English Caricature and Satire on Napoleon I. Volume II (of 2). Ashton John
11, 1804) gives us ‘The death of Madame Republique.’ Madame lies a corpse on her bed. Sieyès, as nurse, dandles the new emperor. John Bull, spectacles on nose, inquires, ‘Pray Mr. Abbé Sayes – what was the cause of the poor lady’s Death? She seem’d at one time in a tolerable thriving way.’ Sieyès replies, ‘She died in Child bed, Mr. Bull, after giving birth to this little Emperor.’
‘The Loyalist’s Alphabet, an Original Effusion,’ by James Bisset (September 3, 1804), consists of twenty-four small engravings, each in a lozenge.
‘A, stands for Albion’s Isle,’ – Britannia seated.
‘B, for brave Britons renown’d.’ – A soldier and sailor shaking hands.
‘C, for a Corsican tyrant,’ – Napoleon, with a skull, the guillotine, &c., in the background.
‘D, his dread downfall must sound.’ – Being hurled from his throne by lightning.
‘E, for embattl’d we stand,’ – A troop of soldiers.
‘F, ’gainst the French our proud Foes,’ – shews England guarded by her ships,’ and the flotilla coming over.
‘G, for our glorious Gunners,’ – Three artillerymen, and a cannon.
‘H, for Heroical blows,’ – shews a ship being blown up.
‘I, for Invasion once stood,’ – Some soldiers carousing. The English flag above the tricolour.
‘J, proves ’twas all a mere Joke.’ – A soldier laughing heartily, and holding his sides.
‘K, for a favorite King, to deal against Knaves a great stroke. – Medallion of George the Third.
‘L, stands for Liberties’ laws,’ – A cap of liberty, mitre, pastoral staff, crown, and open book.
‘M, Magna Charta’s strong chain.’ – A soldier, sailor, Highlander, and civilian, joining hands.
‘N, Noble Nelson, whom Neptune, near Nile crown’d the Lord of the Main,’ – is a portrait of the Hero.
‘O, stands for Britain’s fam’d Oak,’ – which is duly portrayed.
‘P, for each brave British Prince.’ – The three feathers show the Prince of Wales, in volunteer uniform.
‘Q, never once made a Question, Respecting the Deeds they’d evince,’ – is an officer drawing his sword.
‘If R, for our Rights takes the field,’ – is a yeomanry volunteer.
‘Or S, should a signal display,’ – The British Standard.
‘They’d each call with T for the Trumpet. To Horse my brave boys and away.’ – A mounted Trumpeter.
‘U, for United, we stand, V for our bold Volunteers,’ – represents one of the latter.
‘Whom W welcomes in War, and joins loyal X in three Cheers.’ – A soldier and sailor, with hands clasped, cheering.
‘With Y all our Youths sally forth, the standards of Freedom advance,’ – is a cannon between two standards.
‘With Z proving Englishmen’s Zeal, to humble the Zany of France,’ – shews Napoleon with a fool’s cap on, chained to the wall in a cell.
CHAPTER XL
Napoleon’s coronation was the great event of the year; but some time before it was consummated the English caricaturist took advantage of it, and J. B. (West), in September 1804, produced a ‘Design for an Imperial Crown to be used at the Coronation of the New Emperor.’ A perusal of the foregoing pages will render any explanation unnecessary.
Napoleon omitted no ceremony which could enhance the pageant of his coronation. The Pope must be present: no meaner ecclesiastic should hallow this rite, and he was gently invited to come to Paris for this purpose. Poor Pius VII. had very little option in the matter. His master wanted him, and he must needs go; but Napoleon gilded the chain which drew him. During the whole of his journey he was received with the greatest reverence, and could hardly have failed to have been impressed with the great care and attention paid to him. For instance, the dangerous places in the passage of the Alps were protected by parapets, so that his Holiness should incur no danger. On his arrival at Paris he was lodged in the Tuileries, and a very delicate attention was paid him – his bedchamber was fitted as a counterpart of his own in the palace of Monte-Cavallo, at Rome.
The eventful 2nd of December came at last; but, before we note the ceremony itself, we must pause awhile to see how the English caricaturist treated the procession.
Hardly any one of Gillray’s caricatures (January 1, 1805) is as effective as ‘The Grand Coronation Procession of Napoleone the 1st, Emperor of France, from the Church of Notre Dame, Dec. 2nd, 1804. Redeunt Satania regna, Iam nova progenies cœlo demittitur alto!’ Huge bodies of troops form the background, whose different banners are – a comet setting the world ablaze; an Imperial crown and the letters SPQN; un Dieu, un Napoleon; a serpent biting its tail, surrounding a crowned N. and a Sun, ‘Napoleone ye 1st le Soleil de la Constitution.’
The procession is headed by ‘His Imperial Highness Prince Louis Buonaparte Marbœuf’ (a delicate hint as to his paternity), ‘High Constable of the Empire,’ who, theatrically dressed, struts, carrying a drum-major’s staff fashioned like a sceptre. Behind him come ‘The Three Imperial Graces, viz. their Imp. High. Princess Borghese, Princess Louis (cher amie of ye Emperor) & Princess Joseph Bonaparte.’ These ladies are clad in a most diaphanous costume, which leaves little of their forms to the imagination, and they occupy themselves by scattering flowers as they pass along.
After them comes ‘Madame Talleyrand (ci-devant Mrs. Halhead the Prophetess),’ a stout, Jewish-looking woman, who is ‘Conducting the Heir Apparent in ye Path of Glory’ – and a most precocious little imp it looks. After them hobbles ‘Talleyrand Perigord, Prime Minister and King at Arms, bearing the Emperor’s Genealogy,’ which begins with ‘Buone Butcher,’ goes on with ‘Bonny Cuckold,’ till it reaches the apex of ‘Boney Emperor.’ Pope Pius VII. follows, and under his cope is the devil disguised as an acolyte, bearing a candle; Cardinal Fesch is by, and acts as thurifer. The incense is in clouds: ‘Les Addresses des Municipalités de Paris – Les Adorations des Badauds – Les Hommages des Canailles – Les Admirations des Fous – Les Congratulations des Grenouilles – Les Humilités des Poltrons.’
Then comes the central figures of the pageant, ‘His Imperial Majesty Napoleone ye 1st and the Empress Josephine,’ the former scowling ferociously, the latter looking blowsy, and fearfully stout. Three harridans, ‘ci-devant Poissardes,’ support her train, whilst that of Napoleon is borne by a Spanish don, an Austrian hussar, and a Dutchman, whose tattered breeches testify to his poverty. These are styled ‘Puissant Continental Powers – Train Bearers to the Emperor.’ Following them come ‘Berthier, Bernadotte, Angerou, and all the brave Train of Republican Generals;’ but they are handcuffed, and their faces display, unmistakably, the scorn in which they hold their old comrade. Behind them poses a short corpulent figure, ‘Senator Fouché, Intendant General of ye Police, bearing the Sword of Justice.’ But Fouché is not content with this weapon. His other hand grasps an assassin’s dagger, and both it, and the sword, are well imbrued in blood. The rear of the procession is made up of a ‘Garde d’Honneur,’ which consists of a gaoler with the keys of the Temple and a set of fetters; a mouchard with his report, ‘Espionnage de Paris;’ Monsieur de Paris, the executioner, bears a coil of rope with a noose, and a banner with a representation of the guillotine – and a prisoner, holding aloft two bottles respectively labelled Arsenic and Opium. More banners and more soldiers fill up the background.
What a sight that must have been on the morning of the 2nd of December! Visitors from all parts of France were there; and the cathedral of Notre-Dame must have presented a gorgeous coup d’œil, with its splendid ecclesiastical vestments, its magnificent uniforms, and the beautiful dresses and jewels of the ladies. It can hardly be imagined, so had better be described in the words of an eyewitness, Madame Junot.