this matrimonial alliance was effected were made no secret of by the emperor, and were indicated of course in the plainest possible terms by the English contemporary caricaturists, who were certainly not troubled with any unnecessary scruples of prudery or delicacy. One of these satires, published by Tegg, on the 16th of August, 1810, is entitled Boney and his New Wife, or a Quarrel about Nothing, and indicates in the plainest possible terms that the purposes for which the divorce had been effected were as distant as ever. The result of this union, however, was the birth of the young king of Rome on the 20th of March, 1810, an event which set the pencils of our pictorial satirists once more in motion, and the young heir and his father were complimented by Rowlandson in a rough caricature, published by Tegg on the 9th of April, 1811, as Boney the Second, the little Babboon [sic] created to devour French Monkies. In March, 1811, was fought the battle of Barossa; while the same month Massena, finding it difficult to maintain his army in a devastated country, instead of fulfilling his vain-glorious boast of driving "the English into their native element," began his own retreat from Santarem, abandoning part of his baggage and heavy artillery. Marching in a solid mass, his rear protected by one or two divisions, he retired towards the Mondego, preserving his army. from any great serious disaster, though watchfully and vigorously pursued by Lord Wellington. The skilful generalship of the French marshal elicited of course no encomiums from the English caricaturists. On the contrary, we see (in "The Scourge" of 1st May, 1811) Wellington in the act of basting a French goose before a huge fire, a British bayonet forming the spit. While basting the goose with one hand, the English general holds over the fire in the other a frying-pan filled with French generals, some of whom-to escape the overpowering heat-are leaping into the fire; another British officer (probably intended for General Graham) blows the flames with a pair of bellows labelled "British bravery." Napoleon appears in a stew-pan over an adjoining boiler, while we find Marshal Massena himself in a pickle-jar below. This satire is entitled, British Cookery, or Out of the Frying pan into the Fire. BATTLE OF NAPOLEON'S STAR BEGINS TO WANE. The star of Napoleon was beginning to wane in 1812. The snow made its first appearance in Russia on the 13th of October of that year, and the French emperor already commenced his preparations for retreat. This is referred to in a very clever caricature published by Tegg on the 1st of December, 1812, wherein we find General Frost shaving Boney with a razor marked "Russian steel." Napoleon stands up to his knees in snow, and out of the nostrils of the snow fiend [General Frost] issue blasts labelled "North," "East," "Snow," and "Sleet." Seven days later on, we meet with a roughlyexecuted cartoon, Polish Diet with French Dessert, wherein we see Napoleon basted by General Benningsen, the spit being turned by a Russian bear. This caricature, no doubt, has reference to the disastrous defeat by Benningsen of the French advanced guard, thirty thousand strong, under Murat, on the 18th of October, 1812, when fifteen hundred prisoners, thirty-eight cannon, and the whole of the baggage of the corps, besides other trophies, fell into the victors' hands. The retreat from Moscow is referred to in a satire published by Thomas Tegg on the 7th of March, 1813, labelled, The Corsican Bloodhound beset by the Bears of Russia; wherein Napoleon is represented as a mongrel bloodhound with a tin kettle tied to his tail, closely pursued by Russian bears. Various papers are flying out of the kettle, labelled "Oppression," "Famine," "Frost," "Destruction," "Death," "Horror," "Mortality," "Annihilation." แ "Push on, my lads," says one of the pursuers. "No grumbling; keep scent of him; no sucking of paws this winter, here is food for the bears in all the Russias." The emperor, in truth, had the narrowest escape from being made a prisoner by the Cossacks, a fact alluded to in another caricature published by Tegg in June, 1813, entitled, Nap nearly Nab'd, or a Retreating Jump just in time. Here, the emperor and one of his marshals are depicted leaping out of window, at the very moment when a Cossack with his lance appears outside the palings. "Vite," says the marshal, in the peculiar patois adopted by the English caricaturists of the early part of the century, "Courez, mon Empereur, ce Diable de Cossack, dey spoil our dinner!!!" THE RETREAT FROM RUSSIA. 23 Napolcon collected his marshals around him at Smorgoni, on the 5th of December, 1812, and dictated a bulletin which developed the horrors of the retreat, and explained to them his reasons for returning to Paris. "I quit you," he said, "but go to seek three hundred thousand men." He then proceeded to lay the blame on the King of Westphalia, and his trusted and tried friend the Duc d'Abrantes; alleged that English torches had turned Moscow into a heap of ashes; and added (with greater truthfulness) that the cold had done the rest of the mischief. He entrusted the command to Murat, and bidding them farewell set out, accompanied only by Generals Coulaincourt, Duroc, and Mouton, the Mameluke Rustan, a captain of the Polish lancers, and an escort of Neapolitan horsemen. This event is referred to in a caricature, published by S. W. Fores on the 1st of January, 1813, entitled, Boney returning from Russia covered with Glory, leaving his army in comfortable winter quarters. Napoleon and Coulaincourt are seated in a sleigh driven by another general in jack boots, with a tremendous cocked hat on his head, a huge sword by his side, and a formidable whip in his hand. Coulaincourt inquires, "Will your Majesty write the bulletin?" "No," replies Napoleon; "you write it. Tell them we left the army all well, quite gay; in excellent quarters; plenty of provisions; that we travelled in great style; received everywhere with congratulations; and that I had almost completed the repose of Europe" (a favourite expression of his). By way of contrast to these grandiloquent phrases, the eye is attracted to the surroundings. The ground is thickly coated with snow; in the foreground, two famished wretches cut and devour raw flesh from a dead horse. On all sides lie dead and dying men and animals, while in the distance we behold the flying and demoralized troops chased by a cloud of Cossacks. The English caricaturists follow the emperor into the sanctity of his private life; they depict in their own homely but forcible fashion the astonishment of the empress at his unexpected return, and the disgust of young "Boney the Second," who not only expresses surprise that his imperial sire had forgotten his promise to "bring him some Russians to cut up," but suggests that they seem THE BULLETIN. FRENCH ROYALIST SATIRES. to have "cut him up" instead. These incidents are described in a satire entitled, Nap's Glorious Return; or, the Conclusion of the Russian campaign, published by Tegg, in June, 1813. The crushing defeat of Vitoria, the crowning disaster of Leipzigsustained the same year, the subsequent abdication of Bonaparte, the return from Elba, the brief incident of the "hundred days," the catastrophe of Waterloo, and the subsequent consignment of the great emperor to St. Helena, form of course the subjects of a host of graphic satires. Foremost amongst them (for Gillray's intellect was gone), must be mentioned the caricatures of Thomas Rowlandson and of George Cruikshank. The first being fully described in Mr. Grego's work, we are not called on to mention them here, while the last will be fully set out when we come to treat of the caricature work of George Cruikshank. The French royalist satirists of course expressed their views on the situation. A French royalist caricature, published after Waterloo, represents Napoleon as a dancing bear forced to caper by England, his keeper, who makes an unsparing use of the lash, whilst Russia and Prussia play pipe and drum by way of music. A good answer, however, to this is found in a French caricature (published in the Napoleon interest), like most of the French satires of that period without date, entitled, L'après dinée des Anglais, par un Français prisonnier-de-guerre, which satirizes the after-dinner drinking propensities of the English of the period. The caricature, although neither flattering nor altogether decent, is probably not an exaggerated picture of English after-dinner conviviality while the century was young. By far the most biting, the most sarcastic, the most effective, and the most popular of the anti-Bonaparte caricatures are those by James Gillray, which commence before the close of the last century, and end in 1811, the year when the lurid genius of this greatest and most original of satirists was quenched in the darkness of mental imbecility. James Gillray, however, like his able friend and contemporary, Thomas Rowlandson, does not fall within our definition of a "nineteenth century" satirist; and I am precluded from describ |
