LaÏcisateurs et comédiens Circa 1908

The early 20th century was a period of intense ideological struggle in France, particularly between Catholics and secularists. The 1905 Law on the Separation of Church and State had firmly established laïcité (secularism) as the guiding principle of the Republic, but it also triggered fierce backlash from religious conservatives.

The poster "Laïcisateurs et Comédiens" (Secularists and Comedians), attributed to E. Millo, is a powerful example of anti-secular propaganda that denounces what its authors saw as the hypocrisy and oppression of the French government’s secular policies.

By 1908, France was still grappling with the fallout from the 1905 Separation Law, which had stripped the Catholic Church of many privileges, nationalized church property, and forced religious congregations to disband or register under strict regulations. These measures were seen by Catholic conservatives as an attack on faith and a betrayal of France’s Christian heritage.

This poster echoes the deep resentment among religious groups, particularly regarding the expulsion of nuns from hospitals and schools, which had previously been key centers of Catholic charity and education.

The bold headline, Laïcisateurs et Comédiens, immediately sets a mocking tone, likening secular politicians to actors performing a deceptive play—an accusation that the Republic’s commitment to secularism was nothing more than a theatrical fraud.

The phrase "Tous les mêmes!" (All the same!) reinforces the idea of collusion between the Republic’s secular leaders, Freemasons, Protestants, and Jews, all portrayed as enemies of the Catholic faith. This kind of rhetoric was typical of the far-right, anti-Semitic, and Catholic conservative movements of the time.

Key Themes and Accusations

The poster’s text is a mix of satire, outrage, and lamentation, accusing secular authorities of hypocrisy:

• They banished nuns from hospitals and schools but still sought their care in times of need.
• They claimed to defend the people but persecuted religious institutions that provided charity.
• They denied faith a role in public life but couldn’t escape their dependence on religious institutions in times of crisis.

A small illustration depicts a nun attending to a sick patient, emphasizing the argument that religious orders were still essential for social welfare despite being outlawed.

The poster ends with an urgent appeal for citizens to recognize the secularist "comedy" for what it is—a political charade meant to oppress the faithful. The demand is clear:

• Stop persecuting religious institutions.
• Recognize the value of faith in society.
• Allow Catholics to freely practice their beliefs without state interference.

The final rallying cry, "Avec la Liberté!" (With Liberty!), cleverly reclaims the language of the Republic, arguing that true freedom should include religious expression, not just state-imposed secularism.

This poster is a remarkable artifact of anti-secular resistance in early 20th-century France. It captures the anger, frustration, and defiance of Catholic conservatives who saw the Republic’s secular policies as an attack on their faith and traditions.

Though France’s secularist policies ultimately prevailed, the fierce debates of the early 1900s left a lasting impact on French identity, politics, and the relationship between religion and the state.

Religion - Politics - Press - France

This nameless regime which governs us in the name of Jews, Protestants and Freemasons is as funny as it is odious...

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