The right owner

The ghost of Louis XVI, (l.), appears in a cloud and confronts Napoleon, (r.), who is seated on a throne and wears the crown of France. Louis is depicted in profile and is dressed in elegant, old-fashioned clothing decorated with medals and trimmed with lace and gold embroidery. He holds his left hand in an open gesture and with his right he points at the crown on Napoleon's head and demands its return. Napoleon is covered in borrowed robes. The crown sits awkwardly on his head, and in place of medals and symbols of legitimacy he wears several pistols in his belt as well as a dagger tinged red that points menacingly at his inner thigh. The large armchair/throne behind him is topped by a small gold crown and embroidered with the letters "NR". Raising both hands in fright, Napoleon staggers backwards towards his throne. He appears to stumble up the short dais and trip on a small foot stool that lies before the chair. Eyes opened wide and mouth grimacing in fright, his face contorts as he utters "Angels and Ministers of Grace defends me" [Hamlet, i, 4.]. In the Shakespearean play, Hamlet speaks these lines upon encountering his father's ghost. Yet, the pose Napoleon assumes in his reaction to the ghost of Louis XVI is possibly derived from contemporary performances of the role made popular by the actor David Garrick. Not only is this caricature evidence of the borrowings from and awareness of theatrical productions in print culture, but a comparison between this sheet and J. McArdell's engraving of "David Garrick in the Ghost Scene," made after Benjamin Wilson's painting, illustrates the communication that occurred amongst the genres in eighteenth-century print culture. (See Hapgood, Robert. Hamlet. From the series Shakespeare in Production. plate 1 and p.131) The ghost of Louis XVI, (l.), appears in a cloud and confronts Napoleon, (r.), who is seated on a throne and wears the crown of France. Louis is depicted in profile and is dressed in elegant, old-fashioned clothing decorated with medals and trimmed with lace and gold embroidery. He holds his left hand in an open gesture and with his right he points at the crown on Napoleon's head and demands its return. Napoleon is covered in borrowed robes. The crown sits awkwardly on his head, and in place of medals and symbols of legitimacy he wears several pistols in his belt as well as a dagger tinged red that points menacingly at his inner thigh. The large armchair/throne behind him is topped by a small gold crown and embroidered with the letters "NR". Raising both hands in fright, Napoleon staggers backwards towards his throne. He appears to stumble up the short dais and trip on a small foot stool that lies before the chair. Eyes opened wide and mouth grimacing in fright, his face contorts as he utters "Angels and Ministers of Grace defends me" [Hamlet, i, 4.]. In the Shakespearean play, Hamlet speaks these lines upon encountering his father's ghost. Yet, the pose Napoleon assumes in his reaction to the ghost of Louis XVI is possibly derived from contemporary performances of the role made popular by the actor David Garrick. Not only is this caricature evidence of the borrowings from and awareness of theatrical productions in print culture, but a comparison between this sheet and J. McArdell's engraving of "David Garrick in the Ghost Scene," made after Benjamin Wilson's painting, illustrates the communication that occurred amongst the genres in eighteenth-century print culture. (See Hapgood, Robert. Hamlet. From the series Shakespeare in Production. plate 1 and p.131) Published by T. Williamson. For other uses of this line from Hamlet--and for use of Garrick's interpretation, see 'Physical Aid,' Broadley 696. 1803-06-01 Caption: London Pub by T Williamson 20 Strand June 1, 1804 Dialogue: Louis XVI, (l.): "THAT'S MINE!!!" Dialogue: Napoleon, (r.): "Angels and Ministers of Grace defends me."