publishing house could be found, was to become in the following years a "place of breathtaking [commercial] war" (Ch. Lèdre). Birth of a business After the revolution of July 1830, Philipon published on November 4 of that year an illustrated weekly under the title La Caricature. Sold by subscription only, it had four pages of text and two lithographies in a larger format than that of Silhouette. Associated with the creation of Philipon newspaper, Honoré de Balzac wrote in the prospectus and gave it under various pseudonyms thirty articles until February 1832. The journal was primarily designed as an elegant illustrated magazine, with the drawings printed on vellum paper. The lithographs were printed on separate text and tear sheets. At first, La Caricature adopted a non-political attitude before coming to oppose July Monarchy in the spring of 1832. On 1 December 1832, while imprisoned, Philipon published Le Charivari, an illustrated daily with four pages in a smaller than Caricature format. More varied and more "popular" than its predecessor, it was not limited to political caricature. Charivari was the only daily caricature journal of nineteenth-century France. According to the prospectus, Charivari was intended as "comprehensive overview of all the constantly recurring events, by pencil and pen, of all the various aspects of this kaleidoscopic world in which we live." The lithographs are of lower quality than in La Caricature, but better integrated into the text. Thereafter, the presentation of Charivari changed significantly. As the owner of these two newspapers, Philipon retained full control of all aspects of the papers' written and lithographic content. He chooses his collaborators, dealing with suppliers in the market as well as financial management. In an obituary published in 1862, Nadar the credits of "extraordinary lucidity in business" coupled with "inexhaustible fertility of invention and means". Employer of his artist friends, it defines the objectives with them, suggest topics, coordinating text and lithography. He does not hesitate to ask for changes to avoid censorship. To ensure editorial consistency, writing is reduced to a small team of highly dedicated journalists (in February 1834, they are seven Philipon included). The testimony of his contemporaries emphasizes Philipon's charisma who inspired writers and caricaturists in his employ. Himself focusing on lithographs, his publishing house had an almost complete monopoly on this type of publication as of 1831, with a third of all lithographs published in Paris coming from him. Rise to