ce in smoke and flames, and invade White's Club on their
right, pitching its ill-fated members on to the bayonets in the street,
but are received by the members of Brookes's Club on their left with
cries of welcome, and a set of heads neatly arranged upon a plate, with
the motto, "Killed for the Public Good!" October 20, 1796, is the date
of this magnificent cartoon of our artist, which must have found an echo
in public opinion: but ships, troops, and subsidies mean taxation, and
Pitt's continued demands on the Treasury are satirised in "The Nuptial
Bower" (February 15, 1797) and "Political Ravishment, or The Old Lady of
Threadneedle Street in Danger" (May 22, 1797).

=THE JACOBIN DRUMMER=

=_By James Gillray_ BRITANNIA BETWEEN DEATH AND THE DOCTORS=

In the year following (1798) the form of Nelson makes its appearance
in the print of "The British Hero cleansing ye Mouth of ye Nile," and in
"John Bull Taking a Luncheon"--off a captured French three-decker.

For now, too (November 21, 1799), the figure of Buonaparte, which was to
occupy so fully Gillray's pencil, makes his entry into these caricatures
in the cartoon of "Exit Liberte, a la Francois (_sic_) or, Buonaparte
closing the Farce of Egalite at S. Cloud, near Paris, November 16,
1799."

Another print, however, touching the Directorate period is too important
to be entirely omitted from our list. It is called "Ci-devant
Occupations, or Madame Tallien and the Empress Josephine dancing naked
before Barras in the Winter or 1797--a Fact." The dancers can be traced
behind a veil of gauze, while Barras sits at table, very drunk, beneath
an infant Bacchus wearing the Cap of Liberty, and Buonaparte watches the
scene from the side in front of a pile of skulls. "Madame Tallien," we
are here informed, "is a beautiful woman, tall and elegant: Josephine is
smaller and thin, with bad teeth"; in which case she must be the figure
nearest Buonaparte, and must have gone up in weight--in Gillray's
view--before she appears in his "Handwriting on the Wall."

It would be impossible within the limits of this series to give a
detailed list of all the superb series of Gillray's satires on the
Napoleonic struggle. I have been fortunate enough to obtain for this
work reproductions of three among the best ones; but my account may do
well to commence with that delightful print (another hit at Charles
James Fox) of the "Introduction of Citizen Volpone and his Suite at
Paris"; migh