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Similar to the two engravings of trees, this engraving contrasts English order with French anarchy. On the left, a lion (representing England) sits at the foot of a chiseled rock, part of which is labeled "Unanimity." A crown appears over the rock; a…

Where once cartoonists focused on classical images of death to signal the doom of monarchs and aristocrats, they now used these same symbols to drag Napoleon into the netherworld.

Linking Napoleon with Hell represents a far cry from his own propaganda.

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…

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 is mocked through this diminutive portrayal of the former conqueror.

German cartoonists tried to reduce Napoleon down to size, in this case, the size of mice! Here the mice serve as courtiers.

In this cartoon, Napoleon is portrayed as a buffoon, riding a goat in a charge against rodents, mocking his warlike instincts.

As in other caricatures, foreigners tried to humiliate Napoleon, once again using mice to represent those who would now attend him.

Here was the "body politic" of the old regime. Theoretically, France existed only as an entity in the body of the King. The citizens were his subjects; the geographical parts linked together only through the monarch. Robed and wigged, he was an…