During the sixteenth century caricature can hardly be said to have existed in England, and it did not come much into fashion, until the approach of the great struggle which convulsed our country in the century following. The popular reformers have always been the first to appreciate the value of pictorial satire as an offensive weapon. Such was the case with the German reformers in the age of Luther; as it was again with the English reformers in the days of Charles I., a period which we may justly consider as that of the birth of English political caricature. From 1640 to 1661 the press launched forth an absolute deluge of political pamphlets, many of which were of a satirical character, scurrilous in form and language, and, on whatever side they were written, very unscrupulous in regard to the truth of their statements. Among them appeared a not unfrequent engraving, seldom well executed, whether on copper or wood, but displaying a coarse and pungent wit that must have told with great effect on those for whom it was intended. The first objects of attack in these caricatures were the Episcopalian party in the church and the profaneness and insolence of the cavaliers. The Puritans or Presbyterians who took the lead in, and at first directed, the great political movement, looked upon Episcopalianism as differing in little from popery, and, at all events, as leading direct to it. Arminianism was with them only another name for the same thing, and was equally detested. In a caricature published in 1641, Arminius is represented supported on one side by Heresy, wearing the triple crown, while on the other side Truth is turning away from him, and carrying with her the Bible. It was the indiscreet zeal of archbishop Laud which led to the triumph of the Puritan party, and the downfall of the episcopal church government, and Laud became the butt for attacks of all descriptions, in pamphlets, songs and satirical prints, the latter usually figuring in the titles of the pamphlets. Laud was especially obnoxious to the Puritans for the bitterness with which he had persecuted them. In 1640 Laud was committed to the Tower, an event which was hailed as the first grand step towards the overthrow of the bishops. As an example of the feeling of exultation displayed on this occasion by his enemies, we may quote a few lines from a satirical song, published in 1641, and entitled "The Organs Eccho. To the Tune of the Cathedrall Service." It is a general attack on the prelacy, and opens with a cry of triumph over the fall of William Laud, of whom the song says-- _As he was in his braverie, And thought to bring us all in slaverie, The parliament found out his knaverie; And so fell William. Alas! poore William!_