The Project Gutenberg e-Book of The History of the Nineteenth Century in Caricature; Authors: Arthur Bartlett Maurice and Frederic Taber Cooper.The Project Gutenberg EBook of The History of the Nineteenth Century inCaricature, by Arthur Bartlett Maurice and Frederic Taber CooperThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever. You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The History of the Nineteenth Century in CaricatureAuthor: Arthur Bartlett MauriceFrederic Taber CooperRelease Date: October 3, 2011 EBook #37603Language: EnglishCharacter set encoding: ISO-8859-1. START OF THIS PROJECT GUTENBERG EBOOK THE HISTORY OF THE.Produced by Bryan Ness, Christine P. Travers and the OnlineDistributed Proofreading Team at (Thisfile was produced from images generously made availableby The Internet Archive/American Libraries.)Transcriber's note: Obvious printer's errors have been corrected.Hyphenation and accentuation have been standardised, all otherinconsistencies are as in the original. The author's spelling has beenmaintained. THE HISTORY OF THE NINETEENTH CENTURY IN CARICATURE. Gillray's Conception of the French Invasion ofEngland.The necessity of getting a caricature swiftly before the public hasalways been felt, and has given rise to some curious devices andmakeshifts.

From a relatively small initial level) is really exceptional; this is not the case for. 1' countries also led to an asset bubble in the stock market, 'tulip mania' style. Was growing at a 358 RETHINKING DEVELOPMENT ECONOMICS Figure 9. The most obvious sign of bubble mania for me was stopping in at a new tract in Moreno Valley in Early 2007 and seeing prices of $700k. These were nice big homes on 1/2 acre lots but they were still in MORENO VALLEY. And get this, $700k got you VINYL flooring in the kitchen and bathrooms.

In the example which we have noted as having come downfrom Roman times, a patriotic citizen of Pompeii could find no bettermedium for giving his cartoon of an important local event to the worldthan by scratching it upon the wall of his dwelling-house after thefashion of the modern advertisement. There was a time in theseventeenth century when packs of political playing-cards enjoyed anextended vogue. The fashion of printing cartoons upon ladies' fans andother articles of similarly intimate character was a transitory fad inEngland a century ago. Ackermann, a famous printer of hisgeneration, and publisher of the greater part of Rowlandson'scartoons, adopted as an expedient for spreading political news a smallballoon with an attached mechanism, which, when liberated, would dropnews bulletins at intervals as it passed over field and village. Inthis country many people of the older generation will still rememberthe widespread popularity of the patriotic caricature-envelopes thatwere circulated during the Civil War.

To-day we are so used to thedaily newspaper cartoon that we do not stop to think how seriouslyhandicapped the cartoonists of a century ago found themselves. Themore important cartoons of Gillray and Rowlandson appeared either inmonthly periodicals, such as the Westminster Magazine and theOxford Magazine, or in separate sheets that sold at theprohibitive (p. 6) price of several shillings. In times of greatpublic excitement, as during the later years of the Napoleonic wars,such cartoons were bought up greedily, the City vying with thearistocratic West End in their patriotic demand for them. But suchtimes were exceptional, and the older caricaturists were obliged tolet pass many interesting crises because the situations would havebecome already stale before the day of publication of the monthlymagazines came round.

With the advent of the illustrated weeklies thesituation was improved, but it is only in recent times that the idealcondition has been reached, when the cabled news of yesterday isinterpreted in the cartoon of to-day. Nelson at the Battle of the Nile.There is another and less specific reason why caricature had to awaitthe advent of printing and the wider dissemination of knowledge whichresulted. The successful political (p. 7) cartoon presupposes acertain average degree of intelligence in a nation, an awakened civicconscience, a sense of responsibility for the nation's welfare. Thecleverest cartoonist would waste his time appealing to a nation offeudal vassals; he could not expect to influence a people to whom theballot box was closed. Caricature flourishes best in an atmosphere ofdemocracy; there is an eternal incompatibility between its audaciousirreverence and the doctrine of the divine right of kings.

The French Consular Triumvirate. 12) CHAPTER IIHOGARTH AND HIS TIMESFrom Holland caricature migrated to Great Britain in the closing yearsof the seventeenth century—a natural result of the attention whichDutch cartoonists had bestowed upon the revolution of 1688—and thereit found a fertile and congenial soil.

The English had not had time toforget that they had once put the divine right of kings to the test ofthe executioner's block, and what little reverence still survived wasnot likely to afford protection for a race of imported monarchs.Moreover, as it happened, the development of English caricature wasdestined to be guided by the giant genius of two men, Hogarth andGillray; and however far apart these two men were in their moral andartistic standards, they had one thing in common, a perennial scornfor the House of Hanover. Hogarth's contemptuous satire of George II.was more than echoed in Gillray's merciless attacks upon George III.The well-known cartoons of 'Farmer George,' and 'George theButton-Maker,' were but two of the countless ways in which he avengedhimself upon the dull-witted king who had once acknowledged that hecould not see the point of Gillray's caricatures.Although Hogarth antedates the period covered by the present articlesby fully half a century, he is much too commanding a figure in thehistory of comic art to be summarily dismissed. The year 1720 marksthe era of the so-called 'bubble mania,' the era of unprecedentedinflation, of the (p. 13) South Sea Company in London, and theequally notorious Mississippi schemes of John Law in France. Popularexcitement found vent in a veritable deluge of cartoons, many of whichoriginated in Amsterdam and were reprinted in London, often with theaddition of explanatory satiric verses in English.

In one, Fortune isrepresented riding in a car driven by Folly, and drawn bypersonifications of the different companies responsible for thedisastrous epidemic of speculation: the Mississippi, limping along ona wooden leg; the South Sea, with its foot in splints, etc. Inanother, we have an imaginary map of the Southern seas, representing'the very famous island of Madhead, situated in Share Sea, andinhabited by all kinds of people, to which is given the general nameof Shareholders.' John Law came in for a major share of thecaricaturist's attention. In one picture he is represented asassisting Atlas to bear up immense globes of wind; in another, he is a'wind-monopolist,' declaring, 'The wind is my treasure, cushion, andfoundation.

Master of the wind, I am master of life, and my windmonopoly becomes straightway the object of idolatry.' The windycharacter of the share-business is the dominant note in the cartoonsof the period. Bubbles, windmills, flying kites, play a prominent partin the detail with which the background of the typical Dutchcaricature was always crowded. These cartoons, displayed conspicuouslyin London shop windows, were not only seen by Hogarth, but influencedhim vitally. His earliest known essay in political caricature is anadaptation of one of these Dutch prints, representing the wheel ofFortune, bearing the luckless and infatuated speculators high aloft.His latest work still shows the influence of Holland in the endlesswealth of minute detail, the painstaking elaboration of hisbackgrounds, in which the most patient (p. 15) examination is everfinding something new.

With Hogarth, the overcharged method of theDutch school became a medium for irrepressible genius. At the hands ofhis followers and imitators, it became a source of obscurity andconfusion. 'The Capture of the Danish Ships.' While Hogarth is rightly recognized as the father of Englishcaricature, it must be remembered that his best work was done on thesocial rather than on the political side. Even his most famouspolitical series, that of 'The Elections,' is broadly generalized. Itis not in any sense campaign literature, but an exposition ofcontemporary manners. And this was always Hogarth's aim.

He was byinstinct a realist, endowed with a keen sense of humor—a quality inwhich many a modern realist is deficient. He satirized life as he sawit, the good and the bad together, with a frankness which at times wassomewhat brutal, like the frankness of Fielding and of Smollett thefrankness of the age they lived in. It was essentially an outspokenage, robust and rather gross; a red-blooded age, nurtured on Englishbeef and beer; a jovial age that shook its sides over many a broadjest, and saw no shame in open allusion to the obvious and elementalfacts of physical life. Judged by the standards of his day, there islittle offense in Hogarth's work; even when measured by our own, he isnot deliberately licentious. On the contrary, he set an example ofmoderation which his successors would have done well to imitate.

Herealized, as the later caricaturists of his century did not, that thegreat strength of pictorial satire lies in ridicule rather than ininvective; that the subtlest irony often lies in a close adherence totruth, where riotous and unrestrained exaggeration defeats its ownend. Just as in the case of 'Joseph Andrews,' Fielding's creativeinstinct got the upper hand of the parodist, so in much of (p. 17)Hogarth's work one feels that the caricaturist is forced to yieldplace to the realistic artist, the student of human life, carried awayby the interest of the story he has to tell. His chief gift tocaricature is his unprecedented development of the narrative qualityin pictorial art. He pointed a road along which his imitators couldfollow him only at a distance.

'Bonaparte and his English Friends—The Broad BottomAdministration.' With the second half of the eighteenth century there began an era ofgreat license in the political press, an era of bitter vituperationand vile personal abuse. Hogarth was one of the chief sufferers. Afterholding aloof from partisan politics for nearly half a century, hepublished, in 1762, his well-known cartoon attacking the ex-minister,Pitt. All Europe is represented in flames, which are spreading toGreat Britain in spite of the efforts of Lord Bute, aided by hisHighlanders, to extinguish them. Pitt is blowing upon the flames,which are being fed by the Duke of Newcastle from a barrow full ofMonitors and North Britons, two scurrilous papers of the day. Thebitterness with which Hogarth was attacked in retaliation and thepersistence of his persecutors resulted, as was generally believed atthe time, in a broken heart and his death in 1764.An amazing increase in the number of caricatures followed the entry ofLord Bute's ministry into power.

They were distinguished chiefly bytheir poor execution and gross indecency. As early as 1762, theGentleman's Magazine, itself none too immaculate, complains that'Many of the representations that have lately appeared in the shopsare not only reproachful to the government, but offensive tocommon-sense; they discover a tendency to inflame, without a spark offire to light their own combustion.'

The state of society in Englandwas at this time notoriously immoral and licentious. It was a periodof hard living and hard drinking. 18) The well-known habits ofsuch public figures as Sheridan and Fox are eminent examples.

Thespirit of gambling had become a mania, and women had caught thecontagion as well as men. Nowhere was the profligacy of the times moreclearly shown than in the looseness of public social functions, suchas the notorious masquerade balls, which a contemporary journal, theWestminster Magazine, seriously decried as 'subversive of virtue andevery noble and domestic point of honor.'

The low standards of moralsand want of delicacy are revealed in the extravagance of women'sdress, the looseness of their speech. It was an age when women ofrank, such as Lady Buckingham and Lady Archer, were publiclythreatened by an eminent judge with exposure on the pillory for havingsystematically enticed young men and robbed them at their faro tables,and afterward found themselves exposed in the pillory of popularopinion in scurrilous cartoons from shop windows all over London. Pacific Overtures.

20) CHAPTER IIIJAMES GILLRAYAt a time when cheap abuse took the place of technical skill, andvulgarity passed for wit, a man of unlimited audacity, who was also aconsummate master of his pencil, easily took precedence. Such a manwas James Gillray, unquestionably the leading cartoonist of the reignof George III. Yet of the many who are to-day familiar with the nameof Gillray and the important part he played in influencing publicopinion during the struggle with Napoleon, very few have anunderstanding of the dominant qualities of his work.

A large part ofit, and probably the most representative part, is characterized by afoulness and an obscenity which the present generation cannotcountenance. Mega man x legacy collection 2 ps4 trophy guide. There is a whole series of cartoons bearing his namewhich it would not only be absolutely out of the question toreproduce, but the very nature of which can be indicated only in themost guarded manner. Imagine the works of Rabelais shamelesslyillustrated by a master hand!

Try to conceive of the nature of thepictures which Panurge chalked up on the walls of old Paris. It wasnot merely the fault of the times, as in the case of Hogarth. Publictaste was sufficiently depraved already; but Gillray deliberatelyprostituted his genius to the level of a procurer, to debauch itfurther. From first to last his drawings impress one as emanating froma mind not only unclean, but unbalanced as well—a mind over whichthere hung, even at the beginning, the furtive shadow of thatmadness which at last overtook (p. 22) and blighted him. There is butone of the hallmarks of great caricature in the work of Gillray, andthat is the lasting impression which they make.

They refuse to beforgotten; they remain imprinted on the brain, like the obsession of anightmare. While in one sense they stand as a pitiless indictment ofthe generation that tolerated them, they are not a reflection of thelife that Gillray saw, except in the sense that their physicaldeformity symbolizes the moral foulness of the age. Grace and charmand physical beauty, which Hogarth could use effectively, are unknownquantities to Gillray. There is an element of monstrosity about allhis figures, distorted and repellent. Foul, bloated faces; twisted,swollen limbs; unshapely figures whose protuberant flesh suggests atumefied and fungoid growth—such is the brood begotten by Gillray'spencil, like the malignant spawn of some forgotten circle of the lowerinferno.

'The Great Coronation Procession of Napoleon.' It would be idle to dispute the far-reaching power of Gillray'sgenius, perverted though it was. Throughout the Napoleonic wars,caricature and the name of Gillray are convertible terms; for, evenafter he was forced to lay down his pencil, his brilliantcontemporaries and successors, Rowlandson and Cruikshank, foundthemselves unable to throw off the fetters of his influence.

Nohistory of Napoleon is quite complete which fails to recognize Gillrayas a potent factor in crystallizing public opinion in England. Hislong series of cartoons aimed at 'little Boney' are the culminatingwork of his life. Their power lay, not in intellectual subtlety orbrilliant scintillation of wit, but in the bitterness of theirinvective, the appeal they make to elemental passions. They spoke alanguage which the roughest of London mobs could understand—thelanguage of the gutter. They were, many of them, masterpieces ofpictorial Billingsgate. 'Napoleon and Pitt dividing the World between Them.' 24) There is rancor, there is venom, there is the inevitableinheritance of the warfare of centuries, in these caricatures ofGillray, but above all there is fear—fear of Napoleon, of his genius,of his star.

It has been very easy for Englishmen of later days to saythat the French never could have crossed the Channel, that there wasnever any reason for disquiet; it was another matter in the days whentroops were actually massing by thousands on the hills behindBoulogne. You can find this fear voiced everywhere in Gillray, in thediscordance between the drawings and the text. John Bull is the ox,Bonaparte the contemptible frog; but it is usually the ox who isbellowing out defiance, daring the other to 'come on,' flinging downinsult at the diminutive foe.

'Let 'em come, damme!' Shouts the boldBriton in the pictures of the time. Where are the Frenchbugaboos? Single-handed I'll beat forty of 'em, damme!' Every meanswas used to rouse the spirit of the English nation, and to stimulatehatred of the French and their leader.

In one picture, Boney and hisfamily are in rags, and are gnawing raw bones in a rude Corsican hut;in another we find him with a hookah and turban, having adopted theMahometan religion; in a third we see him murdering the sick at Joppa.In the caricatures of Gillray, Napoleon is always a monster, a fiendin human shape, craven and murderous; but when dealing with thequestion of this fiend's power for evil, Gillray made no attempt atconsistency. This ogre, who through one series of pictures wasrepresented as kicked about from boot to boot, kicked by theSpaniards, the Turks, the Austrians, the Prussians, the Russians, inanother is depicted as being very dangerous indeed. A curious exampleof this inconsistency will be found in placing side by side the twocartoons considered by many to be Gillray's best: 'The King ofBrobdingnag (p. 26) and Gulliver,' already referred to, and'Tiddy-Doll, the great French gingerbread Maker, Drawing out a newBatch of Kings.' The 'pernicious, little, odious reptile' whom Georgethe Third is holding so contemptuously in the hollow of his hand, inthe first caricature, is in the second concededly of Europeanimportance. 'The Handwriting on the Wall.' 28) CHAPTER IVBONAPARTE AS FIRST CONSULFor the first decade of the nineteenth century there was but oneimportant source of caricature, and one all-important subject—Englandand Bonaparte.

America at this time counted for little ininternational politics. The revolutionary period closed definitelywith the death of Washington, the one figure in our national politicswho stood for something definite in the eyes of Europe. Our incipientnaval war with France, which for a moment threatened to assign us apart in the general struggle of the Powers, was amicably concludedbefore the close of the eighteenth century. Throughout theJeffersonian period, national and local satire and burlesqueflourished, atoning in quantity for what it lacked in wit and artisticskill. 'The Two Kings of Terror.'

After a cartoon by RowlandsonIn England, the Addington ministry, which in 1801 replaced that ofWilliam Pitt, and are represented in caricature as 'Lilliputiansubstitutes' lost in the depths of Mr. Pitt's jack-boots, set out as apeace ministry and entered into the negotiations with Napoleon which,in the following March, resulted in the Peace of Amiens. Gillrayanticipated this peace with several alarmist cartoons: 'Preliminariesof Peace,' representing John Bull being led by the nose across thechannel over a rotten plank, while Britannia's shield and (p. 31)several valuable possessions have been cast aside into the water; and'Britannia's Death Warrant,' in which Britannia is seen being draggedaway to the guillotine by the Corsican marauder. The peace at firstgave genuine satisfaction in England, but toward the end of 1802 therewere growing signs of popular discontent, which Gillray voiced in 'TheNursery, with Britannia Reposing in Peace.'

Britannia is hereportrayed as an overgrown baby in her cradle and fed upon Frenchprinciples by Addington, Lord Hawkesbury, and Fox. Still more famouswas his next cartoon, 'The First Kiss this Ten Years; or, the Meetingof Britannia and Citizen Francois.' Britannia, grown enormously stout,her shield and spear idly reposing against the wall, is blushingdeeply at his warm embrace and ardent expressions of joy: 'Madame,permit me to pay my profound esteem to your engaging person, and toseal on your divine lips my everlasting attachment!!!' She replies:'Monsieur, you are truly a well-bred gentleman; and though you makeme blush, (p. 32) yet you kiss so delicately that I cannot refuseyou, though I was sure you would deceive me again.'

In the backgroundthe portraits of King George and Bonaparte scowl fiercely at eachother upon the wall. This is said to be one of the very fewcaricatures which Napoleon himself heartily enjoyed.From now on, the cartoons take on a more caustic tone. Britannia isbeing robbed of her cherished possessions, even Malta being on thepoint of being wrested from her; while the bugaboo of an invading armylooms large upon the horizon. In one picture Britannia, unexpectedlyattacked by Napoleon's fleet, is awakening from a trance of fanciedpeace, and praying that her 'angels and ministers of disgrace defendher!' In another, John Bull, having waded across the water, istaunting little Boney, whose head just shows above the wall of hisfortress:If you mean to invade us, why make such a rout?I say, little Boney, why don't you come out?Yes, d—— you, why don't you come out?In his cartoon called 'Promised Horrors of the French Invasion; or,Forcible Reasons for Negotiating a Regicide Peace,' Gillray paintedthe imaginary landing of the French in England. The ferocious legionsare pouring from St.

James's Palace, which is in flames, and they aremarching past the clubs. The practice of patronizing democracy in thecountries they had conquered has been carried out by handing over theTories, the constitution, and the crown to the Foxite reformers andthe Whig party. The chief hostility of the French troops is directedagainst the aristocratic clubs. An indiscriminate massacre of themembers of White's is proceeding in the doorways, on the balconies,and wherever the republican levies have penetrated.

The royal princesare stabbed and thrown into the street. A rivulet of blood is(p. In the center of the picture is a tree of liberty.To this tree Pitt is bound, while Fox is lashing him. Napoleon's Burden.From a German cartoon of the period.This was followed on the 1st of January by a large satirical print byGillray, of 'The Grand Coronation Procession,' (p.

36) in which thefeature that gave special offense was the group of three princesses,the Princess Borghese, the Princess Louise, and the Princess JosephBonaparte, arrayed in garments of indecent scantiness, and heading theprocession as the 'three imperial Graces.' The English caricatures ofthis period relating to the new Emperor and Empress are as a rule notonly libelous, but grossly coarse. At the same time, the politicalconditions of the times are cleverly hit off in 'The Plum Pudding inDanger; or, State Epicures Taking on Petit Souper,' published February26, 1805, which depicts the rival pretensions of Napoleon and Pitt.They are seated at opposite sides of the table, the only dish betweenthem (p.

37) being the Globe, served up on a shallow plate andresembling a plum pudding. Napoleon's sword has sliced off thecontinent—France, Holland, Spain, Italy, Prussia—and his fork is dugspitefully into Hanover, which was then an appanage of the Britishcrown. Pitt's trident is stuck in the ocean, and his carver ismodestly dividing the Globe down the middle.During the summer of 1805 the third coalition against France wascompleted, its chief factors being Great Britain, Russia, and Austria.A contemporary print entitled 'Tom Thumb at Bay' commemorates the newarmament. Napoleon, dropping crown and scepter in his flight, isevading the Austrian eagle, the Russian bear, and the Westphalian pig,only to run at last pell-mell into the gaping jaws of the Britishlion. It is somewhat curious that the momentous events of the newwar—the annihilation of the French fleet at Trafalgar, the equallydecisive French victory at Austerlitz—were scarcely noticed incaricature, and a few exceptions have little merit.

But in thefollowing January, 1806, when Napoleon had entered upon an epoch ofking-making, with his kings of Wurtemburg and Bavaria, Gillrayproduced one of his most famous prints. It was published the 23d ofJanuary (the day that Pitt breathed his last), and was entitled'Tiddy-Doll, the Great French Gingerbread Baker, Drawing out a newBatch of Kings, His Man, 'Hopping Talley,' Mixing up the Dough.' Thegreat gilt gingerbread baker is shown at work at his new French ovenfor imperial gingerbread. He is just drawing from the oven's mouth afresh batch of kings.

The fuel is shown in the form of cannon-balls.Holland, Switzerland, Austria, Italy, Venice and Spain are followingthe fate of the French Republic. On top of the chest of drawers,labeled respectively 'kings and queens,' 'crowns and scepters,' 'sunsand (p.

38) moons' is arranged a gay parcel of little dough viceroysintended for the next batch. Among them are the figures of Fox,Sheridan, Derby, and others of the Whig party in England. The French Gingerbread Baker.In the comprehensive and ill-assorted Coalition ministry which wasformed soon after Pitt's death, the caricaturists found a congenialtopic for their pencils. They ridiculed it unmercifully under thetitle 'All the Talents,' and the 'Board Bottomed' ministry.

Acomposite picture by Rowlandson shows the ministry as a spectacled apein the wig of a learned justice, with episcopal mitre and Catholiccrozier. He wears a lawyer's coat and ragged breeches, with a shoe onone foot and a French jack-boot on the other. He is dancing on afuneral pyre of papers, the results of the administration, its endlessnegotiations with France, its sinecures and patronages, which areblazing away. The creature's foot is discharging a gun, whichproduces signal mischief in the rear (p. 39) and brings down twoheavy folios, the Magna Charta and the Coronation Oath, upon its head.

'The Devil and Napoleon.' From an anonymous French caricature.This ministry's futile negotiations for peace with France arefrequently burlesqued. Gillray published on April 5 'PacificOvertures; or, a Flight from St. Cloud's 'over the water to Charley,'in which the negotiations are described as 'a new dramatic peace,now rehearsing.' In this cartoon King George has left the statebox—where the play-book of 'I Know You All' still remains open—toapproach nearer to little Boney, who, elevated on the clouds, isdirecting attention to his proposed treaty. 'Terms of Peace:Acknowledge me as Emperor; dismantle your fleet, reduce your armies;abandon Malta and Gibraltar; renounce all continental connection; yourcolonies I will take at a valuation; engage to pay to the Great Nationfor seven years annually one million pounds; and place in my hands ashostages the Princess Charlotte of Wales, with others of the lateadministration (p. 40) whom I shall name.'

King George replies: 'Veryamusing terms, indeed, and might do vastly well with some of thenew-made little gingerbread kings; but we are not in the habit ofgiving up either ships or commerce or colonies merely because littleBoney is in a pet to have them.' This cartoon introduces among othersTalleyrand, O'Conor, Fox, Lord Ellenborough, the Duke of Bedford, LordMoira, Lord Lauderdale, Addington, Lord Henry Petty, Lord Derby, andMrs.

Fitzherbert.Shortly afterward, on July 21, 1806, Rowlandson voices the currentfeeling of distrust of Fox in 'Experiments at Dover; or, MasterCharley's Magic Lantern.' Fox is depicted at Dover, training the raysof his magic lantern on the cliffs of Calais. John Bull, watching him,is not satisfied. 'Yes, yes, it be all very fine, if it be true; but Ican't forget that d—d Omnium last week. I will tell thee what,Charley, since thee hast become a great man, I think in my heart theebeest always conjuring.'

The cartoon entitled 'Westminster Conscripts under the Training Act'appeared September 1, 1806. Napoleon, the drill sergeant, is elevatedon a pile of cannon-balls; he is giving his authoritative order to'Ground arms.' The invalided Fox has been wheeled to the ground in hisarmchair; the Prince of Wales' plume appears on the back of his seat.Other figures in the cartoon are Lord Lauderdale, Lord Grenville, LordHowick, Lord Holland, Lord Robert Spencer, Lord Ellenborough, the Dukeof Clarence, Lord Moira, Lord Chancellor Erskine, Colonel Hanger, andTalleyrand. The Consultation.From the collection of John Leonard Dudley, Jr.Gillray has left a cartoon commemorating the arrival of the Danishsquadron, under the title of 'British Tars Towing the Danish Fleetinto Harbor; the Broad Bottom (p. 43) Leviathan trying to swampBilly's Old Boat; and the Little Corsican Tottering on the Clouds ofAmbition.'

This cartoon was issued October 1, 1807. Lords Liverpooland Castlereagh are lustily rowing the Billy Pitt; Canning, seatedin the stern, is towing the captured fleet into Sheerness, with theUnion Jack flying over the forts. Copenhagen, smoking from the recentbombardment, may be distinguished in the distance. In Sheerness harborthe sign of 'Good Old George' is hung out at John Bull's Tavern; JohnBull is seated at the door, a pot of porter in his hand, waving hishat and shouting: 'Rule Britannia! Britannia Rules the Waves!'

Thatthe expedition did not escape censure is shown by the figure of athree-headed porpoise which is savagely assailing the successful crew.This monster bears the heads of Lord Howick, shouting 'Detraction!' Vincent tilled with 'Envy,' and discharging a waterybroadside; and Lord Grenville, who is raising his 'Opposition Clamor'to confuse their course. 44) CHAPTER VINAPOLEON'S WANING POWERNo period of the Napoleonic wars gave better opportunity for satirethan Napoleon's disastrous occupation of Spain and his invasion ofPortugal.

The titles alone of the cartoons would fill a volume. Thesanguine hopes of success cherished by the English government areexpressed by Gillray in a print published April 10, 1808. Castles in the Air! Glorious Prospects!' It depicts theministers sunken in a drunken sleep and visited by glorious visions ofBritannia and her lion occupying a triumphal car formed from the hullof a British ship, drawn by an Irish bull and led by an English tar.She is dragging captive to the Tower little Boney and the RussianBear, both loaded with chains. Napoleon in the Valley of the Shadow of Death.From James Gillray's caricature.As Gillray retires from the field several other clever artists standready to take his place, and chief among them Rowlandson. The latterhad a distinct advantage over Gillray in his superior artistictraining.

He was educated in the French (p. 48) schools, where hegave especial attention to studies from the nude.

In the opinion ofsuch capable judges as Reynolds, West, and Lawrence, his gifts mighthave won him a high place among English artists, if he had not turned,through sheer perversity, to satire and burlesque. Rowlandson'sNapoleonic cartoons began in July, 1808. These initial efforts areneither especially characteristic nor especially clever, but theycertainly were duly appreciated by the public. Joseph Grego, in hisinteresting and comprehensive work upon Rowlandson, says of them. The Spider's Web.From a German caricature commemorating German success in 1814.'

It is certain that the caricaturist's travesties of the littleEmperor, his burlesques of his great actions and grandiosedeclarations, his figurative displays of the mean origin of the(p. 49) imperial family, with the cowardice and depravity of itsmembers, won popular applause.

And when disasters began to cloudthe career of Napoleon, as army after army melted away. The artistbent his skill to interpret the delight of the public. The Citycompeted with the West End in buying every caricature, in loyalcontest to prove their national enmity for Bonaparte. In too manycases, the incentive was to gratify the hatred of the Corsican ratherthan any remarkable merit that could be discovered in the caricatures.Very few of these mock-heroic sallies imprint themselves upon(p. 50) the recollection by sheer force of their own brilliancy, aswas the case with Gillray, and frequently with John Tenniel.Rowlandson and Cruikshank are risible, but not inspired.' 'The Chief of the Grand Army in a Sad Plight.'

From a French cartoon of the period.' The Beast as Described in the Revelations' followed within two weeks.The beast, of Corsican origin, is represented with seven heads, andthe names of Austria, Naples, Holland, Denmark, Prussia, and Russiaare inscribed on their respective crowns. Napoleon's head, severedfrom the trunk, vomits forth flames. In the distance, cities areblazing, showing the destruction wrought by the beast. Spain isrepresented as the champion who alone dares to stand against themonster.'

The Political Butcher' bears date September 12 of (p. 51) the sameyear. In this print the Spanish Don, in the garb of a butcher, iscutting up Bonaparte for the benefit of his neighbors. The body of thelate Corsican lies before him and is being cut up with professionalzeal. The Don holds up his enemy's heart and calls upon the otherPowers to take their share. The double-headed eagle of Austria isswooping upon Napoleon's head: 'I have long wished to strike my talonsinto that diabolical head-piece'; the British bulldog has beenenjoying portions of the joints, and thinks that he would 'like tohave the picking of that head.' The Russian bear is luxuriouslylicking Napoleon's boots, and remarks, 'This licking is giving me amortal inclination to pick a bone.'

The final failure of the Spanish campaign is signalized, September 20,in a cartoon labeled 'Napoleon the Little in a Rage with his GreatFrench Eagle.' The Emperor, with drawn sword and bristling with rage,threatens the French imperial eagle, larger than himself. The bird'shead and one leg are tied up—the result of damage inflicted by theSpaniards. 'Confusion and destruction!' Thunders Napoleon, 'what isthis I see? Did I not command you not to return until you had spreadyour wing of victory over the whole of Spain?' 'Aye, it's finetalking,' rejoins the bird, 'but if you had been there, you would notmuch have liked it.

The Spanish cormorants pursued me in such a mannerthat they set me molting in a terrible way. I wonder that I have notlost my feathers. Besides, it got so hot I could not bear it anylonger.'

The Order of the Extinguishers.A typical French cartoon of the Restoration.' As for poor caricature and freedom of the press, they, like therightful princess in a fairy tale, with the merry fantastic dwarf, herattendant, were entirely in the power of the giant who rules theland. The Princess, the press, was so (p. 68) closely watched andguarded (with some little show, nevertheless, of respect for her rank)that she dared not utter a word of her own thoughts; and, as for poorCaricature, he was gagged and put out of the way altogether.'