of Freedom, Justice, Education and Peace: all that the Republic was supposed to bring to its citizens. The final bronze monument was inaugurated in 1899, in the turmoil of the Dreyfus Affair, with Waldeck-Rousseau, a Radical, in power. The ceremony was accompanied by a huge demonstration of workers, with red flags. The government's officials, wearing black redingotes, quit the ceremony. Marianne had been reappropriated by the workers, but as the representative of the Social and Democratic Republic (la République démocratique et sociale, or simply La Sociale). From the signing of the Entente Cordiale between France and Britain in April 1904, Marianne and John Bull personalised the agreement in a number of paintings and cartoons, most famously the Punch cartoon by John Bernard Partridge. In the struggles between ideological parties around the turn of the twentieth century, Marianne was often denigrated by right-wing presses as a prostitute. In Imperial Germany, Marianne was usually portrayed in a manner that was very vulgar, usually suggesting that she was a prostitute or at any rate widely promiscuous while at the same time being a hysterically jealous and insane woman who however always cowered in fear at the sight of a German soldier. The German state in the Imperial period promoted a very xenophobic militarism, which portrayed the Reich as forever in danger from foreigners and in need of an authoritarian government. The core of Prussian-German militarism was a cult of machismo that equated militarism with masculinity, and Marianne was used in Germany to portray France as a "weak" and "feminine" nation in contrast to "strong" and "masculine" Germany. The purpose of Marianne in German propaganda was always to promote contempt for France and with it, a warning about what Germans should not be. The American historian Michael Nolan wrote in the "hyper-masculine world of Wilhelmine Germany" with its exaltation of militarism and masculine power, the very fact that Marianne was the symbol of the republic was used to argue that French men were effeminate and weak. In this regard, it is significant in German cartoons and posters, Marianne usually faced off against a male figure representing Germany, who was either a typical German soldier or Kaiser Wilhelm II himself and Marianne only very rarely took on Germania. In French cartoons and posters, it was Marianne who took on Wilhelm II, whose bombastic pomposity lent itself well for ridicule, and she almost never took on