Facsimile of the Famous Defense presented by Philipon when on Trial for Libeling the King.
"Is it my fault, gentlemen of the jury, if his Majesty's face looks like a pear?"
CHAPTER IX
THE BAITING OF LOUIS PHILIPPE
The Pious Monarch. Caricature of Charles X.
But although the "Pear" was forced to disappear, Philipon continued to harass the government, until Louis Philippe, who had gained his crown largely by his championship of the freedom of the press, was driven in desperation to sanction the famous September laws, which virtually strangled its liberty. Yet, in spite of the obstacles thrown in their way, the work of Philipon and of the remarkable corps of satirical geniuses which he gathered round him, forms a pictorial record in which the intimate history of France, from Charles X.'s famous coup d'état down to the revolution of 1848, may be read like an open book. The adversaries of the government of 1830 were of two kinds. One kind, of which Admiral Carrel was a type, resorted to passionate argument, to indignant eloquence. The other kind resorted to the methods of the Fronde; they made war by pin-pricks, by bursts of laughter, with all the resources of French gayety and wit. In this method the leading spirit was Philipon, who understood clearly the power that would result from the closest alliance between la presse et l'image. Even before La Caricature was founded the features of the last of the Bourbons became a familiar subject in cartoons. Invariably the same features are emphasized; a tall, lank figure, frequently contorted like the "india-rubber man" of the dime museums; a narrow, vacuous countenance, a high, receding forehead, over which sparse locks of hair are straggling; a salient jaw, the lips drawn back in a mirthless grin, revealing huge, ungainly teeth, projecting like the incisors of a horse. In one memorable cartoon he is expending the full crushing power of these teeth upon the famous "charter" of 1830, but is finding it a nut quite too hard to crack.