section_path: Modern invention of the salute/18th–19th centuries France
section_name: 18th–19th centuries France
paragraph_text: 18th–19th centuries France
  
  Beginning with Jacques-Louis David 's painting The Oath of the Horatii (1784), an association of the gesture with Roman republican and imperial culture emerged. The painting shows the three sons of Horatius swear on their swords, held by their father, that they will defend Rome to the death. It is based on a historical event described by Livy (Book I, sections 24-6) and elaborated by Dionysius in Roman Antiquities (Book III). However, the moment depicted in David's painting is his own creation. Neither Livy nor Dionysius mention any oath taking episode. Dionysius, the more detailed source, reports that the father had left to his sons the decision to fight then raised his hands to the heavens to thank the gods.
  
  Dominating the center of The Oath of the Horatii is the brothers' father, facing left. He has both hands raised. His left hand is holding three swords, while his right hand is empty, with fingers stretched but not touching. The brother closest to the viewer is holding his arm almost horizontally. The brother on the left is holding his arm slightly higher, while the third brother holds his hand higher still. While the first brother extends his right arm, the other two are extending their left arms. The succession of arms raised progressively higher leads to a gesture closely approximating the style used by fascists in the 20th century in Italy, albeit with the "wrong" arms.
  
  Art historian Albert Boime provides the following analysis:
  
  The brothers stretch out their arms in a salute that has since become associated with tyranny. The "Hail Caesar" of antiquity (although at the time of the Horatii a Caesar had yet to be born) was transformed into the "Heil Hitler" of the modern period. The fraternal intimacy brought about by the Horatii's dedication to absolute principles of victory or death... is closely related to the establishment of the fraternal order... In the total commitment or blind obedience of a single, exclusive group lies the potentiality of the authoritarian state.
  
  After the French Revolution of 1789, David was commissioned to depict the formation of the revolutionary government in a similar style. In the Tennis Court Oath (1792) the National Assembly are all depicted with their arms outstretched, united in an upward gesture comparable to that of the Horatii, as they swear to create a new constitution. The painting was never finished, but an immense drawing was exhibited in 1791 alongside the Oath of the Horatii. As in the Oath of the Horatii, David conveys the unity of minds and bodies in the service of the patriotic ideal. But in this drawing, he takes the subject further, uniting the people beyond just family ties and across different classes, religions, and philosophical opinions.
  
  After the republican government was replaced by Napoleon 's imperial régime, David further deployed the gesture in The Distribution of the Eagle Standards (1810). But unlike his previous paintings representing republican ideals, in Eagle Standards the oath of allegiance is pledged to a central authority figure, and in imperial fashion. Boime sees the series of oath pictures as "the coding of key developments in the history of the Revolution and its culmination in Napoleonic authoritarianism".
  
  The imperial oath is seen in other paintings, such as Jean-Léon Gérôme 's Ave Caesar! Morituri te salutant (Hail, Caesar, those who are about to die salute you) of 1859. In this painting, the gladiators are all raising their right or left arms, holding tridents and other weapons. Their salutation is a well-known Latin phrase quoted in Suetonius, De Vita Caesarum ("The Life of the Caesars", or "The Twelve Caesars"). Despite becoming widely popularised in later times, the phrase is unknown in Roman history aside from this isolated use, and it is questionable whether it was ever a customary salute, as is often believed. It was more likely to be an isolated appeal by desperate captives and criminals condemned to die.
  
  Beginning with Jacques-Louis David 's painting The Oath of the Horatii (1784), an association of the gesture with Roman republican and imperial culture emerged. The painting shows the three sons of Horatius swear on their swords, held by their father, that they will defend Rome to the death. It is based on a historical event described by Livy (Book I, sections 24-6) and elaborated by Dionysius in Roman Antiquities (Book III). However, the moment depicted in David's painting is his own creation. Neither Livy nor Dionysius mention any oath taking episode. Dionysius, the more detailed source, reports that the father had left to his sons the decision to fight then raised his hands to the heavens to thank the gods.
  
  Dominating the center of The Oath of the Horatii is the brothers' father, facing left. He has both hands raised. His left hand is holding three swords, while his right hand is empty, with fingers stretched but not touching. The brother closest to the viewer is holding his arm almost horizontally. The brother on the left is holding his arm slightly higher, while the third brother holds his hand higher still. While the first brother extends his right arm, the other two are extending their left arms. The succession of arms raised progressively higher leads to a gesture closely approximating the style used by fascists in the 20th century in Italy, albeit with the "wrong" arms.
  
  Art historian Albert Boime provides the following analysis:
  
  The brothers stretch out their arms in a salute that has since become associated with tyranny. The "Hail Caesar" of antiquity (although at the time of the Horatii a Caesar had yet to be born) was transformed into the "Heil Hitler" of the modern period. The fraternal intimacy brought about by the Horatii's dedication to absolute principles of victory or death... is closely related to the establishment of the fraternal order... In the total commitment or blind obedience of a single, exclusive group lies the potentiality of the authoritarian state.
  
  After the French Revolution of 1789, David was commissioned to depict the formation of the revolutionary government in a similar style. In the Tennis Court Oath (1792) the National Assembly are all depicted with their arms outstretched, united in an upward gesture comparable to that of the Horatii, as they swear to create a new constitution. The painting was never finished, but an immense drawing was exhibited in 1791 alongside the Oath of the Horatii. As in the Oath of the Horatii, David conveys the unity of minds and bodies in the service of the patriotic ideal. But in this drawing, he takes the subject further, uniting the people beyond just family ties and across different classes, religions, and philosophical opinions.
  
  After the republican government was replaced by Napoleon 's imperial régime, David further deployed the gesture in The Distribution of the Eagle Standards (1810). But unlike his previous paintings representing republican ideals, in Eagle Standards the oath of allegiance is pledged to a central authority figure, and in imperial fashion. Boime sees the series of oath pictures as "the coding of key developments in the history of the Revolution and its culmination in Napoleonic authoritarianism".
  
  The imperial oath is seen in other paintings, such as Jean-Léon Gérôme 's Ave Caesar! Morituri te salutant (Hail, Caesar, those who are about to die salute you) of 1859. In this painting, the gladiators are all raising their right or left arms, holding tridents and other weapons. Their salutation is a well-known Latin phrase quoted in Suetonius, De Vita Caesarum ("The Life of the Caesars", or "The Twelve Caesars"). Despite becoming widely popularised in later times, the phrase is unknown in Roman history aside from this isolated use, and it is questionable whether it was ever a customary salute, as is often believed. It was more likely to be an isolated appeal by desperate captives and criminals condemned to die.