“Even women are capable of firmness.”
-Charlotte Corday (1768-1793)
Although Charlotte Corday had been written off by local politicians as nothing more than “a pretty little aristocrat” she was, in fact, very devoted to the ideals of the French Revolution. Sickened by the endless procession of her countrymen to the scaffold she became convinced that assassination was the only answer. She traveled to Paris from her home in Caen on July 9th, 1793 and arranged a meeting with the revolutionary leader Jean-Paul Marat.
Under the pretext that she had a list of traitors, she was ushered into the room where Marat sat soaking in a tub used to treat the skin disease he contracted while hiding in the cellars of Paris. Marat, delighted by the prospect of sending a fresh batch of political opponents to the scaffold, eagerly started jotting down the names Corday read. “In a few days I will have them all guillotined,” he smiled. In response to his glee Charlotte pulled out the knife she was concealing and plunged it hilt-deep into his heart. She made no effort to escape and was immediately apprehended by Marat’s attendants.
During her trial on July 17th, 1793 Corday offered no defense for her actions and a guilty verdict was a forgone conclusion. She was sentenced to die on the guillotine the very same day.
Much to everyone’s amazement Corday refused the ministrations of a priest and requested, instead, that a portrait painter be called. The artist was still busily trying to capture her likeness on canvas when the executioner came to collect her. She mounted the scaffold proud and calm and fashionably took her place under the knife. She was only twenty-five.
Information
Height:
Figure: 32”
On Stand with Hat: 40”
Stand:
17”x17”x3”
Charlotte Corday’s Gown by Griffith Henninger
Charlotte’s walking length frock is made up in an imported soft silvery gray and Prussian blue striped silk taffeta. The striped overskirt has been adorned with antique embroidery around the hem, bodice, peplum, and sleeves and the embroidery has been embellished with fresh water pearls, antique French sequins, and gold and ruby beads. Gathered antique lace finishes the bodice, peplum, and cuffs. A very fine antique fichu edges the neckline and ends beneath a corsage at the bosom. The overskirt is lined in persimmon silk which has been knife pleated.
The petticoat and front bodice panel are worked in a eggshell silk-satin and covered with antique appliqué lace on net. The lace is spangled with fresh water pearls, antique French sequins, and gold beads. A frill of knife pleated open work lace completes the hem.
The shoes are constructed of silver satin and accented with old gold braid and a marquisette rube buckle. The oversized hat, piped in persimmon silk is made up in the silver satin and covered with crème dotted netting. A red and black bird with a gold and diamond laurel wreath in its beak completes the hat while red satin and crème tulle streamers curl accent the hat from behind.
Charlotte is wearing gold filigree earrings embellished with garnets and fresh water pearls
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