st will be fully
set out when we come to treat of the caricature work of George
Cruikshank.

FRENCH ROYALIST SATIRES.

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'apres dinee des Anglais, par un Francais 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.

[Illustration:
GILLRAY. _"Royal Affability," Feb. 10th._

"Well, friend, where a' you going, hay? What's your name, hay? Where
do you live, hay?--hay?"]

[Illustration:
GILLRAY. _Connoisseur examining a Cooper June 18th, 1792._

A CONNOISSEUR IN ART.]

[Illustration:
GILLRAY. _"A Lesson in Apple Dumplings."_

"Hay? hay? apple dumplings?--how get the apples in?--how? Are they
made without seams?"

_Face p. 24._]

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 describing them. I have
before me the admirable anti-Bonaparte satires of both artists; and
inseparably linked as they are with the men who began work after 1800,
the almost irresistible tendency is to describe some of them in
elucidation of the events to which I have occasion to refer. To do so,
however, although fascinating and easy, would be not only to wander from
my purpose, but to invade the province of the late Thomas Wright and of
Mr. Grego, which I am not called upon to do; to refer to them, however,
for the purpose of this chapter, I h