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in fact, Marie-Antoinette was a generous patron of charity and other members of the royal family were often embarrassed or irritated by her habit of bursting into tears when she heard of the plight of the suffering poor. There's also a problem with dates. During Louis the Sixteenth's time as king, there was only one case of bread shortages in Paris and that was shortly after his coronation. Marie-Antoinette was eighteen at the time and when she heard about the people's unhappiness at the food situation, she wrote a letter about it back to her mother in Austria, in which she said, "We are more obliged than ever to work for the people's happiness. The King seems to understand this truth; as for myself, I know that in my whole life (even if I live for a hundred years) I shall never forget". Marie-Antoinette's personality therefore seems to have been the exact opposite of someone who would joke about the starving poor.

The story of a princess joking "let them eat cake" had actually been told many years before Marie-Antoinette ever arrived in France, as a young princess of fourteen in 1770. Her brother-in-law, the Count of Provence, who hated her, later said that he heard the story as a child, long before his brother ever married Marie-Antoinette. The count claimed that the version he heard was that the woman who made the comment had been his great-great-great grandmother, Maria-Teresa of Spain, who advised peasants to eat pie crust (or brioche) during bread shortages. A French socialite, the Countess of Boigne, said she'd heard that it had been Louis the Sixteenth's bitter aunt, Princess Victoria, and the great philosopher, Rousseau, wrote that he had heard the "let them eat cake" story about an anonymous great princess. Rousseau wrote this story in 1737 - eighteen years before Marie-Antoinette was even born!

Others think that because the French Revolution was able to dress itself up as the force that brought freedom and equality to Europe, it had to justify its many acts of violence and terror. Executing Marie-Antoinette at the age of thirty-seven and leaving her two children as shivering, heart-broken orphans in the terrifying Temple prison, suggested that the Revolution was a lot more complicated than its supporters like to claim. However, if Marie-Antoinette is painted as stupid, deluded, out-of-touch, spoiled and selfish, then we're likely to feel a lot less pity when it comes to studying her death. If that was the republicans' intention, then they did a very good job. Two hundred years later and the poor woman is still stuck with a terrible reputation, and a catchphrase, that she certainly doesn't deserve.

The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.