The history of the nineteenth century in caricature . PAUL AND VIRGINIA. Bv Gill. sonal appearance are emphasized cover the whole range ofcaricature, and the whole gamut of public opinion which in-spired it. Here we may find every degree of malice, from CENTURY IN CARICATURE i93 the fierce goggle eyes and diabolical expression which Gill-ray introduced into his portraits of the hated Bonaparte downto the harmless exaggeration of the collar points by whichFurniss good-naturedly satirized the appearance of Again, in this respect caricature varies much,because all the great men of t
The history of the nineteenth century in caricature . PAUL AND VIRGINIA. Bv Gill. sonal appearance are emphasized cover the whole range ofcaricature, and the whole gamut of public opinion which in-spired it. Here we may find every degree of malice, from CENTURY IN CARICATURE i93 the fierce goggle eyes and diabolical expression which Gill-ray introduced into his portraits of the hated Bonaparte downto the harmless exaggeration of the collar points by whichFurniss good-naturedly satirized the appearance of Again, in this respect caricature varies much,because all the great men of the century did not offer to thecaricaturists the same opportunities in the matter of unusualfeatures or personal eccentricities. The authentic portraits and contemporary descriptions ofthe first Napoleon show us that he was a man whose appear-ance was marred by no particular eccentricity of feature, and. THE FIRST CONSCRIPT OF Gill. \ that the cartoons of which he is the principal subject arelargely allegorical, or inspired by the artists intensity ofhatred. One German caricaturist, by a subtle distortion anda lengthening of the cheeks and chin, introduced a resem- i94 CENTURY IN CARICATURE blance to a rapacious wolf while preserving something of thereal likeness. But in the goggle-eyed monsters of Gillraythere is nothing save the hat and the uniform which suggeststhe real Napoleon. It was a sort of incarnation of Beelze-bub which Gillray wished to draw and did draw, a mon-strosity designed to rouse the superstitious hatred of theignorant and lower classes of England, and to excite the na-tion to a warlike frenzy. The caricature aimed at Bona-partes great rival, the conqueror of Waterloo, was pro-duced in more peaceful times, was the work of his owncountryman, was based mainly on party differences, and,naturally enough, it was in the main good-natured andkindly. Wellington i
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