Victorian political and social thought was shaped to some extent in response to the French Revolution and the Regency. One widely circulated mid-nineteenth-century emblem of the State is George Cruikshank's The British Bee Hive, which he designed in 1840 during a second wave of Chartist agitation whose origins and program extend backward into the first decades of the century (Fig. I). The Bee Hive was not published, however, until twenty-seven years later, on the eve of the second Reform Bill, when Cruikshank's “Penny Political Picture for the People” gave him an opportunity to address his public one more time “with a few words upon Parliamentary Reform” and the constitutional subjects that had preoccupied him “for upwards of fifty years.” As an expression of populous enterprise and the stable class hierarchies of the British bourgeois monarchy, George Cruikshank's beehive embodies in its design and accompanying letterpress not only his notions about the second Reform Bill, but also ideas growing out of earlier political, social, and graphic controversies.