English Caricature and Satire on Napoleon I. Volume 1 (of 2) — A Closer Reading
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HAPTER I. PAGE BIRTH AND GENEALOGY--HIS OWN ACCOUNT--MAJORCAN OR GREEK EXTRACTION--ENGLISH BIOGRAPHIES 1
DESCENT FROM THE MAN IN THE IRON MASK--ANAGRAMS, ETC., ON HIS NAME--THE BEAST OF THE APOCALYPSE--HIS MOTHER’S ACCOUNT OF HIS BIRTH 7
COUNT MARBŒUF, HIS PUTATIVE FATHER--POVERTY OF THE BONAPARTE FAMILY--EARLY PERSONAL DESCRIPTION OF NAPOLEON--HIS OWN ACCOUNT OF HIMSELF--SATIRISTS’ NARRATION OF HIS SCHOOL-DAYS 15
NAPOLEON AT THE ÉCOLE MILITAIRE--PERSONAL DESCRIPTION--_PUSS IN BOOTS_--VISIT TO CORSICA--SOLICITS SERVICE IN ENGLAND-- REPORTED VISIT TO LONDON--SIEGE OF TOULON 22
NAPOLEON’S PROMOTION--HIS POVERTY--JUNOT’S KINDNESS--REVOLT OF THE SECTIONS--NAPOLEON’S SHARE THEREIN--MADE GENERAL OF THE INTERIOR--INTRODUCTION TO JOSEPHINE--SKETCH OF HER LIFE 29
JOSEPHINE’S DRESS AND PERSONAL APPEARANCE--HER REPUTED CONNECTION WITH BARRAS--MARRIAGE WITH NAPOLEON--HER TASTES AND DISPOSITION 36
NAPOLEON MADE COMMANDER-IN-CHIEF OF THE ARMY OF ITALY--HIS SHORT HONEYMOON--HIS FIRST VICTORY--STATE OF THE FRENCH ARMY--THE ITALIAN CAMPAIGN--FRENCH DESCENT ON IRELAND--ITS RESULT-- STATE OF ENGLAND 43
NAPOLEON DESPOILS ITALY OF HER WORKS OF ART--THE SIEGE OF MANTUA --WÜRMSER’S SURRENDER--EARLIEST ENGLISH CARICATURE OF NAPOLEON --INVASION OF ENGLAND--LANDING IN PEMBROKESHIRE--NELSON’S RECEIPT TO MAKE AN OLLA PODRIDA--‘THE ARMY OF ENGLAND’ 48
CARICATURES ABOUT THE FRENCH INVASION--FOX’S FRENCH PROCLIVITIES --PATRIOTISM IN THE COUNTRY--EXPEDITION TO EGYPT--NELSON’S BLUNDERS--LANDING IN EGYPT--NAPOLEON AS A MAHOMETAN--HIS PROCLAMATIONS 54
CONDUCT OF FRENCH SOLDIERY--NAPOLEON’S HATRED OF ENGLAND--THE EGYPTIAN CAMPAIGN--DESTRUCTION OF THE MAMELUKES--BATTLE OF THE NILE--TARDY NEWS THEREOF 64
RECEPTION OF THE NEWS OF THE BATTLE OF THE NILE--NELSON SENDS FRENCH ADMIRAL’S SWORD TO THE CITY OF LONDON--VARIOUS CARICATURES ON THE BATTLE--TYPICAL JOHN BULL 69
REVOLT AND MASSACRE AT CAIRO--CARICATURES OF THE CAPTURE OF FRENCH SHIPS--FIGHTING FOR THE DUNGHILL, ETC.--PRICE OF BREAD AND CONSOLS IN 1798 77
REPORTED ATTEMPT TO ASSASSINATE NAPOLEON--HIS AMOUR WITH MADAME FOURÉS--THE EGYPTIAN CAMPAIGN--THE ‘SAVANTS’--CARICATURES ON THEM 82
TAKING OF JAFFA, AND MASSACRE OF SOLDIERS--DE BOURRIENNE’S ACCOUNT--NAPOLEON’S OWN VERSION 88
THE MASSACRE AT JAFFA, _continued_--ENGLISH EVIDENCE THEREON-- SIEGE OF ST. JEAN D’ACRE--CAPTURE OF NAPOLEON’S BATTERING TRAIN --FAILURE OF THE SIEGE, AND RETREAT TO JAFFA 95
RETREAT FROM JAFFA--POISONING OF FIVE HUNDRED SOLDIERS-- DIFFERENT ENGLISH AUTHORITIES THEREON--NAPOLEON’S OWN STORY, ALSO THOSE OF LAS CASES AND O’MEARA--RETREAT TO CAIRO 100
THE OLD RÉGIME AND THE REPUBLICANS--THE ‘INCROYABLES’--NAPOLEON LEAVES EGYPT--HIS REASONS FOR SO DOING--FEELING OF THE ARMY --ACCUSED OF TAKING WITH HIM THE MILITARY CHEST 109
NAPOLEON’S ARRIVAL IN PARIS--HIS POPULARITY--DISSOLUTION OF THE COUNCIL OF FIVE HUNDRED--GRAPHIC DESCRIPTION OF THE SCENE-- NAPOLEON, SIÈYES, AND DUCOS NAMED CONSULS 117
NAPOLEON TAKES THE LEAD--SIÈYES AND DUCOS ARE DEPOSED-- CAMBACÉRÈS AND LEBRUN NAMED SECOND AND THIRD CONSULS-- NAPOLEON’S LETTER TO GEORGE THE THIRD--REPLY TO SAME 123
BATTLE OF MARENGO--DEATH OF DESAIX--SAID TO HAVE BEEN ASSASSINATED--NAPOLEON’S LOVE FOR HIM--SOUP KITCHENS AT PARIS --LAVISH EXPENDITURE OF NAPOLEON’S GENERALS 129
PLOTS AGAINST NAPOLEON’S LIFE--THAT OF OCTOBER 10, 1800--THAT OF DECEMBER 24, 1800--NUMBER OF PEOPLE KILLED AND INJURED-- NAPOLEON’S PORTRAIT 136
GENERAL FAST--ADULTERATION, AND COMPULSORY SALE OF STALE BREAD --WAR IN EGYPT--THE BOULOGNE FLOTILLA--NEGOTIATIONS FOR PEACE--RATIFICATION OF PRELIMINARIES--RECEPTION IN ENGLAND-- GENERAL REJOICINGS 141
THE PEACE OF AMIENS--CESSION OF TRINIDAD AND CEYLON-- INTERNATIONAL VISITS--FOX’S TRIP TO FRANCE, AND RECEPTION BY NAPOLEON 150
LORD WHITWORTH AS PLENIPOTENTIARY--HIS EQUIPAGE--ENGLISH VISIT PARIS--UNSETTLED FEELING--NAPOLEON BEHAVES RUDELY TO LORD WHITWORTH 160
GENERAL UNEASINESS--CARICATURES THEREON--ADDINGTON’S NEPOTISM --NAPOLEON’S DISCOURTESY TO LORD WHITWORTH--TRIAL OF JEAN PELTIER 168
THE _ULTIMATUM_--LORD WHITWORTH LEAVES PARIS--DECLARATION OF WAR--CARICATURES PREVIOUS THERETO--SURRENDER OF HANOVER 175
PATRIOTIC HANDBILLS 183
ATTEMPT AT MEDIATION BY RUSSIA--MARTIAL ENTHUSIASM IN ENGLAND-- ENROLMENT OF VOLUNTEERS--PATRIOTIC HANDBILLS AND SONGS 192
PATRIOTIC HANDBILLS, ETC. 199
INVASION SQUIBS, _continued_--BONAPARTE’S TEN COMMANDMENTS, ETC. 205
INVASION, _continued_--‘BRITONS, STRIKE HOME’--BONAPARTE’S WILL 213
INVASION SQUIBS, _continued_--‘BRITONS TO ARMS’--BRAGGADOCIO-- NAPOLEON’S EPITAPH 222
INVASION SQUIBS, _continued_--‘HARLEQUIN INVASION’--‘BOB ROUSEM’S EPISTLE’--NAPOLEON’S TOUR TO BELGIUM 232
INVASION SQUIBS, _continued_--THE BOTTLE CONJUROR--PIDCOCK’S MENAGERIE 244
INVASION SQUIBS AND CARICATURES, _continued_ 254
INVASION SQUIBS, _continued_--TALLEYRAND’S DISINCLINATION TO INVADE ENGLAND 266
INVASION SQUIBS--VOLUNTEERS 279
THE EXILE _Frontispiece_
ENGLISH CARICATURE AND SATIRE
BIRTH AND GENEALOGY--HIS OWN ACCOUNT--MAJORCAN OR GREEK EXTRACTION--ENGLISH BIOGRAPHIES.
Curiously enough, it has never been practically settled whence the ancestors of Napoleon Bonaparte came. He, himself, cared little for the pride of birth, and when, during his Consulate, they manufactured for him a genealogy descending from a line of kings, he laughed at it, and said that his patent of nobility dated from the battle of Montenotte.
Ashton opens his preface by stating plainly that this book is not a history of Napoleon but a reproduction of the bulk of English caricatures and satires published against him, with enough historical context to explain them. He notes that many prints are humorous, some silly or spiteful, and a few too coarse for inclusion. The author personally inspected every engraving described, writing his own descriptions, and attributes unsigned works based on the authority of Edward Hawkins, former Keeper of Prints at the British Museum. This direct, source-based approach grounds the volume in archival evidence rather than narrative biography.
Authorial Method and Source Attribution
Ashton’s preface reveals a methodical editorial stance. He acknowledges discrepancies in historical dates—citing three different accounts of Napoleon’s departure from Elba—and explains how he resolved the problem by checking an almanac. This attention to factual precision carries into his descriptions of caricatures, where he names artists like Gillray, Rowlandson, Ansell, and Woodward when known, and otherwise relies on museum attributions. The frontispiece, he notes, is taken from a very rare print showing Napoleon in a non-military uniform, a detail that signals his interest in visual novelty and historical rarity. His voice is that of a compiler and curator, not a polemicist.
Diction in Dialogue and Captions
The caricatures Ashton reproduces often include dialogue that captures contemporary perceptions of Napoleon and British figures. In Ansell’s ‘A Game at Chess’ (1802), Bonaparte says, ‘Check to your King. Remember this is not the first time, and I think a very few Manœuvres more will compleatly convince you that I am better acquainted with the Game I am playing, than you are aware of.’ Cornwallis responds, ‘Curse it, I shall lose this game. You are too much for me.’ The language is direct, colloquial, and laced with anxiety. In ‘Cross examination,’ Bonaparte’s reply is ‘plain and simple’: ‘I have to tell you, Sir, that I do not desire to give you the information you seem to wish for.’ Such phrasing contrasts with the bluster of John Bull in ‘A Peaceable Pipe,’ who says, ‘Here’s to you, Master Boney Party; come, take another whiff, my hearty!’ The caricaturists use dialect and register to signal national character and political tension.
Visual and Verbal Satire of Political Figures
Woodward’s ‘The National Institute’s first Interview with their President’ (March 1802) places Napoleon under a canopy, receiving gifts from Sheridan, Fox, Bedford, and Burdett. Sheridan kneels, holding a phial and box, and begs Napoleon to ‘accept some true poetic Tincture, and a small Box of Pizarro 64 Pills.’ Fox carries ‘a pound and a half of Patriotism,’ Bedford offers ‘a few Bedford biscuits,’ and Burdett presents ‘a Phial of Genuine Bastile Balsam.’ The satire works through absurdly specific, allegorical objects—each tied to the donor’s public persona. Ashton’s description preserves the original captions verbatim, allowing the reader to see how caricaturists weaponized material culture (pills, biscuits, balsam) to mock political sycophancy and the peace negotiations.
Structure and Selection Criteria
Ashton organizes the volume chronologically, with each chapter covering a period of Napoleon’s career. The excerpts show that he includes not only well-known artists but also anonymous prints, and he explains his selection: ‘a careful selection has had to be made’ due to coarseness. He also provides brief historical summaries—for instance, listing the principal articles of the Treaty of Amiens that ‘will be found of use in understanding forthcoming caricatures.’ This structural choice frames the prints as primary documents that require contextual glosses. The result is a hybrid work: part catalogue, part historical commentary, with the author’s voice emerging only in the preface and occasional explanatory notes.
Readers approaching this volume should treat Ashton’s descriptions as a guided tour of a visual archive. The caricatures themselves are not reproduced in the text—only described—so the book functions as a detailed index to prints held in collections like the British Museum. Pay attention to the captions and dialogue Ashton quotes, as they reveal the rhetorical strategies of satirists who used Napoleon as a mirror for British anxieties about power, peace, and national identity.
Flipping through these caricatures, I remembered my grandfather’s worn copy of a natural-history manual, which he used to sketch leaves from memory on rainy afternoons. Both books ask you to pause, squint, and notice the deliberate exaggeration—the cartoonist’s swollen nose, the botanist’s softened vein. There’s comfort in seeing how artists shape the world into meaning. Art-Studies from Nature, as Applied to Design For the use of architects, designers, and manufacturers — Edition Insights felt the same way once.
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