"Celebrating Napoleon’s Birthday on the Island of St. Helena"
In this cartoon, Napoleon is portrayed as a buffoon, riding a goat in a charge against rodents, mocking his warlike instincts.
None Identified
<span>Bibliothèque Nationale de France</span>
Public Domain
http://chnm.gmu.edu/revolution/d/170/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 75 (pièces 9730-9816), Restauration et Cent-Jours
JPEG
German
170
"His Monument": Napoleon’s Past and Future Are Filled with Dead Bodies
This Janus–like figuration of Napoleon haunts the viewer as it suggests a future filled with skulls. Indeed, the unprecedented deaths from war and conquest of the last two centuries make this image seem predictive.
None Identified
<span>Bibliothèque Nationale de France</span>
1814-00-00
Public Domain
http://chnm.gmu.edu/revolution/d/159/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 67 (pièces 8802-8908 bis), Directoire, Consulat et Empire
JPEG
German
159
"The Exorcism": Ridding France of the Devil Napoleon
The seal in the foreground, with its fleur–de–lys, indicates a return to royalism after France’s liberation from Napoleon. In addition, the secularism associated with the Revolution is countered with the image’s reference to the religious practice of exorcism.
Hoffmann
<span>Bibliothèque Nationale de France</span>
Public Domain
http://chnm.gmu.edu/revolution/d/166/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 73 (pièces 9503-9634), Restauration et Cent-Jours
JPEG
German
166
"The Great Heroism of the Nineteenth Century"
As in other caricatures, foreigners tried to humiliate Napoleon, once again using mice to represent those who would now attend him.
Cornell Nap.51
http://chnm.gmu.edu/revolution/d/171/
171
"The Great Man"
German cartoonists tried to reduce Napoleon down to size, in this case, the size of mice! Here the mice serve as courtiers.
None Identified
<span>Bibliothèque Nationale de France</span>
Public Domain
http://chnm.gmu.edu/revolution/d/169/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 75 (pièces 9730-9816), Restauration et Cent-Jours
JPEG
French
169
"The Little Cartesian Devil": German Peasants Capturing the Little Devil Napoleon
The reversal of circumstances that German cartoonists emphasized seemed generally to exercise considerable sway over this use of symbols. Here, Napoleon, who strode so large over Europe, is bottled and examined. Obsessed with his small stature, Napoleon might have been particularly displeased with this image.
None Identified
<span>Bibliothèque Nationale de France</span>
Public Domain
http://chnm.gmu.edu/revolution/d/167/|<span>Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 66 (pièces 8672-8801), Directoire, Consulat et Empire</span>
JPEG
German
167
"The Song of the End": the Whole World Now Chases Him
Where Napoleon was once the conqueror, the world now avenges itself. This sense of reversal, felt widely outside of France, characterized a number of the caricatures of Napoleon, and indeed of the entire Revolution.
Cornell Nap. 31
http://chnm.gmu.edu/revolution/d/527/
527
"This Is My Dear Son": Napoleon as Child of the Devil
Linking Napoleon with Hell represents a far cry from his own propaganda.
Cornell Nap.10
http://chnm.gmu.edu/revolution/d/162/
162
<span>A Second Jean d'Arc, or the Assassination of Marat by Charlotte Cordé of Caen in Normandy on Sunday July 14 1793</span>
To those who considered Marat insincere and dangerous in his unrelenting populism, the true martyr was Charlotte Corday, who had come to Paris from Caen—a city then serving as a base for the federalist insurgency—apparently with the express intent of killing Marat. In this engraving by the English caricaturist Cruikshank, Corday is depicted as "A Second Joan of Arc," saving her country by ridding it of oppressive rulers.
Isaac Cruikshank
<span>Bibliothèque Nationale de France</span>
1793
Public Domain
http://chnm.gmu.edu/revolution/d/74/|Collection de Vinck. <em>Un siècle d'histoire de France par l'estampe, 1770-1870</em>. Vol. 32 (pièces 5252-5394), Ancien Régime et Révolution
JPEG
English
74
10 August 1792
This print shows the attack on the Tuileries Palace, which housed the royal family. Although the place was well–defended, many troops simply defected. When the artillery quit, the King and his family hastened across to the nearby meeting hall of the Legislative Assembly for protection. But the battle continued when a number of the defenders—particularly the Swiss guard—resisted. A full–scale engagement ensued with some 600 Swiss killed and about double the number of insurgents dead. Casualties notwithstanding, the attackers won. The victory sealed the demise of the monarchy and ensured that it would be replaced by a republic.
Cornell 4606.17.6
August 10, 1792
http://chnm.gmu.edu/revolution/d/187/
187