During this time the walls resound with fun. Paris of the street and gutter—Paris, Gavroche and blackguard, rolls with laughter before the caricatures which ingenious salesmen stick with pins on shutters and house doors. Who designed these wild pictures, glaringly coloured and common, seldom amusing and often outrageously coarse? They are signed with unknown names—pseudonyms doubtless; their authors, amongst whom it is sad to think that artists of talent must be counted, are like women, high born and depraved, mixing with their faces masked in hideous orgies.

These vile pictures with their infamous calumnies keep up and even kindle contempt and hatred in ignorant minds. Laughter is often far from innocent. But the passers-by think little of this, and are amused enough when they see Jules Favre’s head represented by a radish, or the embonpoint of Monsieur Picard by a pumpkin. Where will all this unwholesome stuff be scattered in a few days? Flown away and dispersed. Eccentric amateurs will tear their hair at the impossibility of obtaining for their collections these frivolous witnesses of troubled times. I will make a few notes so as to diminish their despair as far as I am able.

A green soil and a red sky—In a black coffin is a half-naked woman, with a Phrygian cap on her head, endeavouring to push up the lid with all her might. Jules Favre, lean, small, head enormous, under lip thick and protruding, hair wildly flying like a willow in a storm, wearing a dress coat, and holding a nail in one hand and a hammer in the other, with his knee pressed upon the coffin-lid, is trying to nail it down, in spite of the very natural protestations of the half-naked woman. In the distance, and running towards them, is Monsieur Thiers, with a great broad face and spectacles, also armed with a hammer. Below is written: “If one were to listen to these accursed Republics, they would never die.” Signed, Faustin. Same author—Same woman. But this time she lies in a bed hung with red flags for curtains. Her shoulders a little too bare, perhaps, for a Republic, but she must be made attractive to her good friends the Federals. At the head of the bed a portrait of Rochefort; Rochefort is the favoured one of this lady, it seems. Were I he, I should persuade her to dress a little more decently. Three black men, in brigands’ hats, their limbs dragging, and their faces distorted, approach the bed, singing like the robbers in Fra Diavolo: “Ad.... vance ... ad ... vance ... with ... pru ... dence ...!” The first, Monsieur Thiers, carries a heavy club and a dark lantern; Jules Favre, the second, brandishes a knife, and the third, carries nothing, but wears a peacock’s feather in his hat, and.... I have never seen Monsieur Picard, but they tell me that it is he.

The young Republic again, with shoulders bare and the style of face of a petite dame of the Rue Bossuet. She comes to beg Monsieur Thiers, cobbler and cookshop-keeper, who “finds places for pretenders out of employ, and changes their old boots for new at the most reasonable prices,” to have her shoes mended. “Wait a bit! wait a bit!” says the cobbler to himself, “I’ll manage ’em so as to put an end to her walking.”

Here is a green monkey perched on the extreme height of a microscopic tribune. At the end of his tail he wears a crown; on his head is a Phrygian cap. It is Monsieur Thiers of course. “Gentlemen,” says he, “I assure you that I am republican, and that I adore the vile multitude.” But underneath is written: “We’ll pluck the Gallic cock!” The author of this is also Monsieur Faustin. I have here a special reproach to add to what I have already said of these objectionable stupidities. I do not like the manner in which the author takes off Monsieur Thiers; he quite forgets the old and well-known resemblance of the chief of the executive power to Monsieur Prud’homme, or what is the same thing, to Prud’homme’s inventor, Henri Monnier. One day Gil Perez the actor, met Henri Monnier on the Boulevard Montmartre. “Well, old fellow!” cried he, “are you back? When are you and I going to get at our practical jokes again?” Henri Monnier looked profoundly astonished; it was Monsieur Thiers!

The next one is signed Pilotel. Pilotel, the savage commissioner! He who arrested Monsieur Chaudey, and who pocketed eight hundred and fifteen francs found in Monsieur Chaudey’s drawers. Ah! Pilotel, if by some unlucky adventure you were to succumb behind a barricade, you would cry like Nero: “Qualis artifex pereo!” But let us leave the author to criticise the work. A Gavroche, not the Gavroche of the MisÉrables, but the boy of Belleville, chewing tobacco like a Jack-tar, drunk as a Federal, in a purple blouse, green trousers, his hands in his pockets, his cap on the nape of his neck; squat, violent, and brutish. With an impudent jerk of the head he grumbles out: “I don’t want any of your kings!” This coarse sketch is graphic and not without merit.

Horror of horrors! “Council of Revision of the Amazons of Paris,” this next is called. Oh! if the brave Amazons are like these formidable monstrosities, it would be quite sufficient to place them in the first rank, and I am sure that not a soldier of the line, not a guardian of the peace, not a gendarme would hesitate a moment at the sight, but all would fly without exception, in hot haste and in agonised terror, forgetting in their panic even to turn the butt ends of their muskets in the air. One of these Amazons—but how has my sympathy for the amateurs of collections led me into the description of these creatures of ugliness and immodesty?—one of them.... but no, I prefer leaving to your imagination those Himalayan masses of flesh, and pyramids of bone—these Penthesileas of the Commune of Paris that are before me.

Ah! Here is choleric old “Father Duchesne” in a towering passion, with short legs, bare arms, and rubicund face, topped with an immense red cap. In one hand he holds a diminutive Monsieur Thiers and stifles him as if he were a sparrow. Here, the drawing is not only vile, but stupid too.

This time we have the nude, and it is not the Republic, but France that is represented. If the Republic can afford to bare her shoulders, France may dispense with drapery entirely. She has a dove which she presses to her bosom. On one side is a portrait of Monsieur Rochefort. Again! Why this unlovely-looking journalist is a regular Lovelace. Finally, two cats (M. Jules Favre and M. Thiers) are to be seen outside the garret window with their claws ready for pouncing. “Poor dove!” is the tame inscription below the sketch.^[56]

Next we find a Holy Family, by Murillo. Jules Favre, as Joseph, leads the ass by the reins, and a wet-nurse, who holds the Comte de Paris in her arms instead of the infant Jesus, is seated between the two panniers, trying to look at once like Monsieur Thiers and the Holy Virgin. The sketch is called “The Flight.... to Versailles.” Oh! fie! fie! Messieurs the Caricaturists, can you not be funny without trenching on sacred ground?

We might refer to dozens more. Some date from the day when Paris shook off the Empire, and are so infamous that, by a natural reaction of feeling, they inspire a sort of esteem for those they try to make you despise; others, those which were seen by everyone during the siege, are less vile, because, of the patriotic rage which originated them, and excused them; but they are as odious as they can be nevertheless. But the amateurs of collections who neglected to buy fly-sheets one by one as they appeared, must be satisfied with the above.

NOTES:

[56] As a power for the encouragement of virtue and the suppression of vice, caricature cannot be too highly estimated, though often abused. It is doubtful which exercises the greater influence, poem or picture. In England, perhaps, picture wields the greater power; in France, song. Yet, “let me write the ballads and you may govern the people,” is an English axiom which was well known before pictures became so plentiful or so popular, or the refined cartoons of Mr. Punch were ever dreamt of. In Paris, where art-education is highly developed, fugitive designs seems to have, with but few exceptions, descended into vile abuse and indecent metaphor, the wildest invective being exhausted upon trivial matters—hence the failure.
The art advocates of the Commune, with but few exceptions, seem to have been of the most humble sort, inspired with the melodramatic taste of our Seven Dials or the New Out, venting itself in ill-drawn heroic females, symbols of the Republic, clad in white, wearing either mural crowns or Phrygian caps, and waving red flags. They are the work of aspiring juvenile artists or uneducated men. I allude to art favourable to the Commune, and not that coËval with it, or the vast mass of pictorial unpleasantly born of gallic rage during the Franco-Prussian war, including such designs as the horrible allegory of Bayard, “Sedan, 1870,” a large work depicting Napoleon III. drawn in a calÈche and four, over legions of his dying soldiers, in the presence of a victorious enemy and the shades of his forefathers’, and the well-known subject, so popular in photography, of “The Pillory,” Napoleon between King William and Bismarck, also set in the midst of a mass of dead and dying humanity. Paper pillories are always very popular in Paris, and under the Commune the heads of Tropmann and Thiers were exhibited in a wooden vice, inscribed Pantin and Neuilly underneath. And, again, in another print, entitled “The Infamous,” we have Thiers, Favre, and MacMahon, seen in a heavenly upper storey, fixed to stakes, contemplating a dead mother and her child, slain in their happy home, the wounds very sanguine and visible, the only remaining relict being a child of very tender years in an overturned cradle; beneath is the inscription “Their Works.” Communal art seems also to have been very severe upon landlords, who are depicted with long faces and threadbare garments, seeking alms in the street, or flying with empty bags and lean stomachs from a very yellow sun, bearing the words “The Commune, 1871.” Whilst as a contrast, a fat labourer, with a patch on his blouse, luxuriates in the same golden sunshine.
As a sample of the better kind of French art, we give two fac-similes, by Bertal, from The Grelot, a courageous journal started during the Commune; it existed unmolested, and still continues. We here insert a fac-simile of a sketch called “Paris and his Playthings.”
“What destruction the unhappy, spoiled, and ill-bred child whose name is Paris has done, especially of late!
“France, his strapping nurse, put herself in a passion in vain, the child would not listen to reason. He broke Trochu’s arms, ripped up Gambetta, to see what there was inside. He blew out the lantern of Rochefort; as to Bergeret himself, he trampled him under foot.
“He has dislocated all his puppets, strewed the ground with the dÉbris of his fancies, and he is not yet content,—‘What do you want, you wretched baby?’—‘I want the moon!’ The old woman called the Assembly was right in refusing this demand,—‘The moon, you little wretch, and what would you do with it if you had it?’—‘I would pull it to bits, as I did the rest.’”
Further on will be found “Paris eating a General a day” (Chapter LXXVIII). Early in June, 1871 there appeared in the same journal “The International Centipede,” “John Bull and the Blanche Albion.” The Queen of England, clad in white, holding in her hands a model of the Palace of Westminster, and sundry docks, resists the approach of an interminable centipede, on which she stamps, vainly endeavouring to impede the progress of the coil of fire and blood approaching to soil and fire her fair robe; beside her stands John Bull, in a queer mixed costume, half sailor, with the smalls and gaiters of a coalheaver. He bears the Habeas Corpus Act under his arm, but stands aghast and paralysed, it never seeming to have occurred to the artist that this “Monsieur John Boule, Esquire,” was well adapted by his beetle-crushers to stamp out the vermin. Perhaps, it is needless to add, that the snake-like form issues from a hole in distant Prussia, meandering through many nations, causing great consternation, and that M. Thiers is finishing off the French section in admirable style.

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