Delacroix painted this large canvas to celebrate the days of the Republican revolution in Paris on 28 July 1830, when the people rebelled against the Bourbon monarchy of Charles X. The composition of the painting is pyramidal and is focused on the image of a barefoot commoner ea breast discovered, allegory of Liberty, with the right arm raised to hold the French tricolor and the other armed with bayonet. The figure of freedom presents a pose that appears monumental and recalls the Nike Di Samotracia also preserved at the Louvre. At the base of the pyramid we find a glimpse of the stacked bodies rendered with raw realism, also emphasized by different details reported unreservedly by the painter. Such as the particular of the stocking remained at the foot of the corpse in the foreground. In the register central, we observe the protagonists who take up arms, which represent at the same time real and symbolic characters. In particular they allude to the social components that participated in the motions. The first a left, with unsheathed sword, the working class, the second, with cylinder and rifle, the bourgeoisie and the last, kneeling to feet of freedom, the peasant class. Both the worker and the intellectual bourgeois are self-portraits of the painter himself. Even the young man who agitates them guns, on the right of Liberty, is a symbol of a courageous and daring vitality, animated by the revolutionary impetus. The powerful dark light, the drama of vigorous brushstrokes, the use of bright colors and exuberant dusty atmosphere and reflections of fires contribute to an extraordinary emotional impact. Delacroix represents one of the painters symbol of the movement called Romanticism. First of all for the treated themes that are no longer classic historical events proposed as examples of virtue, but become facts of chronicle having the intent to communicate strong emotions to the viewer. The painter refuses use conventional line and design, to create shapes through the material color. The color in his works vibrates without borders in an explosion of energy that the canvas struggles to contain. We feel part of the episode described, inflamed by a romantic soul that requires us to follow the Freedom and to take up arms with it and for it. At the same time, we feel the pain of this choice. We hear the shots, we see the corpses, we feel compassion and we feel death. In this sense, Delacroix, shares in us his extraordinary vision, conferring on a made of contemporary history a drama and an eternal pathos.