two arts in La Caricature and later in Le Charivari was successful
and lasting. It immediately intensified the offensive against Louis-
Philippe and his Ministers, in supplementing the written word
by objective satire, quickly comprehensible and convincing. The
tempo of the growing conflict may be judged by the energy of
the government in harassing the publication of political criticism
and political caricature, in prosecuting press offenders rigorously
for alleged defamatory and subversive attacks on the government
and in the enactment of new penal statutes to define new press
crimes. And, on the part of Phillpon, the casualties of the defense
of the freedom of the press were marked by the organization of
L'Association Mensuelle Lithographique and the publication of
its series of political caricatures. They supplemented Philipon's
La Caricature and later Le Charivari and aided their budgets.
They were twice the usual size of the caricatures published by
Philipon; but they more than doubled the impact of caricature
oil the public, because of the systematic statement of their con-
nected argument, as the series progressed to its later and greatest
lithographs.

Philipon, in announcing the publication of L'Association Men-
suelle Lithographique, or, as he also called it, L'Association
Mensuelle or L'Association pour la Liberté de la Presse, said in
La Caricature, on July 28, 1832, that he wished to create an asso-
ciation to help to provide a reserve fund, a war chest, to pay his
fines for press offenses. This association was to be composed of
the friends of his publications who would subscribe for the
monthly caricatures of L'Association Mensuelle Lithographique
at the price of twelve francs a year. Philipon compared the pro-
posed monthly issues of caricatures whimsically to shares of stock
of a business enterprise, promising that they always have a
value in excess of the price of the subscription." A modest pre-
diction this proved to be; the value of the lithographs of L'Asso-
ciation Mensuelle Lithographique increased generously; and the
prices paid for some of these issues have been more than three
thousand times the cost of the original subscription.

When Philipon wrote his announcement in July, 1832, he was
in prison for defaming Louis-Philippe and the Monarchy. With-
in a few months after he had founded La Caricature in Novem-
ber, 1830, its weekly numbers were seized and impounded.
Numerous writs were issued against Philipon; and he was in
trouble throughout 1831 and 1832. His first conviction for a
press offense occurred in November, 1831. In referring to it,
he said: "I must pay with six months of my freedom for my first
efforts to establish at home a right that is undisputed in England.
But the right will be established 'even if'." One of his famous
prosecutions for defamation resulted from his use of the pear
as a device to lampoon Louis-Philippe. La Poire means not only
a pear, but, in French argot, a head or a face, an imbecile or a
fool. Philipon's pear became the common symbol of the King;
all Philipon's artists used it in their caricatures; and it was popular
everywhere in Paris, appearing in circulars, pamphlets and
posters, as well as in rude sketches on hoardings and walls. When
he was charged with having defamed the King by the distortion
of the pear, The asked the permission of the court to draw a series
of four pears. The court consented; and Philipon drew the first
pear with simple but expressive slashes to suggest eyes and a
mouth, with heavy jowls at the base and a suggestion of a taper-
ing cranium at the apex of the drawing. As he progressed, the
other three drawings, without being less pyriform, became suc-
cessively more like the head and face of Louis-Philippe! "Is

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