The Tydsgebeurtenissen manuscript by the Antwerp aristocrat Pierre Goetsbloets affords a unique testimony of life under French revolutionary rule in the Belgian departments. It contains almost 300 watercolor images illustrating many aspects of public life, including depictions of the French republican festivals. For all their historical and iconographic importance, the watercolors have scarcely been studied, and are largely unknown outside of Belgium. This article aims to correct this neglect by critically examining the images, and by establishing their value as historical sources. These watercolors can be properly understood only in relation to the written text of the manuscript. An ardent counterrevolutionary, Goetsbloets was anything but a neutral observer. Nor can all the watercolors be considered eyewitness accounts of the events they depict. Yet Goetsbloets aimed to offer a truthful representation of events consistent with his self-appointed mission as a chronicler of his times. The same cannot be said, however, of his caricatures and allegories. In these satirical images, Goetsbloets expressly abandoned reality in favor of a hyperbolic visual language intended to expose the violence and injustice of the New Regime. Ultimately, Goetsbloets sought to deligitimise republican rule by satirizing its iconography.