking account for inflation as they were,

  • I kind of think they probably deserved the danger money.

  • Dougone might have been an entrepreneur,

  • but he was clearly a committed revolutionary.

  • Between 1793 and 1794, like other teams of masons,

  • he transformed the churches across Paris.

  • But the deeply engrained Catholicism of the French people

  • was hard to wipe out.

  • Robespierre, one of the architects of the terror, realised that the

  • revolutionary assembly had allowed the Cult of Reason to go too far.

  • In 1794, after executing those responsible,

  • he launched a new cult, with a new God.

  • On the 8th June 1794, Parisians were invited to

  • an enormous festival for a new cult, it was the Cult of the Supreme Being.

  • And this festival is to celebrate it - they get to see

  • this incredible spectacle, this enormous mountain

  • built on the Champs du Mars, and then a massive column,

  • which is probably made of paper mache

  • and on top of it, an enormous figure of Hercules,

  • symbolising the power of the people.

  • Yet within just six weeks, this cult was in its last throes.

  • Within six weeks, Robespierre himself had been arrested,

  • by the very members of the convention who had processed with him

  • up the Montagne.

  • Members who were increasingly worried that it was chop, chop, chop

  • for them as government guillotined them.

  • They turned on Robespierre, arrested him, and on the 28th July 1794,

  • Robespierre, realising he was cornered,

  • tried to shoot himself - simply blowing off his jaw.

  • 24 hours later he was dead,

  • and the Cult of the Supreme Being was dead with him.

  • After Robespierre's death,

  • the revolutionary Cult of the Supreme Being fell away -

  • the people were eager for an end to such radicalism.

  • As the assembly fought for control in the aftermath of Robespierre's death,

  • an upwardly mobile young general took control of power for himself.

  • His name was Napoleon,

  • but his coup didn't lead to democracy and equality for all.

  • By 1815, Napoleon himself had fallen from power.

  • And the royals had returned, rebuilding the statue

  • of good old Henry IV on the Pont Neuf, built from the recycled bronze

  • of a statue of one of Napoleon's favourite generals.

  • It just goes to show, the battle over who controls these symbols of power

  • on the streets of Paris has never really ended.

  • Just like Parisians of the French revolution,

  • from the moment that we step outside of our doors,

  • we're in a world of images and symbols that demand our attention

  • and even our loyalty, but we have to realise that these symbols

  • shape our world and the way that we understand it and imagine it.

  • The French Revolution shows us

  • that those who control our symbolic world

  • can never take their power for granted -

  • there's always somebody who's willing to scrawl on a symbol,

  • to pull it down, to smash it up,

  • to smear it with shit, to set it on fire

  • or to make subtle and creative changes to it,

  • that create a new symbol.

  • As Picasso taught us,

  • the act of creation is always first and foremost an act of destruction.

I'm Richard Clay,

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BBC フランス革命 - 歴史を引き裂く (BBC The French Revolution - Tearing Up History)

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    不信中原不姓朱 に公開 2021 年 01 月 14 日
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