A satirical 1814 etching by Wijnand Esser depicting Napoleon Bonaparte confined in a madhouse, reflecting the political climate of post-Napoleonic Europe.

This etching, titled Het Dolhuijs, is a piece of Dutch political satire produced in 1814. It reflects the shifting European power dynamics following the defeat of Napoleon Bonaparte. The work depicts a stone structure, representing a madhouse or asylum, where Napoleon is confined behind iron bars. He is shown extending a hand with a medal, while a soldier stands guard nearby with a pike. The composition relies on visual metaphors common to the era, using the imagery of a prison to comment on the fallen emperor's loss of authority and his exile to Elba.

Wijnand Esser, a printmaker and art dealer based in The Hague, utilised the medium of etching to disseminate these satirical observations to the public. The print includes various inscriptions and labels that identify the figures and provide context for the scene, typical of the didactic nature of early nineteenth-century political cartoons. The inclusion of rats and the stark, fortified architecture serve to diminish the stature of the depicted figures, stripping them of their former imperial dignity. The text within the image, written in Dutch, clarifies the artist's intent to mock the ambitions of the French leadership.

As a historical document, the print captures the mood of the Netherlands during the transition from French occupation to the establishment of the United Kingdom of the Netherlands. The style is characteristic of the period, prioritising clear, legible lines and symbolic representation over atmospheric depth. The work provides a direct window into the public sentiment of the time, where political commentary was frequently expressed through accessible, mass-produced prints. This piece remains a clear example of how graphic satire functioned as a tool for shaping and reflecting popular opinion during the Napoleonic era.