Starting with a caricature by the engraver-publisher Villeneuve, published in March 1791, a corpus of some twenty large engravings was formed during that year, engravings largely homogeneous in their treatment of a common theme–compositions as rich as they are complex characterized by a grotesque vocabulary. Depicting the polemics of the political news of the moment, these engraved satires were not only inspired by the patriotic press of the time, but also by songs that themselves had quickly taken up the theme of the army of émigrés. The ensemble offers an example of multi-media communication of Revolutionary public space that would almost convey the impression of a concerted action by all thesemedia.While this is most probably not the case, they do constitute, however, a choice corpus for understanding the way in which laughter, humor, and satire were developing in France at the time, to the detriment of the royalist émigrés.