In the emerging memory of the French democracy, its foundation is understood and celebrated as an act of collective heroism. In the midst of the uprising of the masses, individual heroic figures stand out from the community of equals. In case of the Tennis Court Oath, a leader is obviously needed so that all may become heroes – including the viewers of the painting, who are being addressed and quasi-included into the circle of deputies by their figurative counterpart, the heroically emphasised President of the National Assembly.

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Heroised persons often seem to be surrounded by an aura of splendour, magnificence, and unapproachability. Depending on the situation, however, the impression of authenticity, approachability and even sensuality may enhance the heroisation or make it appear particularly credible. This was the case with the members of the German propaganda companies during World War II. They had the task of presenting the frontline operation of the Wehrmacht as heroic and victorious in newspaper, magazine or film reports. The heroisation of the Wehrmacht by the propaganda companies gained credibility, as members of the propaganda companies themselves appeared as heroes.

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Throughout history, there have been people who spontaneously intervened to save others in emergency situations. It was only in the bourgeois societies of the late eighteenth and nineteenth centuries that anyone could potentially become a hero, regardless of origin or gender. Heroisation of this kind was sometimes done with the intention of creating social cohesion. However, it was rare that memorials were erected for socalled everyday heroes. And if they were, their modesty reflected the simple circumstances from which most everyday heroes came. Expressive form and heroic figure have to fit together if an audience is to be found for the heroic narrative.

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Those who erect statues of heroic figures assert dominance over public space and convey a message to those who pass by. In former colonies, numerous statues dedicated to the heroes of the colonial powers were toppled during decolonisation. Often, new monuments were erected in the same location shortly thereafter. Apparently, the form of heroisation is more resilient than the actual hero. This is true even where the hero worship is a relic of the exact system, the end of which the toppling of statues was meant to symbolise.

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