animals, while in the distance we behold the flying and demoralized troops chased by a cloud of Cossacks. The English caricaturists follow the emperor into the sanctity of his private life; they depict in their own homely but forcible fashion the astonishment of the empress at his unexpected return, and the disgust of young "Boney the Second," who not only expresses surprise that his imperial sire had forgotten his promise to "bring him some Russians to cut up," but suggests that they seem to have "cut _him_ up" instead. These incidents are described in a satire entitled, _Nap's Glorious Return; or, the Conclusion of the Russian campaign_, published by Tegg, in June, 1813. The crushing defeat of Vitoria, the crowning disaster of Leipzig--sustained the same year, the subsequent abdication of Bonaparte, the return from Elba, the brief incident of the "hundred days," the catastrophe of Waterloo, and the subsequent consignment of the great emperor to St. Helena, form of course the subjects of a host of graphic satires. Foremost amongst them (for Gillray's intellect was gone), must be mentioned the caricatures of Thomas Rowlandson and of George Cruikshank. The first being fully described in Mr. Grego's work, we are not called on to mention them here, while the last will be fully set out when we come to treat of the caricature work of George Cruikshank. FRENCH ROYALIST SATIRES. The French royalist satirists of course expressed their views on the situation. A French royalist caricature, published after Waterloo, represents Napoleon as a dancing bear forced to caper by England, his keeper, who makes an unsparing use of the lash, whilst Russia and Prussia play pipe and drum by way of music. A good answer, however, to this is found in a French caricature (published in the Napoleon interest), like most of the French satires of that period without date, entitled, _L'apres dinee des Anglais, par un Francais prisonnier-de-guerre_, which satirizes the after-dinner drinking propensities of the English of the period. The caricature, although neither flattering nor altogether decent, is probably not an exaggerated picture of English after-dinner conviviality while the century was young. [Illustration: GILLRAY. _"Royal Affability," Feb. 10th._ "Well, friend, where a' you going, hay? What's your name, hay? Where do you live, hay?--hay?"] [Illustration: GILLRAY. _Connoisseur examining a Cooper June 18th, 1792._ A CONNOISSEUR IN ART.] [Illustration: GILLRAY. _"A Lesson in Apple Dumplings."_ "Hay? hay? apple dumplings?--how get the apples in?--how? Are they made without seams?" _Face p. 24._]