and French Integrity._--As might have been foreseen, Napoleon's old
ascendency over the French army asserted itself more strongly than
ever; the intermediate state of things and the humiliations to which
the country was unavoidably forced to submit during the process of
restoring the stolen property and possessions to the rightful owners
had increased the national animosity with which the troops and the
people continued to regard the foreign invaders, friends, allies, and
upholders of _Louis le Desiré_. The more martial spirits, wearied of a
restoration with which France felt no sympathy, began to languish for
the presence of their great captain, under whose military empire their
laurels had been won. The fickleness and instability of the Gallic
race are set forth in the present caricature. A trooper has abjured
his allegiance to the Bourbons, and is hailing his Corporal with a
pinch from his snuffbox; his hat is still garnished with the white
cockade, _Vive le Roi!_ above it is a red one, _Vive le Diable!_ and,
on the other side, the famous tricolor, and _Vive l'Empereur!_ _French
Constancy_ is illustrated in these interchanged emblems. _French
Stability_ appears figuratively likened to the sails of a windmill; as
to _French Integrity_, the emblems of a monkey and cat, kissing and
fondling, pictorially sets forth the 'union between the National Guard
and the troops of the line.'
_April 12, 1815._ _Scene in a New Pantomime, to be performed at the
Theatre Royal, Paris. With entire new music, dances, dresses, scenery,
machinery, &c., &c. The principal characters to be supported by most of
the great potentates in Europe. Harlequin by Monsieur Napoleon; Clown
by King of Wirtemberg; Pantaloon, Emperor of Austria. To conclude with
a comic song, to be sung by the Pope, and a grand chorus by the Crowned
Heads. Vivant Rex et Regina._ Published by R. Ackermann.--The wonderful
exhibition is taking place in the state rooms of the Tuileries. The
great throne is empty, and the sceptre and crown are temporarily laid
on the steps waiting for their owner. _Presto!_ and in flies Harlequin
Bonaparte, pursued at once by all the Powers of Europe, tumbling over
one another in confusion, but all armed and aiming at the nimble
sprite, who had given them so much trouble to capture and secure, and
who is once more to be chased, caught, and bound down again. Clown
Wirtemberg is letting off a brace of pistols; Dutch Mynheer and a
Prussian grenadier are discharging their blunderbusses; Austria, as
Pantaloon, is too startled to be effective; the Cossack is giving
the fugitive a prod with his long lance; the King of Spain has drawn
the sword and aimed such a blow that it has capsized the swordsman
and shaken off his crown; the Pope is armed with an axe; and all the
other potentates are crowding in, an irregular mob. The portrait of
the Empress, as Columbine, is being taken off the walls. As to the
Harlequin, his eye looks dangerous; a dagger is held in either hand-he
evidently means mischief; one tiger-like spring, and he has eluded
all his pursuers, and the blows they are intending for him recoil on
themselves. The portrait of Louis the Eighteenth is in the pathway
for which he is making, and the nimble Corsican, in his character of
Harlequin, is jumping clean through the huge paunch of the tranquil
Bourbon and regaining the security of his old strongholds.
_April 16, 1815._ _The Corsican and his Blood Hounds at the Window of
the Tuileries, looking over Paris._ Published by R. Ackermann.--Boney,
on his arrival in Paris, proceeded to his old quarters in the
Tuileries, whence Louis the Eighteenth had but just departed.
Napoleon, in spite of his fatigue--for he had barely rested since
his landing--sat up all night, concerting fresh measures with his
supporters; and in the morning he held a grand review in the Champ de
Mars, where his presence excited the most frantic demonstrations of
fidelity. France showed herself intoxicated with joy at the chance
of receiving back a leader with whom she had, inconsistently enough,
parted without expressing much emotion or regret, except so far as
the Emperor's more immediate personal adherents were concerned. In
the picture we have the streets of Paris represented as being filled
with a surging multitude of enthusiasts, while standards, eagles, and
heads of enemies are held up on pikes, by the wilder fanatics, as signs
of encouragement. _Death_ and the _Devil_ are tempting the Corsican
from the balcony of the Tuileries; in 'return for more horrors,' and
in exchange for 'death and destruction,' all that he sees is offered
the conqueror. The bony skeleton is pointing out the bargain with his
dart; but Time's hourglass is standing unperceived at Napoleon's side
and the sand is running forth. The figure of the Devil is resting his
arms fraternally on the shoulders of Boney and Marshal Ney and drawing
them into an ill-starred embrace. The other marshals and adherents are
in the rear; but a marked expression of apprehension is shown on the
faces of the entire party, with the exception of the two supernatural
visitors, who are grinning at the anticipation of fresh iniquities
and increasing deadly horrors, with which they entertain the certain
prospect of being gratified by their pet _protégé_.
_May 10, 1815._ _The Carter and the Gipsies._ Published by T. Tegg.