Browse Primary Sources
Locate primary sources, including images, objects, media, and texts. Annotations by scholars contextualize sources.
Emperor Jahangir Weighing His Son Khurram in Gold
The finely detailed miniature painting in an album created for the Emperor Jahangir (reigned 1605–1627) of the Mughal Empire in India shows a ceremony initiated by Jahangir's father, Akbar the Great (reigned 1556-1605), Jahangir's father.
Tet Trung Thu Festival in Vietnam
The photographs show children during the mid-Autumn Harvest Festival, or Tet Trung Thu in Vietnam, a children's festival associated with the full moon.
Custom of Cutting the Topknot in Thailand
The custom described in the text by Phya Anuman Rajadhon is presented as it was traditionally practiced in Central Siam. The head of an infant was shaven as part of the khwan ceremony celebrating its survival and welcoming into the family. Some of the hair over the soft part of the infant's skull was left to grow into a topknot, to be cut in another ceremony when the child came of age.
Tophet of Carthage
These images show a stone grave marker carved with symbols and a terracotta funerary urn containing the charred remains of an infant. The Tophet of Carthage is a cemetery for infants in the ruins of the North African city of Carthage, now located in a suburb of Tunis. It was once located on the edge of ancient Carthage, which was destroyed by the Romans in 146 BCE.
Paleolithic Finger Flutings Cave Drawing
This image from Chamber A1 of Rouffignac Cave was created by a young girl we posit to be between four and five years old from her height and the places in the cave where she has chosen to make her flutings. She was part of a group of people who visited the cave during the Upper Paleolithic Period (sometime between 20,000 and 11,000 years ago).
Facial Recognition Manual
If they wanted to keep out spies, security personnel on both sides of the Berlin Wall had to become sophisticated readers of facial features. This manual, prepared by the East German border police as a training text for their front line guards, shows the reader how to recognize someone from telling facial features.
Berlin Wall Trabant
This painting by Birgit Kinder is on a segment of the Berlin Wall that was on the east bank of the Spree River that separated portions of East and West Berlin. Because this section of the wall was on the opposite shore of the river, it was not covered by graffiti as was the case with the rest of the west face of the Wall (accessible to West Berliners).
Patience Monsignor Your Turn Will Come
Cartoons attacked the refractory clergy. Here, fat, overfed, and underworked clergy are squeezed down to an appropriate size. As elsewhere, visual images mocked the clergy by depicting them as subject to the threats and physical attacks of others.
Refractory (Clergy) Going to the Promised Land
Many refractory clergy left France to join other detractors, as this print shows, or wishfully encourages. However, this is an ambiguous image, which leaves open the possibility that rather than joining foreign monarchies, the clergy are crossing the river leading to Hell.
Procession of Refractory Clergy
Of particular interest in this caricature of refractory clergy here are the long noses, traditionally used to caricature Jews, that suggest the refractory clergy were not of the people. This image shows resistant clergy marching in their last procession. The satyr at the rear with a coffin seems to threaten their very lives.
The Roman Aristocrat
The fattened clergyman and the well–bedecked nobleman go off unbothered while the figure in the foreground assesses carefully the value of a commoner. This complex image also includes a pig—likely a symbol for Louis XVI—with the cleric and the noble. Thus the print clearly attacks the upper classes and likely the monarch. But there is more.
The Voracious Oath
This fascinating print is modeled on Jacques–Louis David’s Oath of the Horatii. In that famous painting, the artist sought to exemplify patriotic virtue by showing an austere father making his sons swear to defend Roman honor. Here this image turns David’s idea on its head, as aristocrats seem to be in league to some nefarious end.
Robespierre Laid on the Table of the Committee of Public Safety
This Dutch engraving, based on a sketch by Berthault, shows Robespierre laid out on the table where his Committee of Public Safety did its work. It is the morning of 10 Thermidor and having been condemned to death by the Convention the night before, Robespierre and his followers now face their demise, as soldiers come to take them to the guillotine.
A Second Jean d'Arc
To those who considered Marat insincere and dangerous in his unrelenting populism, the true martyr was Charlotte Corday, who had come to Paris from Caen—a city then serving as a base for the federalist insurgency—apparently with the express intent of killing Marat.
In Memory of Marat, Friend of the People, Assassinated 13 July, 1793
A leading voice on behalf of greater popular participation and social policies that would benefit the poor, the journalist Jean–Paul Marat used his radical newspaper the Friend of the People to criticize moderation.
Bust of Marat
After Marat’s death, his defenders glamorized him, forgetting both his physical deformities and his vitriolic calls for more and more heads. One common approach was to give him secular sainthood (a halo in this image) incongruous for someone with so little patience with the church.
Robespierre 10 Thermidor—Exposition of 1877
This painting from 1877 shows in romantic style Robespierre dying in a large room, surrounded by soldiers and others. His shirt is bloodied and his left hand is on his chest; visible in the background is a tablet of the Declaration of Rights of Man and Citizen, suggesting that it was the cause for which Robespierre died. The image might be seen as a moment of secular apotheosis.
Assassination of J. P. Marat
An arrested Corday is hustled out of the door, while the inquest begins. The expired Marat, ghastly pale, looks much more realistic than in the David rendition of his death. Also, the bath in the shape of a boot, which differs from most images, is apparently accurate.
President of a Revolutionary Committee After the Seal Is Taken Off
Critics of popular action first mastered the art of searing attacks and here sharpen their propaganda skills against this activist worker, who appears to be walking off with his "loot" after the locks have been broken.
President of a Revolutionary Committee Distracting Himself with His Art While Waiting
The shoemaker shown here is president of his neighborhood revolutionary committee. Although this engraving does not portray a specific political activity, the character evokes hostility toward laborers and artisans who involved themselves in politics. The president hardly seems presidential.