This paper analyzes the contributions of Théodore Géricault to the second volume of Baron Isidore Taylor, Charles Nodier, and Alphonse de Cailleux’s Voyages pittoresques: Normandie (1820; 1825) within the context of French Restoration historiography. It argues that Géricault’s prints are allegorical commentaries on the production of visual history during this period as much as they are examples of it.

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