Copper-engraving by (and after?) Kumpfhoffer; parade and review of troops on plain outside fortified city of Vienna, which is seen in background. Copper-engraving by (and after?) Kumpfhoffer; parade and review of troops on plain outside fortified city of Vienna, which is seen in background. Narrow oblong folio; margins entirely trimmed away; very yellowed, worn, mounted on stiff paper; matted medium folio. Leichtenstein-Hauslab Collection, 1951. Title supplied by cataloger

7th in collection of 12 hand-colored lithographic plates by and after Hyllested; 3 standing figures, outdoors, of sapper, commanding officer and adjutant, all in gray-blue jackets, white trousers; mounted lancer in right background. 7th in collection of 12 hand-colored lithographic plates by and after Hyllested; 3 standing figures, outdoors, of sapper, commanding officer and adjutant, all in gray-blue jackets, white trousers; mounted lancer in right background. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

6th in collection of 12 hand-colored lithographic plates by and after Hyllested; 2 mounted cavalrymen, outdoors, showing front and back views; in dark blue uniforms with teal trim, plumed shakos. 6th in collection of 12 hand-colored lithographic plates by and after Hyllested; 2 mounted cavalrymen, outdoors, showing front and back views; in dark blue uniforms with teal trim, plumed shakos. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

5th in collection of 12 hand-colored lithographic plates by and after Hyllested; sapper in tan apron, dark blue jacket, red trim, standing outdoors with grounded axe; officer and drummer in right background. 5th in collection of 12 hand-colored lithographic plates by and after Hyllested; sapper in tan apron, dark blue jacket, red trim, standing outdoors with grounded axe; officer and drummer in right background. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

4th in collection of 12 hand-colored lithogrpahic plates by and after Hyllested; rifleman in forest green uniform, standing on edge of rocky ridge; 6 smaller figures, including officer, in background. 4th in collection of 12 hand-colored lithogrpahic plates by and after Hyllested; rifleman in forest green uniform, standing on edge of rocky ridge; 6 smaller figures, including officer, in background. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

2nd in collection of 12 hand-colored lithographic plates by and after Hyllested; artilleryman and officer, in dark blue jackets, white and gray trousers, respectively, standing outdoors; building rooftop and troops loading cannon in background. 2nd in collection of 12 hand-colored lithographic plates by and after Hyllested; artilleryman and officer, in dark blue jackets, white and gray trousers, respectively, standing outdoors; building rooftop and troops loading cannon in background. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

1st in collection of 12 hand-colored lithographic plates by and after Hyllested; general mounted on white horse, in dark blue uniform, plumed cocked hat; staff officers and troop of infantry in background. 1st in collection of 12 hand-colored lithographic plates by and after Hyllested; general mounted on white horse, in dark blue uniform, plumed cocked hat; staff officers and troop of infantry in background. Unbound; mounted on white board; clean; in red portfolio, white spine, label stamped gold. Hamburg, Helmut Gerhard Schulz, 1955.

Original gouache signed by Klugmann; militia and horsemen (one in armor) at tournament or pageant, receiving wives, children, visitors etc. and taking refreshments near tents. Original gouache signed by Klugmann; militia and horsemen (one in armor) at tournament or pageant, receiving wives, children, visitors etc. and taking refreshments near tents. Small oblong, matted; narrow black margins; clean. New York, Walter Schatzki, 1954.

9th in collection of 15 original albumen sepia print photographs; full-length portrait of white-bearded soldier Guards uniform, standing at attention wearing the Médaille de Sainte Hélène, facing slightly right, indoors. 9th in collection of 15 original albumen sepia print photographs; full-length portrait of white-bearded soldier Guards uniform, standing at attention wearing the Médaille de Sainte Hélène, facing slightly right, indoors. Photographed by Erwin Hanfstaengl (also known as Erwin frères, a German photographer), around 1863, who began working in Paris in 1861, at 4, Rue Frochet, 4, en face la Rue Breda. This is based on the similar photographic portraits of Dorigny and Bonneville on which the photographer's name appears, and the similarity in the backgrounds of several carte de visites. (information courtesy of Wouter Lambrechts, Antwerp, Belgium)

Cover lith. ill. by Lewis & Brown, 37 John St., N.Y. after E. Brown, Jr., 1844: thee-quarter length portrait of Sergeant. Burdett composed & arranged for the piano-forte and respectfully dedicated to Sergt. Daniel H. Burdett, of the New-York Fusiliers by Francis H. Brown

composed & arranged for the piano-forte and respectfully dedicated to Sergt. Daniel H. Burdett, of the New-York Fusiliers by Francis H. Brown. Cover lith. ill. by Lewis & Brown, 37 John St., N.Y. after E. Brown, Jr., 1844: thee-quarter length portrait of Sergeant. Burdett.

Napoleon (center) escorts a group of well-dressed visitors (l.) through his zoo. The men listen attentively and with great interest as Napoleon, zoo keeper and showman, proudly gestures towards his collection. At the left of the group, a woman wearing slightly unfashionable clothing clutches a sheet of paper advertising the spectacle. This reference indicates that the visitors are provincial tourists intent on seeing London sights. On the right of the sheet, the animals are stacked in cages one on top of the other. Offering commentary on the state of Europe, the captured animals, representing various European countries, appear subdued, except the "Spanish Macaws, lately caught," which begin to pry open the bars to their cage. Two large cages behind Napoleon have yet to be occupied by Russian Bears and the English Lion. Napoleon (center) escorts a group of well-dressed visitors (l.) through his zoo. The men listen attentively and with great interest as Napoleon, zoo keeper and showman, proudly gestures towards his collection. At the left of the group, a woman wearing slightly unfashionable clothing clutches a sheet of paper advertising the spectacle. This reference indicates that the visitors are provincial tourists intent on seeing London sights. On the right of the sheet, the animals are stacked in cages one on top of the other. Offering commentary on the state of Europe, the captured animals, representing various European countries, appear subdued, except the "Spanish Macaws, lately caught," which begin to pry open the bars to their cage. Two large cages behind Napoleon have yet to be occupied by Russian Bears and the English Lion. Published by Walker, Cornhill, 1808-11-00. British Museum, BM 11055. This caricature is not listed in Broadley. Alphabetically, it falls between nos. 165 and 166. Caption: Pubd. Novem. 1808 by Walker No. 7 Cornhill Dialogue: Napoleon: "Walk in Ladies and Gentlemen, here they are--the finest collection in Europe, and perfectly tame--their Dens are all labell'd. The dens empty behind me are to hold two Russians Bears and the famous English Lion, the two first will be here very soon, the other I cannot say when I cah promise you the sight of him, he is so fierce an Animal that hitherto I have not been able to secure him either by force or stratagem. Dialogue: Visitor: "I think you Spanish Macaws will give you the slip if you don't take great care, Master Keeper!!" Label(s): Animals: "Dutch Frog," "Austrian Goose," "Prussian Eagle," "Swiss Ninnyhammer," "Bavarian Mouse," "Spanish Macaws, lately caught," "Wirtemburg Porpoise," "A Variety of Curoius animals from the Rhine."

90th in collection of 102 hand-colored (except for 3) engraved plates by Campe; mounted Napoleon and officers, in front of carriage, fleeing from battle, protected by mounted mamaluks. 90th in collection of 102 hand-colored (except for 3) engraved plates by Campe; mounted Napoleon and officers, in front of carriage, fleeing from battle, protected by mounted mamaluks. Small oblong folio and medium folio, unbound; in blue cloth portfolio, red cloth label stamped black.

79th in collection of 102 hand-colored (except for 3) engraved plates by Campe; Napoleon, mounted, wearing blue cape, leading infantry and other followers through mountains at night. 79th in collection of 102 hand-colored (except for 3) engraved plates by Campe; Napoleon, mounted, wearing blue cape, leading infantry and other followers through mountains at night. Small oblong folio and medium folio, unbound; in blue cloth portfolio, red cloth label stamped black.

Hand-colored engraving; governess, carrying King of Rome, and accompanying attendants stopped by party of hussars while attempting departure from palace. Hand-colored engraving; governess, carrying King of Rome, and accompanying attendants stopped by party of hussars while attempting departure from palace. Small oblong folio, matted; plate mark, margins; clean.

One of a pair of hand-colored engravings; governess carrying King of Rome, and accompanying attendants stopped by party of hussars while attempting departure from palace. One of a pair of hand-colored engravings; governess carrying King of Rome, and accompanying attendants stopped by party of hussars while attempting departure from palace. Small oblong folio, matted; plate mark, margins; clean.

One of a pair of hand-colored engravings of military portraits, full-length, outdoors. [See also Charles Louis. General en Chef des Armees Imperiales.] One of a pair of hand-colored engravings of military portraits, full-length, outdoors. [See also Charles Louis. General en Chef des Armees Imperiales.] Upright; plate marks, margins intact; creased. N.Y., Walter Schatzki, 1967.

Hand-colored copper-engraving by and after Laroque; equestrian portrait on rearing horse, facing right and waving sword, battle in background. Hand-colored copper-engraving by and after Laroque; equestrian portrait on rearing horse, facing right and waving sword, battle in background. Oblong medium folio, matted; plate mark, margins; soiled. Paris, Bihn, 1952.

One of a collection of 11 hand colored engraved full-length military portraits. Figure standing near cannon with hat in left hand and paper in right. One of a collection of 11 hand colored engraved full-length military portraits. Figure standing near cannon with hat in left hand and paper in right. Small upright folio; plate mark, margins intact; foxed; in blue, beige and white decorated board slipcase, red leather label stamped gold. Paris, Grangié sale, 1965.

In a stance that dominates the sheet, an enraged Napoleon wields his bloodied sword of "Egalité" and unleashes a verbal tyrade against the English. Arms and legs flung wide, Napoleon stands on a dispatch bringing news of Nelson's Victory. A courier exhibiting an expression of alarm approaches from the background with new Depeches. A camel (l.) and a tent (r.) are included in this image to signal Napoleon's location in Egypt. Some staining at edges (from water?) and a small tear at the left border. In a stance that dominates the sheet, an enraged Napoleon wields his bloodied sword of "Egalité" and unleashes a verbal tyrade against the English. Arms and legs flung wide, Napoleon stands on a dispatch bringing news of Nelson's Victory. A courier exhibiting an expression of alarm approaches from the background with new Depeches. A camel (l.) and a tent (r.) are included in this image to signal Napoleon's location in Egypt. Some staining at edges (from water?) and a small tear at the left border. Published by Hannah Humphrey, 1799-12-08. British Museum, BM 9278. This image incorporates commentary on Bonaparte's Muslim conversion and on the victory of Nelson in the Nile. According to George, 'His words are a parody of a flamboyant article by Volnay in the form of a speech by his Bonaparte on his intentions, which was probably inspired by the latter.' The speech was orignally printed in the French newspaper the Moniteur.'Transcriptions later appeared in The London Chronicle. Caption: See, Buonaparte's Speech to the French Army at Cairo: published by authority of the Directory, in Volnay's letters Caption: Pubd. Dec. 8th 1799 by H. Humphrey 27 St. James Street Dialogue: Napoleon: "What? our Fleet captured & destroyed by the Slaves of Britain?-by my Sword & by holy Mahomey I swear eternal Vengeance! Yes, when I have subjected Egypt, subdued the Arabs, the Druses & the Maronites; become master of Syria, turn'd the great River Euphrates, & sail'd upon it through the sandy Desarts; compel'd to my assistance the Bedouins, Tuscomans, Kurds, Armenians, & Persians; form'd a Million of Calvary, & pass'd them upon Rafts six or seven Hundred miles over the Bosphorus, I shall enter Constantinople--Now I enter the Theatre of Europe, I establish the Republic of Greece, I raise Poland from its ruins, I make Prussia bend e/y knee to France; I chain up the Russian Bear; I cut the Head from y/e Imperial Eagle; I drive the ferocious English from the Archipelago, I hunt them from the Mediterranean, & blot them out from the catalog of Nations! Then shall the conquer'd Earth sue for Peace, & an Obelisk be erected at Constantinople, inscribed 'To Buonoparte, Conquerer of the World and Extirpater of the English Nation."

Colored stipple-engraving by Ruotte after Dutaillis; full-length portrait of Napoleon planting flag on bridge, hat on pavement at right, charging soldiers at left. Colored stipple-engraving by Ruotte after Dutaillis; full-length portrait of Napoleon planting flag on bridge, hat on pavement at right, charging soldiers at left. Upright folio, matted; plate mark, margins intact; slightly soiled. New York, Harry H. Hymes, 1944.

In this loosly etched image, John Bull, (l.), a country bumpkin wearing oak leaves in his cap, carries Napoleon's head high on a pitchfork (r.). The features of Napoleon's face droop in despair, and blood pours out of his severed neck. Cheering British citizens crowd around Bull, raising their guns and the British flag in celebration. In this loosly etched image, John Bull, (l.), a country bumpkin wearing oak leaves in his cap, carries Napoleon's head high on a pitchfork (r.). The features of Napoleon's face droop in despair, and blood pours out of his severed neck. Cheering British citizens crowd around Bull, raising their guns and the British flag in celebration. Published by Humphrey, 1803-07-26. British Museum, BM 10041. This print is one of many invasion prints and may have been drawn from a speech by Cobbett. George supplies a quote from Cobbett in her description of the print: ''here was and is yet to be seen the head of Buonaparte, severed from his body and exhibited on the pike of a volunteer with blood dripping down upon the exulting crowd." George Further notes that the print refers to the Military Service Bill (Levy en Masse Act) that recruited local men between the ages of 17 and 55 four defence of the country. Caption: Pubd. July 26th 1803 by H. Humphrey St. James's Street London Dialogue: John Bull: "Ha! my little Boney!- what dos't thou think of John Bull now?- Plunder Old England, hay?-make French Slaves of us all! hay?-ravish all our Wives & Daughters! hay- O Lord help that silly Head!- to think that Johnny Bull would ever suffer those Lanthorn Jaws to become King of Old England's Roast Beef amd Plumpudding!!" Inscription: "This is to give information for the benefit of all Jacobin Adventurers, that Policies are now open'd at Lloyd's-where the depositer of One Guinea is entitled a Hundred if the Corsican Cut-throat is Alive 48 Hours after Landing on the British Coast." Annotation: P1537

This sheet is one of a series that depicts different scenes of Napoleon's early career. In this image Napoleon is young and handsome. He stands in the center of the image and holds a white flag symbolizing "truce." He addresses a group of Turkish men who wear turbans and traditional clothing. The group stands on a ledge overlooking a plain. The edifice behind them is a crumbling fortress, and a series of aqueducts can be seen extending into the distance. These two architectural pieces indicate the past greatness of the Ottoman Empire--a historical power Napoleon was trying to emulate. An older man sits and reads the terms Napoleon has brought him. His two companions stand to the left of the scene and look on with suspicion. A French general stands behind Napoleon and gestures towards the countryside laid out behind them. Napoleon's response is a gesture that rejects the apparent suggestion made to continue the battle. In the right front of the image a kneeling man has his head covered by a white cloth and bends forward to the ground; in his posture and demeanor he is a shamed prisoner. As the title indicates, Napoleon's show of mercy is eclipsed by his renewed assault on Acre. This sheet is one of a series that depicts different scenes of Napoleon's early career. In this image Napoleon is young and handsome. He stands in the center of the image and holds a white flag symbolizing "truce." He addresses a group of Turkish men who wear turbans and traditional clothing. The group stands on a ledge overlooking a plain. The edifice behind them is a crumbling fortress, and a series of aqueducts can be seen extending into the distance. These two architectural pieces indicate the past greatness of the Ottoman Empire--a historical power Napoleon was trying to emulate. An older man sits and reads the terms Napoleon has brought him. His two companions stand to the left of the scene and look on with suspicion. A French general stands behind Napoleon and gestures towards the countryside laid out behind them. Napoleon's response is a gesture that rejects the apparent suggestion made to continue the battle. In the right front of the image a kneeling man has his head covered by a white cloth and bends forward to the ground; in his posture and demeanor he is a shamed prisoner. As the title indicates, Napoleon's show of mercy is eclipsed by his renewed assault on Acre. This sheet is not dated. Inscription: From a design by Mr. R. K . Porter.

This image illustrates Napoleon's reported order to poison French troops stricken by the plague during the Egyptian campaign. In the foreground of the image, Napoleon, resplendent in his military uniform, directs a shabbily dressed doctor to administer poison to the ailing soldiers piled in the background. The doctor stares at Napoleon and questions the order with an expression that registers horror and confusion. These two figures are separated from the soldiers by a large curtain that crosses the upper right of the image and the lower left. This image illustrates Napoleon's reported order to poison French troops stricken by the plague during the Egyptian campaign. In the foreground of the image, Napoleon, resplendent in his military uniform, directs a shabbily dressed doctor to administer poison to the ailing soldiers piled in the background. The doctor stares at Napoleon and questions the order with an expression that registers horror and confusion. These two figures are separated from the soldiers by a large curtain that crosses the upper right of the image and the lower left. Inscription: From a Design by Mr. R. K. Porter Annotation: J Asperne (?) Cornhill Annotation: Augt. 12th...1803 Annotation: Hatchard. Piccadilly

Stipple-engraving; bust portrait in uniform in oval enframement. Stipple-engraving; bust portrait in uniform in oval enframement. Upright; plate mark, margins; clean. N.Y., Rockman Prints, 1961.

On the left of the image, a row of Turkish men stand in horror as they watch their comrades die at the end of French bayonets. The Turks are without weapons and are forced to stand by, hands bound behind their backs, as they wait their turn. On the right side of the sheet, French soldiers wielding bayonets obey Napoleon's command to attack. Napoleon stands among his men and directs their charge with a sword held in his thin hand. Only the men who are in the foreground (Turkish and French alike)are rendered with attention to detail. The others in their ranks become increasingly undefined as their lines stretch toward the horizon. The composition of this sheet consciously matches that of the sheet depicting the massacre of innocents at Jaffa. On the left of the image, a row of Turkish men stand in horror as they watch their comrades die at the end of French bayonets. The Turks are without weapons and are forced to stand by, hands bound behind their backs, as they wait their turn. On the right side of the sheet, French soldiers wielding bayonets obey Napoleon's command to attack. Napoleon stands among his men and directs their charge with a sword held in his thin hand. Only the men who are in the foreground (Turkish and French alike)are rendered with attention to detail. The others in their ranks become increasingly undefined as their lines stretch toward the horizon. The composition of this sheet consciously matches that of the sheet depicting the massacre of innocents at Jaffa. Inscription: From a design by Mr. R. K. Porter.

The citizens of Toulon kneel in supplication in the lower left portion of the image. Their faces are marked by physiognomic representations of horror, shock, and despair. French soldiers led by two cavalry officers swarm onto the scene at the right of the image. The ranks arrive with menacing bayonets and cannon, one of which fires on the kneeling crowd. A woman who holds a baby kneels in the front of a group of men. The reference here is to the Sabine women who in classical literature sacrificed themselves and their children in order to stop a battle. Jacques-Louis David also depicted this event in a celebrated history painting titled "The Intervention of the Sabine Women." The sheet in the Hay Library collection is printed with a variety of techniques that include stipple and aquatint along with line engraving. The use of stipple and aquatint adds texture and depth to the image. In addition, the two techniques are rarely used in inexpensive engravings, especially caricature and satire. However they are combined in some of the more accomplished satiric prints and caricatures by artists such as James Gillray. The citizens of Toulon kneel in supplication in the lower left portion of the image. Their faces are marked by physiognomic representations of horror, shock, and despair. French soldiers led by two cavalry officers swarm onto the scene at the right of the image. The ranks arrive with menacing bayonets and cannon, one of which fires on the kneeling crowd. A woman who holds a baby kneels in the front of a group of men. The reference here is to the Sabine women who in classical literature sacrificed themselves and their children in order to stop a battle. Jacques-Louis David also depicted this event in a celebrated history painting titled "The Intervention of the Sabine Women." The sheet in the Hay Library collection is printed with a variety of techniques that include stipple and aquatint along with line engraving. The use of stipple and aquatint adds texture and depth to the image. In addition, the two techniques are rarely used in inexpensive engravings, especially caricature and satire. However they are combined in some of the more accomplished satiric prints and caricatures by artists such as James Gillray. This sheet is not dated. Although it is included among satires and caricatures of the Napoleonic era, the subject and handling of this image falls into neither category. Instead, it depicts the horrors of war. Inscription: From a design by Mr. R. K. Porter.

This image is one of many that emphasizes Napoleon's ruthless abandonment of his French troops in Egypt. Here, he is depicted in an embroidered green uniform coat, wearing a conspicuous tri-color sash, and his hands are covered by elegant gloves. Yet his head is bare and his face is covered with dark stubble, lending him an uncouth appearance. To Napoleon's right, a boat with a Janus-faced figurehead waits to take him to a large ship that will carry him back to France. Two grotesqued French soldiers have already boarded the rowboat. While they wait for Napoleon to climb aboard, they grin and clutch sacks filled with money. As Napoleon steps towards the boat, he looks back over his left shoulder toward the French encampment. In the distance, several tiny, skeletal figures wave their arms and call out to Napoleon as they run across the sand. Just beyond the French tents a large, well-ordered encampment flying flags marked with crescent flags looms on the horizon. As if to justify his departure, Napoleon gestures to a vision that appears in the sky. Heralded by the winged creature of Fame, the vision consists of two imperial symbols, the crown and scepter, superimposed on a revolutionary symbol, the fasces and ax. Fame removes the trumpet from her lips, smiles cynically, and points downward to Napoleon, who is directly below her. This image is one of many that emphasizes Napoleon's ruthless abandonment of his French troops in Egypt. Here, he is depicted in an embroidered green uniform coat, wearing a conspicuous tri-color sash, and his hands are covered by elegant gloves. Yet his head is bare and his face is covered with dark stubble, lending him an uncouth appearance. To Napoleon's right, a boat with a Janus-faced figurehead waits to take him to a large ship that will carry him back to France. Two grotesqued French soldiers have already boarded the rowboat. While they wait for Napoleon to climb aboard, they grin and clutch sacks filled with money. As Napoleon steps towards the boat, he looks back over his left shoulder toward the French encampment. In the distance, several tiny, skeletal figures wave their arms and call out to Napoleon as they run across the sand. Just beyond the French tents a large, well-ordered encampment flying flags marked with crescent flags looms on the horizon. As if to justify his departure, Napoleon gestures to a vision that appears in the sky. Heralded by the winged creature of Fame, the vision consists of two imperial symbols, the crown and scepter, superimposed on a revolutionary symbol, the fasces and ax. Fame removes the trumpet from her lips, smiles cynically, and points downward to Napoleon, who is directly below her. Published by Humphrey. The text located at the bottom of the sheet, underneath the title, indicates that the impetus for this satire derived from letters intercepted in the Mediterranean and subsequently printed in the British papers. George notes that this was the third time French military letters were thus confiscated and that the publication of these letters was met with much interest and scandal. 1800-03-08 Caption: "For an illustration of the above, see, the Intercepted Letters from the Republican General Kleber, to the French Directory, respecting the Courage, Honor, & Patriotic-Views of--"the Deserter of the Army of Egypt."" Caption: Publish'd March 8th 1800 by H. Humphrey, No 27 St James's Street London

The artist of this caricature has confused several stereotypical associations made with eastern cultures. For example, the Turk, a Muslim, threatens to sacrifice Napoleon and make him into a mummy--practices associated with Ancient Egypt. Despite this confused representation of the Turk, he is depicted in heroic proportions that contrast to the thin and grotesque figure of Napoleon. Standing with legs firmly planted apart, the Turkish soldier grasps Napoleon by his necktie with his left hand, while he holds a long, curved sword in his right. He is dressed in flowing clothing and the sheath of his sword is attached to his waist by an ornamental belt that also conceals a dagger. On his head he wears a white turban that is decorated with ropes of beading or jewels; the front is fixed into place by a crescent-shaped ornament with additional embellishments. The grotesque profile of Napoleon stands in distinction to the stern features of the Turk. Napoleon, eyes and mouth opened wide, doffs his hat and waves his hands in gestures of protest. His large feet in clumsy black boots are unsteady and he leans far backwards on one foot. The empty scabbard of his sword snaps in two under his weight. Napoleon also wears a crescent-shaped pendant around his neck: a reference to his strange pretensions to Islam. In this case, however, his "conversion" does him no good. At the far right of the sheet, members of the Opposition kneel in supplication. Charles James Fox, portly and unshaven with a bonnet rouge emerging from his coat pocket, leads a group of supplicants. Next, William Sheridan mimics Fox's pose: a bonnet rouge likewise sticking out of his pocket. Behind them, Norfolk and Erskine timidly echo the sentiments of Fox and Sheridan. So intent are they on pleading for mercy that none of the figures is aware of the Turkish soldier (far r.) sneaking up behind them with an open lasso. In the left distance of the image, two Turkish soldiers strangle a group of French soldiers. Sheet has been creased and is discolored on right edge. The artist of this caricature has confused several stereotypical associations made with eastern cultures. For example, the Turk, a Muslim, threatens to sacrifice Napoleon and make him into a mummy--practices associated with Ancient Egypt. Despite this confused representation of the Turk, he is depicted in heroic proportions that contrast to the thin and grotesque figure of Napoleon. Standing with legs firmly planted apart, the Turkish soldier grasps Napoleon by his necktie with his left hand, while he holds a long, curved sword in his right. He is dressed in flowing clothing and the sheath of his sword is attached to his waist by an ornamental belt that also conceals a dagger. On his head he wears a white turban that is decorated with ropes of beading or jewels; the front is fixed into place by a crescent-shaped ornament with additional embellishments. The grotesque profile of Napoleon stands in distinction to the stern features of the Turk. Napoleon, eyes and mouth opened wide, doffs his hat and waves his hands in gestures of protest. His large feet in clumsy black boots are unsteady and he leans far backwards on one foot. The empty scabbard of his sword snaps in two under his weight. Napoleon also wears a crescent-shaped pendant around his neck: a reference to his strange pretensions to Islam. In this case, however, his "conversion" does him no good. At the far right of the sheet, members of the Opposition kneel in supplication. Charles James Fox, portly and unshaven with a bonnet rouge emerging from his coat pocket, leads a group of supplicants. Next, William Sheridan mimics Fox's pose: a bonnet rouge likewise sticking out of his pocket. Behind them, Norfolk and Erskine timidly echo the sentiments of Fox and Sheridan. So intent are they on pleading for mercy that none of the figures is aware of the Turkish soldier (far r.) sneaking up behind them with an open lasso. In the left distance of the image, two Turkish soldiers strangle a group of French soldiers. Sheet has been creased and is discolored on right edge. Published by Samuel W. Fores. 1798-10-20 Caption: Pubd Octr 20 1798 by S W Fores. 50 Piccadilly. Folios of Caracatures lent out for the Evening Dialogue: Distant soldier: "ah my General was tell me he make my fortune" Dialogue: Turk: "as for you, you Dog of no Religeon I'll sacrifice you at the tomb of the Prophet whose name You have profaned for the purpose of Murder, Rapine and plunder." Dialogue: Napoleon: "now mild and gentle Sir, dont be so rough do you think I would cut your throat, ravish your Wives or plunder your house, no by Mahomet, I would not, Sacré Dieu, I would not. Ah Diable you'll choak me." Dialogue: Fox: "pray dont hurt our dear friend, he would not hurt man, Woman, or Child, he cant bear the sight of blood, as for plunder or deception, he is the determined enemy to both, by ---- he is and we are ready to Swear it." Dialogue: Sheridan: "d--n me if he aynt and we are ready to Swear it." Dialogue: Erskine: "I'll Swear it, I I I" Dialogue: Norfolk: "swear it"

Mezzotint by Smith after Appiani; full-length portrait in uniform, allegorical figure writing on plaque at right, troops crossing bridge in left background. Mezzotint by Smith after Appiani; full-length portrait in uniform, allegorical figure writing on plaque at right, troops crossing bridge in left background. Large upright folio, matted; margins severely trimmed; worn at bottom. London, Parker, 1960.