fleets, I have lost the largest, and the finest, armies ever heard of, and I am now become the indignation of the world, and the scorn, and sport, of boys. Had I not spurned the firm wisdom of the Right Hon. WTM Pitt, I might have secured an honourable Peace, I might have governed the greatest Nation; but, alas, my ambition has deceived me, and Pitt's plans have ruined me.'

Rowlandson drew a 'Copy of the Transparency exhibited at Ackermann's Repository of Arts, During the Illuminations of the 5th and 6th of November 1813, in honour of the splendid victories obtained by the Allies over the Armies of France, at Leipsig and its Environs.

'The Two Kings of Terror.

'This Subject, representing the two Tyrants, viz. the Tyrant Bonaparte, and the Tyrant Death, sitting together on the Field of Battle, in a manner which promises a more perfect intimacy immediately to ensue, is very entertaining. It is also very instructing to observe, that the former is now placed in a situation, in which all Europe may see through him. The emblem, too, of the circle of light from mere vapour, which is so soon extinguished, has a good moral effect; and as the Gas represents the dying flame, so does the Drum, on which he is seated, typify the hollow, and noisy nature of the falling Usurper.

'The above description of the subject, appeared in the Sun of Saturday, the 6th of November. These pointed comments arose from the picture being transparent, and from a circle, indicative of the strength, and brotherly union, of the Allies, which surmounted the same, composed of gas1 of brilliant brightness.'

1 Gas was just then coming into notoriety as an illuminating power. Westminster Bridge was lit by gas December 31, 1813, but its use did not become general in London until 1816.

'Cossack Sports-or the Platoff Hunt in full cry after French Game' (November 9, 1813), shows Leipsic in the background, and the river Elster, into which the Cossacks plunge, in full cry, after the 'Corsican Fox.' The Hetman, Platoff, cries, Hark forward! my boys, get along! he runs in view-Yoics, Yoics-There he goes-Tally ho!' His daughter, about whom the story is told (see footnote p. 148), is in mid stream, lashing her horse, and calling out, 'Hi! ho! Tally ho! For a husband!' An army of French frogs in vain attempt to stop the Cossacks-they are routed, and fleeing.

A very cleverly drawn caricature is 'Caterers-Boney Dished-a Bonne Bouche for Europe' (November 10, 1813), and it gives us the sovereigns of Europe seated around a table, on which is a large dish, in the centre of which poses Napoleon, surrounded with a garnish of his marshals, seated, and with their hands tied behind them. The different sovereigns express their opinions upon the dish. Thus Russia says, 'I think Brother of Austria, this dish will be relish'd by all Europe.' 'And I think Brother of Russia they will admire the garnish!' 'Pray let Wurtemburg join in that dish.' 'And Bavaria, if you please.' Holland thinks that 'Donder and Blikins, dat dish will please mein Vrow.' Poland says, 'It is rather too highly seasoned for my taste, but French.' The Switzer opines that 'William Tell never invented a better dish, I hope we shall have a taste of it!' Italy swears 'By the God of Love! that is better dish den Maccaroni.' With tears streaming down his face, a poor monarch prays, 'Oh dear! oh dear! I hope they won't Dish the poor old King of Saxony.' Prussia remarks to England, 'We must reduce the quantity of irritating articles, before we can produce it as a finished dish -What say you Steward of the Feast?' who replies, 'I agree with your Highness, John Bull prefers moderation.'

On November 10, 1813, was published 'The Daw Stript of his Borrow'd Plumes, vide Gay's Fables of the Daw and the other Birds,' which shows the different birds despoiling the poor Daw, Napoleon. The double-headed eagle, Russia, with one beak strips him of his Legion of Honour, the other head takes off his crown. Austria, Prussia, and Sweden are rapidly denuding him of his borrowed plumes; whilst Spain, Poland, and Bohemia are hovering around. The background is taken up with a Cossack spitting runaway Frenchmen on his lance.

PRUSS

THE DAW STRIPT OF HIS BORROWED PLUMES.

Rowlandson gives us (November 25, 1813) 'A Long pull, a Strong pull, and a pull altogether.' Here we see the allies' ships riding freely on the ocean, the sun of tyranny setting, and the allies giving all their strength in helping to float the Texel fleet, which the Dutch are assisting them to launch. Napoleon and his brother Joseph are in the background, the former dancing with rage, and crying out, 'Oh Brother Joe-I'm all Fire. My Passion eats me up. Such unlooked for storms of ill fall on me. It beats down all my cunning, I cannot bear it. My ears are filled with noise, my eyes grow dim, and feeble shakings seize every Limb.' Joseph, whose crown has dropped off, says, 'Oh Brother

Nap, brother Nap, we shan't be left with half a crown

apiece!'

The Corsican toad under a harrow' (Rowlandson,

A LONG PULL, A STRONG PULL, AND A PULL ALTOGETHER.

November 27, 1813) also alludes to the defection of Holland, the agonised Emperor calling out, 'Oh, this heavy Dutchman! O' had I enough to bear before !!!'

THE CORSICAN TOAD UNDER A HARROW.

Rowlandson gives us (November 29, 1813) 'Dutch Nightmare, or the Fraternal Hug, returned with a Dutch Squeeze,' which represents Napoleon lying on a state bed, suffering the tortures of nightmare, his incubus being a very heavy Dutchman, who sits upon his breast calling out, Orange Boven,' and puffing his smoke right into the face of his victim.

Mr. Grego credits Rowlandson with the Head Runner of Runners from Leipsic Fair' (March 2, 1814), but both the design and drawing manifestly show that it is not by him. On the contrary, its internal evidence clearly shows it to be a German engraving, and much earlier in date, the town in the background being labelled Maynz. Napoleon is here represented as a running courier, and the speed at which he is going is shown by his being able to keep pace with a hare. The top of his staff is Charlemagne-or, as in the etching, Carolus Magnus. In his