New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-08-20

country was. however. under Napoleon's
heel and could not venture into the field.
The Dutch artists demonstrated In 1914
and 1915 that their hands had not lost
their cunning, but their satire was less
successful than their pictorial expression
Of the national gratitude TO the allies.
In Russia. Napoleonic caricature be-
gan in 1912 and ended with the oattie
Of Ieipsic. Most Of II is strictly local.
and military rather than politlcal IN its
significance. It's chief purpose Is to laud
Russian valor and to depict the French
as rufflans and poltroons. The humor Is
generally that of a primitive people
broad and unmistakable, allegories ike
that of Moscow, reproduced on this page
being rare. out Of Difference, no DOUBT,
TO the mental limitations Of the mouj'H'
George Cruikshank repeatedly borrowed
the ideas of the foremost Of the Russian
caricaturists, Ivan Terebenef.
The SCOPE of Mr. Broadleys work in
cludes survey Of the innumeraoie
forms which Napoleonic caricature took
bevond that of the cartoon. He was
lampooned on handkerchiefs, on playing
cards. on fans. watch dials snuff boxes
and pipe bowls. He did service in jest
books and games for young and old.
His features were distorted on fantastic
mugs and Jugs. And, let it not be for
gotten. he was to many Britons the
Beast of Revelation. He is the most
widely carcatured figure in history ana
he continues to serve the cartoonist, put
IN n different sense His rehabilitation
began in France the moment the allies
had left Paris and the nation began 10
take stock of Louis the Desired and
what his rule meant. The Holy All
ance. the Due de Reichstadt, all TINS
furnished material for the beginnings OF
the Napoleonic Legend in caricature'
Cruikshank published In 1923 two tell
ing cartoons. the second Of them repre-
senting Louis XVIII on the eve or the
Spanish campaign trying on Napoleohs
boots. His crown is falling off and is
caught bv the Duke de Reichstadt, who
exclaims: THE boots won't 1T you, old
Bourbon I'll try them by ana pS'
With Louis Philippe the Legend began
IT'S growth. Napoleon III was con-
stantly attacked in European caricature
through the gigantic figure Of his great
uncle. To-day the Man Of Destiny Is
perhaps the most significant, the most
telling figure at the service of the
worlds cartoonists.
At the end Of his second volume the
author indexes 900 English, $40 French,
1877 German. 81 Italian. - Spanish. l
Portuguese. II Russian, - Dutch and -
Scandinavian caricatures, with their
dates. the names Of the artists and pub
fishers and Of the collections containing
them. An incidental merit of the work
is its notes upon the print-selers OF
the period. especially those of England.
Mr.. Young's "The Growth of Napo-
leon" is, as he himself explains, "a
study in environment" alone, simply be-
cause we have practically no data for
study Of his direct ancestry as well.
The English author acknowledges his
Indebtedness to several French and Ttal-
ian writer's especially for their labors in
making known Napoleon's early writ
ings, but he has, as he informs us. gone
far beyond them In tracing the influence
Of Napoleon's early environment upon