The New Siamese Twins.
Louis Napoleon and Madame France.
Pictorial expressions of opinion regarding the "great crime" of 1851, which once more replaced a republic with an empire, must be sought for outside of France. But there was one subject at this time upon which even the strictest of edicts could not enforce silence, and that was the subject of Napoleon's marriage to Eugénie. The Emperor's Spanish bride was never popular, not even during the first years of the Second Empire, before she began to meddle with affairs of state; and in many incisive ways the Parisians heaped ridicule upon her. A curious little pamphlet, with text and illustrations, about the new Empress was sold in Paris at the time of the marriage. This pamphlet was entirely complimentary and harmless. The biting humor of it was on the title-page, which the vendors went about crying in the streets: "The portrait and virtues of the Empress, all for two sous!" But for a frank expression of what the world thought of the new master of the destinies of France, it is necessary to turn to the contemporary pages of Punch. The "London Charivari" was at this time just entering upon its most glorious epoch of political caricature. John Leech, one of the two great English cartoonists of the past half century, had arrived at the maturity of his talent; the second, John Tenniel, was destined soon to join the staff of Punch in place of Richard Doyle, who resigned in protest against the editorial policy of attacking the Roman Catholic Church. Both of these artists possessed a technical skill and a degree of artistic inspiration that raised them far above the level of the mere caricaturist. And as it happened, the world was entering upon a long succession of stormy scenes, destined to furnish them with matter worthy of their pencils. After forty years of peace, Europe was about to incur an epidemic of war. The clash between Turkey and Russia in 1853 was destined to assume international proportions in the Crimean War; England's troubles were to be augmented by the revolt of her Indian mercenaries; the Russian war was to be closely followed by another between France and Austria; by the enfranchisement of Italy from the Alps to the Adriatic; the bitter struggle between Prussia and Austria; and the breaking up of the Confederation of the Rhine, with the Franco-Prussian War looming up in the near future. It was on the threshold of such troublous times, and as if prophetic of the end of European tranquillity, that Leech signalized the accession of Napoleon III. as Emperor with the significant cartoon, "France is Tranquil!!!" Poor France cannot well be otherwise than tranquil, for Mr. Leech depicts her bound hand and foot, a chain-shot fastened to her feet and a sentry standing guard over her with a bayonet. The artist soon followed this up with another cartoon, evidently suggested by the initial plate of Hogarth's famous series of "The Rake's Progress." The Prince President, in the character of the Rake, has just come into his inheritance, and has cast aside his former mistress, Liberté, to whom he is offering money, her mother (France) standing by, an indignant witness to the scene. His military tailor is measuring him for a new imperial uniform, while behind him a priest (in allusion to the financial aid which the Papal party was receiving from Napoleon) is helping himself from a plate of money standing beside the President. On the floor is a confused litter of swords, knapsacks, bayonets, crowns, crosses of the Legion of Honor, the Code Napoléon, and other miscellaneous reminders of Louis' well-known craze on the subject of his uncle and his uncle's ideas. Mr. Tenniel's early cartoons of Louis Napoleon are scarcely more kindly. The Emperor's approaching marriage is hit off in one entitled "The Eagle in Love," in which Eugénie, represented with the most unflattering likeness, is employed in paring the imperial eagle's talons. In 1853 Tenniel depicts an "International Poultry Show," where we see among the entries a variety of eagles—the Prussian eagle, the American eagle, the two-headed Russian and Austrian eagles—and among them a wretched mongrel, more closely akin to a bedraggled barn-door fowl than to the "French Eagle" which it claims to be. Queen Victoria, who is visiting the show, under escort of Mr. Punch, remarks: "We have nothing of that sort, Mr. Punch; but should there be a lion show, we can send a specimen!!"
Louis Napoleon's Proclamation.