The media dubbed her the “princess” because of the jewels that she was wearing when she was buried. Her high social status is beyond doubt. The lady was buried in an oak coffin, which was the prerogative of the upper class. Her arms were spread out to the sides, jewelry was present on her neck.

The dimensions of the tomb were 8.5 feet by 3.5 feet.

The wrists were decorated with rings of blue and blue-green glass, interwoven with threads of light shades. Glass beads alternated with copper. A woman wore a belt with a buckle made of the same metal. The belt itself was made, most likely, of leather, which rotted over time.

Given the technology of the time, glass products were rare and difficult to manufacture, which is a sure sign of wealth and buried status. Next to it, in addition to the products we mentioned, there are small slides of plates made of material similar to pearls.

The tomb of the “princess” was one of the three found graves belonging to the same period. The other two were a little later, dating back to about the fifth century BC. The remains located in them were most likely cremated. Other graves were marked by four pillars and surrounded by a shallow moat.

The plot is divided in half. In one half was a wooden box lined with limestone, in which washed bones and fragments of bracelets were stored. In the other, bones and charcoal from a funeral pyre. It’s difficult to determine by whom they belonged, but copper bracelets and an iron hairpin on the belt indicate that the remains belong to another woman.

Buried in tombs belonged to Hallstatt culture, a civilization that existed in the early Iron Age, between 800 and 450 BC and spread throughout Central Europe. It was distinguished by developed agriculture and interesting monuments.

Civilization has developed out of several tribes that are independent of each other, have no political relations, but are united by trade interests, exchanging a variety of goods, from household items to agricultural implements. Until the Mediterranean Sea, there was trade in metal: tin, copper, iron.

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1. How did Marianne appear

When the Great French Revolution of 1789 began, it was necessary to say goodbye to the old monarchical signs of the state. But you can’t live without symbols at all. The new ones should reflect the hopes and aspirations of the people, above all the revolutionary slogan “Freedom, Equality, Brotherhood.”

No one can do it better than a pretty girl in the color of years. The French National Assembly in 1792 approved that there should be a girl with guns on the state press and a Phrygian cap on her head – the designation of freedom. In ancient Rome, freedmen slaves walked in it.

What to call this girl? At the hearing of the deputies was a popular song about Marianne at that time. In addition, most commoners were named Maria and Anna. So the symbol girl became Marianne.

2. Image and Symbol

Her image inspired many outstanding creators to create masterpieces. Perhaps the first thing that is remembered is the picture of Eugene Delacroix “Freedom, leading the people.” The canvas was created under the influence of emotions from the revolution of 1830. It took only three months. Delacroix said that if he did not fight for his homeland in the streets, then he should at least write for it. The image of Marianne combined the features of an ancient goddess and a simple woman.
The bare chest carried several meanings. First of all, emancipation is the liberation of women. And also the fact that the French are ready “with bare breasts” to rush at the enemy in the name of the ideals of the revolution.

The image of Marianne was entrenched in the national consciousness. In 1848, the authorities held a competition for its best embodiment. The winners were Marianne the Struggle and Marianne the Wise. “Fighting” was very sexy: disheveled hair, naked chest, gun. Then they rejected such an interpretation of the personification of France. Remained “Marianne the wise”: restrained, with a haircut, in clothes.

During the period of Napoleon III, Marianne again fell under the ban. But as soon as the Second Empire was replaced by the Third French Republic, the girl again “entered into her rights.” Her busts began to appear in public institutions, portraits on postage stamps. Wherever the bas-reliefs of the emperor used to be located, he was replaced by a girl in a Phrygian cap.

3. Who posed for Marianne

As a rule, artists did not go far and often used their wives and lovers as models. Sometimes they invited pretty girls they met on the streets of Paris.

In the 20th century, attitude has changed. In the 1960s, sculptor Alain Aslan took a different approach. He invited Brigitte Bardot to pose for the bust of Marianne, the most attractive French woman of that time.

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