_ADVERSARIA._
During the progress of this book towards completion, we have now and
again stumbled across something which would not consistently fit under
any of the chapter heads in our plan, nor stand well by itself, and
though at first rather puzzled what to do with these trifles, they have
in the end accumulated sufficiently to form a chapter of varieties which
will fitly conclude, and will doubtless prove neither dull nor
uninteresting. In advertising there seems to be always something new
springing up, and no sooner do we think we have discovered the last
ingenious expedient of the man anxious to display his wares, or to tempt
others to display theirs, than another and more novel plan for publicity
arrests the attention, and makes its predecessor seem old-fashioned, if
not obsolete. At the present moment the plan of an energetic Scotchman
is the very latest thing in advertisements. Whether it will be
considered a novelty six months hence, or whether it will be considered
at all, it would be hard indeed to say, so it will perhaps be enough for
us to give the plan to our readers, with the remark that after all the
idea is not unlike that of the old newsletters to which reference has
been made in an earlier portion of this work. The Scotchman’s notion is
to substitute advertisements for the intelligence contained in the
ancient letters, and thereby reap a rich reward. For sixpence he sells
twenty-four sheets of letter-paper, on the outside of each of which is
an embossed penny postage-stamp. He fills the two inside pages with
sixty advertisements, for which he charges one guinea each, leaving the
first page for private correspondence, and the last page, to which the
stamp is affixed, for the address. As the stamp will carry an ounce
weight, another sheet of plain paper may be enclosed. He guarantees to
the advertiser a circulation of five thousand copies. For the
advertisements he receives £63, from which he pays five thousand stamps
at one penny each--£20, 16s. 8d.--less received for copies sold
(twenty-four for sixpence), £5, 4s. 2d.; total, £15, 12s. 6d., leaving
the difference, £47, 7s. 6d., to cover the cost of paper and printing.
It will be remembered by many that the plan of giving advertisement
sheets away has been often tried--notably with metropolitan local
newspapers, some of which at first thought to clear the whole of their
expenses by means of the charge for notices, &c. It is remarkable,
however, that these journals invariably did one of two things. They
either got a price fixed on themselves, or died. It is hard to make
advertisers believe that it is worth while paying for a notice in a
paper which is itself not worth paying for, and no arguments as to
increased circulation seem to have any effect.
Parisian advertisements form an item worthy of attention here. Within
the past few years a great change has taken place in the system of
advertising as known in the capital of France--in fact, as known in all
the chief towns of the empire, kingdom, republic--whichever our readers
like best or consider the most correct word. Between twenty-five and
thirty years ago advertisements were charged at very high rates in the
Paris papers, and there were comparatively few of them. The proprietors
of journals did not themselves deal with the advertisers, but farmed out
their columns at so much a year to advertising establishments or
agencies. This was both convenient for the papers and profitable for the
agencies. The rates they fixed for advertising in some of the most
prominent journals were--_Presse_, one franc per line for each
insertion; _Siècle_, one franc fifty centimes per line each insertion
for four times, for ten times and upwards one franc per line, special
notices three francs per line, editorial items five francs per line;
_Nation_ and _Débats_, four lines seventy-five centimes per line,
advertisements above 150 lines fifty centimes per line, special notices
two francs per line, editorial items three francs; _Galignani’s
Messenger_, seventy-five centimes a line each time, one advertisement
above 300 lines fifty centimes a line, editorial items three francs.
Other papers were lower, some taking advertisements for from twenty-five
to forty centimes, and charging from one franc to two francs a line for
editorial items; but their circulation was very limited. What are called
broadside advertisements were very frequent in Paris papers; they were
very ugly affairs to the eye of an Englishman; set up in sprawling
capitals, like a handbill, a single advertisement frequently covering
half or the whole of a page of a newspaper. This style of advertisement
obtains now, but under different principles. The _Presse_ and the
_Siècle_ used to make more money than any of the other papers by means
of advertisements; in the year 1847 the income of the _Presse_ for its
two advertising pages was 300,000 francs. The advertising of the
_Débats_ and _Constitutionnel_ was also profitable.
Things have very considerably changed since then, and Parisian
advertising may fairly be said to have become developed into a
flourishing, though at the same time a very unique, system. The remark,
“Show me the advertisements of a country, and I will tell you the
character of its inhabitants,” is not yet current among the choice
sayings of great men, yet it or something similar might well be said
with regard to modern Parisian notifications. Perhaps in no country so
much as in France are public announcements and advertisements so
thoroughly characteristic of a people. An important law recently
introduced compels all announcements fixed or displayed in public places
to bear each a ten-centime stamp, and the Government reserves to itself
the right of alone using a perfectly white _affiche_. All posters,
playbills, and placards unconnected with State matters must be printed
on coloured paper, though a small portion may remain white. The
Parisians are proverbially neat in everything but their personal habits;
and ugly, gaunt, straggling hoardings like those of London are quite
unknown to them. The principal vacant places in front of building ground
are usually purchased by one of the principal Sociétés de Publicité. A
large frame of wood and canvas is affixed to the hoarding and divided
into a number of squares, which are painted a neutral tint. Then in all
these squares different announcements are made in gay colours. When
completed, the structure resembles the boards of advertisements placed
in railway carriages and omnibuses, the scale of course being
considerably larger. A well-executed painting of some country seat or
park to let frequently figures in these spaces; and few stations are
without some well-known and familiar advertisement, the French having
like ourselves some firms which make it their business to be on every
hoarding and in every paper. A large tailoring and drapery establishment
which advertises as follows is perhaps the best known of any:--
MAISON DE LA RUE DE
PONT NEUF
HABILLEMENTS PR HOMMES ET ENFANTS
ON REND L’ARGENT DE TOUT ACHAT QUI À
CESSE DE PLAIRE
=LA MAISON N’EST PAS AU COIN
DU QUAI=.
This advertisement is so well known that recently a _revue_ bearing the
title “La Maison n’est pas au Coin du Quai” was played at a well-known
theatre, and in the recent version of “Orphée aux Enfers” at the Gaîté,
the “on rend l’argent” portion is made the peg for a joke by the Monarch
of Hell. The following also persistently arrest the attention of the
traveller: “Au Bon Diable,” “Eau Melisse des Carmes,” “Chocolat Ibled,”
and “Old England British Tailors.” The “Piano Quatuor” is also
everywhere typified by the picture of a gentleman with hideous long
fingers and pointed nails stretching over the strings of four violins.
The theatres usually display their programmes on large columns specially
constructed for the purpose, which are fixed about every two hundred
yards along the principal Boulevards. As these bills are renewed nearly
every day, this department alone must be very remunerative to the
Government. No playbills are sold in the theatres, but many of the daily
journals publish the programmes of all; and three papers, the
_Vert-Vert_, the _Orchestra_, and the _Entr’acte_, are specially printed
to serve as bills of the play. One peculiar circumstance connected with
theatrical advertisements is worthy of notice. In each of those places
of public convenience known to Parisians as “Les Colonnes Rambuteau,”
some mysterious individual has for years pasted a little piece of paper
announcing the drama at the Ambigu Comique and the principal performers
therein. Here is an exact copy of the one appearing during the month of
June of the present year (1874):--
[Illustration:
_Mm Vannoy Mont-bars et M^{d.} Ribeaucourt
L’Amant de la Lune
drame en 7 tableaux de
Paul de Kock.
L’Ambigu Comique tous les soirs_
]
For years some unknown person has thus maybe gratuitously advertised the
house in question, and his identity is one of the mysteries of Paris.
Two well-known Parisian journalists, piqued by the eccentricity of the
advertisement, lay in wait one whole night and day for the purpose of
discovering its author, but their effort was fruitless. While on the
subject of these _colonnes_, we may note the fact that their exteriors
are covered with advertisements, the most conspicuous among them being
the bill of fare of the “Dîner de Rocher,” a three-franc ordinary on the
Boulevard Montmartre. The interior announcements are not of a nature for
publication, and in that respect resemble kindred establishments this
side the Channel. Next in importance to the hoardings and “spectacle”
columns are the kiosques, in which the newspaper trade of Paris is
chiefly carried on. The front is open, with the paper stall before it;
but the remaining sides are of coloured glass, and each square contains
an advertisement painted or stained upon it, generally in large letters.
At night the light in the interior gives the kiosque a very gay and
festive appearance. There are various minor methods of attracting public
attention practised by the Parisian traders. The managers of the Louvre
and Pygmalion, establishments similar to our Shoolbred’s and Meeking’s,
give to each of their customers an air balloon with the name of the
establishment from which it is issued painted upon it. Thousands of
these are constantly bobbing about along the principal thoroughfares.
The tickets given to seat occupiers in the public gardens and parks are
beautifully illuminated cards covered with trade announcements. Some of
the restaurants give each of their lady-customers a fan in summer, which
is prettily ornamented with advertisements. At Duval’s famous eating
establishments the backs of the bills of fare are sold for a large sum
to advertising contractors. It is calculated that this firm issues
30,000 _cartes_ a day. Space will not allow us to enumerate the further
thousand-and-one plans--some sensible, some silly--which the Parisians
adopt for attracting public attention; we therefore pass on to the last
and most important medium for advertisements--the Parisian newspapers.
In French journals, as in some English, the _réclame_, or editorial
puff, is eagerly sought after; and for unblushing effrontery in selling
their pens to pushing tradesmen, we must yield the palm to our brother
scribes across the water. “They order this matter better in France.”
Only a short time since M. de Villemessant, the editor of _Le Figaro_,
gave a delightful specimen of the art in his own columns. He commenced
by relating the history of the Duke of Hamilton and the sheep’s wool
left on the brambles. Then came a long description of the homes of the
Highland shepherds, and their spinning wives. The English word
“homespun” being thus introduced, the article wound up by advising _les
gentlemen français_ to rush to a certain shop in Paris where homespun
was sold, and be measured for suits. A few days after the article had
been published, its author was sauntering along the Boulevards clad in a
homespun suit of the latest cut and pattern.
We present a choice specimen of the _réclame_ cut from the pages of the
Parisian _gommeux’s_ favourite journal:--
_Le Figaro_ n’oublie pas que son aïeul était coiffeur, aussi ne
dédaigne-t-il pas de parler des chevaliers du démêloir, surtout
lorsque ceux-ci se recommandent à l’attention du public par des
qualités hors ligne.
Nos lecteurs du quartier de l’Arc-de-Triomphe, y compris les Ternes,
l’avenue de l’Impératrice, Neuilly, etc., ne se doutent pas qu’ils
possèdent dans leur voisinage, 47, avenue de la Grande-Armée, un
expert en fait de coiffures de femmes et d’hommes... Il se nomme
Rivals et n’en connait pas (pardon!) pour la dexterité du peigne et la
légèreté du rasoir.
Here is another of these exquisite specimens of artistry in puffing. It
is from _La Vie Parisienne_ of a short time back:--
--Les voyageurs pour la ligne d’Italie montent en voiture.
--Une minute, sac à papier! je n’ai pas pris mon café.
--Un qui se croit encore au temps des diligence: le chemin de fer
n’attend pas.
--N’est-ce que cela, cher? monte dans mon compartiment, et tu n’auras
pas à regretter la chicorée du buffet.
Le sifflet fait entendre son son strident. Nous voici partis! Nous
avons tiré de son sac de voyage un flacon d’_Essence de café Trablit_.
Il me fait un mazagran que je sirote avec autant de délices que si
Tortoni l’eût préparé.
En crème, a l’eau, au lait, en grog, l’_Essence de café Trablit_ est
chose exquise. Recommandée aux voyageuses, dans leur intérêt. 1 fr. 60
le flacon (67, rue Jean-Jacques-Rousseau).
Besides writing up the goods of energetic and aspiring tradesmen, the
French journalist is frequently employed by a third or fourth rate
actress to write her into notoriety. To do this he carefully avoids any
mention of her histrionic abilities; but whenever he gets an
opportunity, he describes her dresses, her equipage, her _petits
soupers_, and occasionally places in her mouth some clever repartee or
daring joke. Once in vogue, a lady of this kind has obtained the object
of her ambition, and many a queen of the _demi-monde_ owes her success
in the realms of guilty splendour to the constant puffing of some
hireling scribe. Hireling though he be, the scribe is also an artist,
and his work bears an immeasurably favourable comparison with that of
his clumsy English rival; for he has rivals in England, and _réclames_
are finding their way rapidly into the most pretentious of our papers.
Hitherto they have succeeded in deceiving none so much as their waiters
and those who pay for them; but there is yet hope. Occasionally the
French _réclame_ mania is worked up into a good joke, as in the
following:--
Une maison de blanc portant pour enseigne: _Au bon petit Jésus_, avait
pour caissier un affreux gredin qui disparaît un jour avec la
grenouille tout entière.
Tous les journaux sont pleins du vol commis au _Bon petit Jésus_.
Le patron court affolé et met la main sur son employé au moment où
celui-ci prenait tardivement le chemin de fer. Il lui saute au collet:
--Miserable! tu m’as ruiné!
L’autre répond, sans s’émouvoir:
--Oui, monsieur... mais quelle réclame pour la maison!
Sometimes the advertisement is given in an indirect manner: thus the
public read the following in the day’s paper:--
Un détail amusant.
Sur le rideau d’annonces des Bouffes on peut lire ce qui suit:
_Mesdames, souvenez-vous que les vieilles robes et les ameublements
fanés teints par la maison X... sont plus beaux que neufs!_
Comme c’est bien en situation!
The next time the reader goes to the theatre the advertisement alluded
to catches his eye, and the address is fixed in his memory.
The _réclame_ is at present an important feature of French journalism.
It generally pays all parties concerned in its manufacture, and its
existence is therefore likely to continue for long. The reader has only
to pick up _Le Gaulois_, _Le Figaro_, or any of the Parisian lighter
papers, and he will be enabled to see for himself to what an extent
commerce has infected the Gallic press.
Turning from the _réclames_ to the advertisements proper, we find there
are five distinct specimens of the latter, so far as style is concerned.
Each one of these has its modifications, but the following samples will
be found very near the mark. The first will serve a double purpose, as
it seems to point out that despite the ridicule cast on English costumes
by Parisian satirists, there are not a few who wear them, though they
have every opportunity of appearing in the Frenchest of French
fashions:--
=PANTALONS ANGLAIS=
=FAITS SUR MESURE: 19 fr 50=
=OLD ENGLAND=
_35, boulevard des Capucines_.
The second specimen is intended for the ladies, who may believe what
they like of the statement made about its salutary action, and its
adding to the natural beauty:--
=La Veloutine=
_est une poudre de Riz spéciale
préparée au bismuth,
par conséquent
d’une action salutaire sur la peau.
Elle est adhérente et invisible,
aussi donne-t-elle au teint
une fraîcheur et une beauté naturelles.
Ch. FAY, inventeur, 9, rue de la Paix._
Our third refers to something which has been fashionable as long as
there has been such a thing as fashion, and which is likely to continue
till _la mode_ itself has an end:--
=MARIAGES=
DEMANDEZ LE
=TRAIT D’UNION=
RÉPERTOIRE COMPLET ET DISCRET DES
DEMANDES ET PROPOSITIONS
DE TOUS PAYS, ADRESSÉES A
M. et à M^{me} ROULARD, 72, rue de Rivoli.
=DOTS DEPUIS 10,000 FR.
Jusqu’aux plus grandes fortunes.=
(Timbres pour réponse.)
Our fourth selection refers to a stomachic which is rather fashionable
just now:--
_Saint Raphaël_, _vin fortifiant_, _digestif_, Tonique reconstituant,
goût excellent, plus efficace, pour les personnes affaiblies, que les
ferrugineux, que les quinas. Prescrit dans les fatigues d’estomac, la
chlorose, l’anémie, les convalescences. Dose: un demi-verre à bordeaux
après les repas.--Principales pharmacies 3 fr. la bouteille.
And our fifth is the following:--
[Illustration:
AVIS AUX DAMES
A LA =MAGICIENNE= 129, RUE MONTMARTRE.
La plus grande spécialité pour Dames. 20,000 =Confections= à choisir.
2,000 =Collets cachemire=, ornés soie et guipure, à 12^{F.}
1,500 =Jacquettes cachemire=, ornées faye et guipure, à 15^{F.}
800 =Tuniques cachemire=, ornées guipure, valant 50 fr., à 25^{F.}
1,000 =Fichus= Marie-Antoinette, ornés passementerie et
guip^{re} 29^{F.}
500 =Dolmans= cachemire, tout brodés, garnis guipure, à 45^{F.}
2,500 =Dolmans= fantaisie, brodés toutes nuances, à 17^{F.}
1,000 =Robes= fantaisie, modèles nouveaux, à 39^{F.}
Tous les =Costumes= et =Confections= sur mesure au même prix.
_Les Magasins sont ouverts les Dimanches et jours de Fêtes._
A LA =MAGICIENNE= 129, RUE MONTMARTRE.
]
An ingenious method of obtaining notoriety, and one which has paid
pretty well recently over some theatrical matters in this country, is to
fall foul of the official censor. The announcement that “la Censure a
interdit ‘Palotte’ dans les gares” has caused “Palotte,” a rather dirty
novel, to be an immense success. Why it should be forbidden in the
railway stations, and allowed everywhere else, we are not sufficiently
behind the scenes to say.
We have now glanced hastily at the leading aspects of French
advertising, and after remarking that _Galignani_ and the _Gazette des
Etrangers_ are the great mediums for English and American advertisements
in Paris, that a certain American manager who has a theatre in London
advertises it and his angular histrionic wonder regularly in the former,
and that the principal advertising contractors of Paris have made vast
fortunes, we get fairly back to our original remark, that the whole
system of advertising in Paris is characteristic of the Parisians--a
strange mixture of neatness, effect, frivolity, and childishness. Who
shall deny that these four words suit the character of the great mass of
the people? The fact that the authorities reserve to themselves the
white _affiche_ is characteristic to a degree of French Governments, and
the savage attack which the French journals made upon the letters of
apartments, because their poor little notices “Chambre à louer” were
exempted from the ten-centimes tax, was a fair specimen of the frivolous
and vexatious spirit which animates the children of _la Grande Nation_.
For their neatness they are proverbial; and any one walking through the
streets of Paris cannot fail to notice the admirable order in which the
various stations are kept. No rain-soaked bills peeling off, no
mud-plashed announcements of pieces which have been withdrawn for
weeks--all is neat and fresh, and corrected to date. The gay colours of
the posters, the many-tinted sides of the _kiosques_, the illuminated
“spectacle” columns, the gilt-lettered balconies, the quaint gas
devices, and the thousand-and-one pretty and ingenious ideas which are
pressed into the service of the modern goddess Publicity, are all items
in one lovely and harmonious whole, the most beautiful and the
best-arranged city of modern times, Paris. We can teach France many
things, probably she can teach us one certainly--which is, that art,
even genius, may be successfully applied to such a very small pursuit as
that of advertising.
The consideration of _réclames_, which are now regarded as so
essentially French, has reminded us, not alone that they were
fashionable, though under a humbler name, in this country many, many
years ago, as we have already shown, but that they are again coming into
fashion. But the “puff-pars” of old England--which may fairly be
represented by those which emanated from the establishment of Rowland,
the Kalydor man, in his palmy days of advertising--were always clumsy
when compared with those _réclames_ we have been studying, it being
impossible, apparently, to make a British advertiser understand that an
advertisement is more valuable in proportion as it looks less like what
it really is. The cloven foot always shows forth under the wrapper of
fine words; and when we say this, we do not refer to the paragraphs
written in odonto or ointment establishments by young men at a pound a
week, who are bound to put so many hard words in a line, and keep their
productions within the compass of so many lines, whether syntax is
agreeable or not; but to the friendly and more able notices which now
and again find their way into some daily and weekly papers. The
_réclame_, in its best form, is a highly-cultivated flower--an exotic,
in fact--and is at present a little over the heads of the advertising
public, who like to see plenty for money.
One paragraph which approaches much nearer the true _réclame_ than most
attempts, we stumbled across the other day. It is an attempt to convey
to a wondering world how Perry Davis’s Pain Killer came to be used both
internally and externally. By it we find that much internal discomfiture
had been destroyed by the specific, when one day, in conducting some
scientific exploration, its patentee became sadly burned. In his agony
he threw the contents of the nearest bottle--which happened to contain
Pain Killer--over the injured parts, and as much to his surprise as
satisfaction, he became in a short time perfectly cured. Of a rather
more ambitious kind is an attempt made by Messrs Piesse and Lubin in the
same direction. It is quite unique, and deserves a place here. At all
events we came upon it in a fashionable morning paper, and read some
little way before noticing that we were deep in an advertisement:--
On Tuesday evening Countess Wallflower resumed her usual assemblies
after the recess, at her residence in the Laboratory of Flowers. Among
the members of the diplomatic corps present were the Ambassadors from
the principal Gardens of Europe, Asia, Africa, and America, Muskrosa
Bey, from the Hanging Garden of Persia, Mdlles. Muskrosabud, Otto
Rose, Ambassador from the Balkan and Adrionople Flower Farms, the
Countess Hoya Bella, Madame Mignionette, Magnolia Fulgans, the Florida
Ambassador, the Countess Flagrant Orchids, the Italian Minister, the
Countess Bergamotte, Mdlle. Neroli the Mexican Minister and the
Marchioness de Vanille, the Brazilian Minister and the Odorous
Opoponax. The general circle comprised, among others, the Princesses
Jessamine, Violet, Tuberose, the Viscount Stephanotis, and the
Marchioness of May Blossom. Previous to the assembly the Countess and
the Right Hon. Sir Scented Stock received at dinner the Duke of
Frangipanni and a select party. The company separated by midnight, and
rose in the morning more fragrant than ever.
It may be as well to mention here that Messrs Piesse and Lubin claim to
be the originators of the enigmatical form of advertising. It was they
who started the “Opoponax” mystery, which aroused public curiosity at
the time, and has been considerably imitated since. Localities are
sometimes used in advertisements as typifying the quality of the
articles advertised; Mayfair Sherry is the chief representative of this
class, and we suppose that the district is named as evidence of high
tone and elegant bottling. Still another kind of advertising is that
adopted by Brinsmead, who seems to be a regular champion among
pianoforte-makers, and who makes curious little extracts bracketed
opposite the names of papers and celebrities that give him
testimonials, throughout a long newspaper column, all about his patent
check repeater-action gold medal pianofortes. Sir Julius Benedict, the
_Examiner_, Brinley Richards, the _Standard_, and Sydney Smith are among
many other men and papers quoted. We are not aware who Sydney Smith may
be nowadays, but should hardly think the great wit and essayist who died
thirty years ago could have known enough about Brinsmead’s pianos to
enable him to say “their touch is absolute perfection.”
Notwithstanding all that has been written and said about the value of
newspaper notices as distinguished from advertisements, there is no
reasonable room for doubt that a representative of the general
advertising class would far sooner see his shop paraded in a pantomime,
or hear himself referred to by a low comedian, than be recipient of
really valuable attention at the hands of a newspaper writer. There are,
of course, exceptions, and these reap the reward their rivals despise.
The elder Mathews was a victim to the rather illogical rage for that
phase of theatrical advertisement to which we have just referred.
Amongst the extraordinary effects of his popularity, were applications
made under every kind of pretext, letters being sent to him from all
sorts of professors and tradesmen about town. One man offered him snuff
for himself and friends for ever, if he would only mention the name and
shop of the manufacturer. Another promised him a perpetual polish for
his boots upon the same terms. He was solicited to mention every sort of
exhibition, and to puff all the new quack medicines. The wines sent to
him to taste, though alleged to be of the finest quality, nevertheless
required “a bush,” which was to be hung out nightly at his “house of
entertainment.” Patent filters, wigs and waistcoats, boots and
boothooks, “ventilating hats” and “bosom friends,” all gifts, used to
stock Mathews’s lumber-room. An advertising dentist one day presented
himself, offering to find Mathews’s whole family in new teeth, and draw
all the old, if the comedian would only in return draw the new patent
mineral masticators into notice. In fact, Mathews was so inundated with
presents, that his cottage sometimes looked like a bazaar, and his wife
had frequently occasion to exercise her ingenuity in contriving how to
dispose of the generally useless articles forced upon their acceptance.
Though this was a great many years ago, things remain much the same, and
such popular entertainers as Fred Maccabe, and patterers as J. L. Toole,
could doubtless sell themselves for large sums in the interests of vocal
advertising. Managers invariably avail themselves of the opportunity
whenever a chance occurs, as it does now and again in realistic drama,
and very frequently in pantomime. Actors are, though, not alone the
admiration of the advertiser--they are by no means above making a shrewd
bid for popularity themselves by means of the papers. It is not so very
long ago that a tragedian, more distinguished in the provinces than in
London, and anxious to meet that metropolitan recognition which he felt
sure he deserved, gave a small _récherché_ banquet to his early friends
at a well-known house near Lincoln’s-Inn Fields. Those who were invited
must have felt very much like Mr Twemlow used whenever he visited the
Veneerings, and those who were in a condition to think when they came
away must have felt puzzled to account for the fact that all Mr ----’s
early friends had taken to the dramatic-critic, the leader-writer, or
the editor line of business--all but one, a kind of literary tradesman,
who, however, possibly paid his half for the privilege of being admitted
into such splendid society on equal terms, and who had, moreover, made
out the list of diners, written the invitations, and maybe provided some
of the clean linen. We tell the story as it was told us by two of the
invited early friends, who added, that until the night of the dinner
they had never seen Mr ---- off the stage.
Taking a long stride from London to a Chinese seaport, we come upon
this choice sample of Flowery Land English:--
[Illustration:
祥泰隆記
Chong thie Loong kee.
Most humbly beg leave to acqu
: aint the Gentlemen trading to
this kort that the above mention
: ed chop has been long established
dnd is much esteemed for its Black
and young Hyson Tea but fearing
the foreigners might be cheated by tho
: se shumeless persons who forged this
chop he therefore take the liberty to
pallish these few lines for its
remark and trust.
]
To those who are interested in a peculiarity of advertising unknown in
this country, we present the following from the _Berlinische Zeitung_:--
^~Verlobungen~.^
^Als Verlobte empfehlen sich^
^~Minna Bock~,^
^~Fritz Engelhardt~.^
^Berlin, den 13. März 1872.^
Which informs us, under the head of Betrothal, that Minna Bock and Fritz
Engelhardt beg to announce their betrothal, with compliments. The date
is plain. Another announcement in the same paper, and under the same
head, is this:--
^Die Verlobung unserer ältesten Tochter ~Margarethe~ mit dem
kaiserlichen Post-Inspektor Herrn Richard ~Raab~ in Magdeburg beehren
wir uns ergebenst anzuzeigen.^
^Stendal, im März 1872.^
Dr. ^~Goldscheider~ nebst Frau.^
^Margarethe ~Goldscheider~,
Richard ~Raab~,
Verlobte.^
^Stendal und Magdeburg.^
Which means that Dr Goldscheider and his wife do themselves the honour
of most humbly announcing the betrothal of their eldest daughter,
Margaret, to Herr Richard Raab, of Magdeburg, Inspector of the Imperial
Post. Then follow the signatures of bride and groom, and the whole winds
up with the happy conjunction of the two towns, Stendal and Magdeburg.
From the _Journal do Commercio_ of Rio de Janeiro, April 4, 1872, we
take the following:--
[Illustration]
Fugio da rua da Alfandega n. 297 o preto Mariano, crioulo, estatura
regular, rosto compride, pouca barba, com falta de dentes na frente,
tem uma fistula debaixo do queixo, costuma trocar o nome,
des-confia-se que fosse para os lados de Nitherohy e tem signaes de
ser surrado nas costas; quem o apprehender e levar á rua e numero
acima ser á gratificado, e protesta-se contra quem o tiver acoutado.
Credulous persons, who believe that with the cessation of the war
between the Northern and Southern States of America slavery went right
out of existence, except amongst the most barbarous nations, may be
astonished to discover that the foregoing, when turned into English,
reads thus:--“Ran away from 297 Alfandega Street, the negro Mariano, a
half-caste of ordinary stature, long visage, slight beard, has lost some
front teeth, and has an ulcer in the lower jaw. He is accustomed to
change his name, and is believed to be in the outskirts of Nitherohy. He
has marks of flogging on his back. Whoever captures him, and brings him
to the above address, will be rewarded, and persons are hereby cautioned
against harbouring him.”
From the same paper we extract another announcement:--
Antonio Luiz Fernandes da Cunha e sua mulher D. Manoela Pereira
Fernandes da Cunha, Leopoldino José da Cunha e sua mulher D. Balbina
Alves Pereira da Cunha, convidão ás pessoas de sua amizade para
acompanhar o enterro de seu querido filho e neto o innocente Carlos,
que ha de sepultarse hoje, ás 10½ horas da manhã, no cemiterio de S.
João Baptista, sahindo o corpo da rua da Bella-Vista n. 3, no Rio
Comprido.
Which means that Antonio Luiz Fernandez da Cunha and his wife, Donna
Manoela Pereira Fernandes da Cunha, Leopoldino José da Cunha and his
wife, Donna Balbina Alves Pereira da Cunha, invite their friends to
accompany the funeral of their lamented son and grandson, the innocent
Carlos, who will be buried to-day at half-past ten in the morning, in
the Cemetery of St John the Baptist. The place of rendezvous concludes
the melancholy announcement.
Funeral advertisements seem very popular in Rio, the following being
extracted from among a large number of similar announcements in the
_Journal do Commercio_:--
[Illustration]
D. Joanna da Silva Maia da Conceição e Procopio de Jesus cordialmente
agradecem ás pessoas que fizerão o caridoso obsequio de acompanhar os
restos mortaes de seu muito prezado esposo e compadre Olegario da
Silva; e de novo rogão ás mesmas pessoas e aos amigos do mesmo finado
para assistir à missa de sentimo dia, que se ha de celebrar, amanhã 5
do corrente, na matriz de Sant’Anna, ás 8 horas; pelo que desde já se
confessão summamente gratos.
This is from Donna Joanna da Silva Maia da Conceição and Procopio de
Jesus, who cordially thank those friends that performed the charitable
office of following to the grave the mortal remains of their very dear
husband and godfather, Olegario da Silva. Those and others are again
requested to attend the seventh-day mass, which is to be performed on
the morrow, in the mother church of St Anna, at eight o’clock, for which
attendance the advertisers will be very thankful. There are so many of
these notices, all of which are evidently looked forward to with
interest, that the reader cannot help thinking a particularly healthy
season in Rio would be regarded as quite a public misfortune.
FINIS.
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[Illustration]
THE BEST GUIDE TO HERALDRY.
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NEW AND IMPORTANT WORK.
=Cyclopædia of Costume=; or, A Dictionary of Dress, Regal,
Ecclesiastical, Civil, and Military, from the Earliest Period in
England to the reign of George the Third. Including Notices of
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PLANCHÉ, F.S.A., Somerset Herald.
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National Costume, both foreign and domestic. The First Part is just
ready._
[Illustration]
IN collecting materials for a History of Costume of more importance
than the little handbook which has met with so much favour as an
elementary work, I was not only made aware of my own deficiencies, but
surprised to find how much more vague are the explanations, and
contradictory the statements, of our best authorities, than they
appeared to me, when, in the plenitude of my ignorance, I rushed upon
almost untrodden ground, and felt bewildered by the mass of unsifted
evidence and unhesitating assertion which met my eyes at every turn.
During the forty years which have elapsed since the publication of the
first edition of my “History of British Costume” in the “Library of
Entertaining Knowledge,” archæological investigation has received such
an impetus by the establishment of metropolitan and provincial
peripatetic antiquarian societies, that a flood of light has been
poured upon us, by which we are enabled to re-examine our opinions and
discover reasons to doubt, if we cannot find facts to authenticate.
That the former greatly preponderate is a grievous acknowledgment to
make after assiduously devoting the leisure of half my life to the
pursuit of information on this, to me, most fascinating subject. It is
some consolation, however, to feel that where I cannot instruct, I
shall certainly not mislead, and that the reader will find, under each
head, all that is known to, or suggested by, the most competent
writers I am acquainted with, either here or on the Continent.
That this work appears in a glossarial form arises from the desire of
many artists, who have expressed to me the difficulty they constantly
meet with in their endeavours to ascertain the complete form of a
garment, or the exact mode of fastening a piece of armour, or buckling
of a belt, from their study of a sepulchral effigy or a figure in an
illumination; the attitude of the personages represented, or the
disposition of other portions of their attire, effectually preventing
the requisite examination.
The books supplying any such information are very few, and the best
confined to armour or ecclesiastical costume. The only English
publication of the kind required, that I am aware of, is the late Mr.
Fairholt’s “Costume in England” (8vo, London, 1846), the last two
hundred pages of which contain a glossary, the most valuable portion
whereof are the quotations from old plays, mediæval romances, and
satirical ballads, containing allusions to various articles of attire
in fashion at the time of their composition. Twenty-eight years have
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comprehensive work on the subject than has yet issued from the English
press, combining the pith of the information of many costly foreign
publications, and, in its illustrations, keeping in view the special
requirement of the artist, to which I have alluded, would be, in these
days of educational progress and critical inquiry, a welcome addition
to the library of an English gentleman.
J. R. PLANCHÉ.
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[Illustration: ROSAMUND GRAY’S COTTAGE.]
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THE OLD DRAMATISTS.
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[Illustration]
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[Illustration]
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[Illustration: HELP ME THROUGH THIS WORLD!]
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[Illustration: THE WEDGE AND THE WOODEN SPOON.]
HANDBOOK OF COLLOQUIALISMS.
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ENTIRELY NEW EDITION, revised throughout, and considerably Enlarged,
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WEST-END LIFE AND DOINGS.
=Story of the London Parks.= By JACOB LARWOOD. With numerous
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⁂ _A most interesting work, giving a complete History of these
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A KEEPSAKE FOR SMOKERS.
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CHARMING NEW TRAVEL-BOOK.
[Illustration: “It may be we shall touch the happy isles.”]
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[Illustration: THEODORE HOOK’S HOUSE, NEAR PUTNEY]
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MR. SWINBURNE’S WORKS.
SECOND EDITION NOW READY OF
=Bothwell=: A Tragedy. By ALGERNON CHARLES SWINBURNE. Crown 8vo, cloth
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[Illustration]
THE THACKERAY SKETCH-BOOK.
THACKERAYANA.
_Notes and Anecdotes,_
Illustrated by about Six Hundred Sketches by WILLIAM MAKEPEACE
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[Illustration: THE SUBSCRIPTION ROOM AT BROOKES’S.]
=Timbs’ Clubs and Club Life in London.= With ANECDOTES of its FAMOUS
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⁂ _A Companion to “The History of Sign-Boards.” It abounds in quaint
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[Illustration]
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=Waterford Roll (The).--Illuminated Charter-Roll of Waterford=, Temp.
Richard II.
⁂ _Amongst the Corporation Muniments of the City of Waterford is
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comprising all the early Charters and Grants to the City of Waterford,
from the time of Henry II. to Richard II. A full-length Portrait of
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III. Altogether this ancient work of art is unique of its kind in
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_The Illuminations have been accurately traced and coloured for the
work from a copy carefully made, by permission of the Mayor and
Corporation of Waterford, by the late George V. Du Noyer, Esq.,
M.R.I.A.; and those Charters which have not already appeared in print
will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon.
Secretary Kilkenny and South-East of Ireland Archæological Society._
_The Work will be brought out in the best manner, with embossed cover
and characteristic title-page; and it will be put to press as soon as
250 subscribers are obtained. The price, in imperial 4to, is 20s. to
subscribers, or 30s. to non-subscribers._
=Wonderful Characters=: Memoirs and Anecdotes of Remarkable and
Eccentric Persons of Every Age and Nation. From the text of HENRY
WILSON and JAMES CAULFIELD. Crown 8vo, cloth extra, with Sixty-one
full-page Engravings of Extraordinary Persons, 7_s._ 6_d._
⁂ _There are so many curious matters discussed in this volume, that
any person who takes it up will not readily lay it down until he has
read it through. The Introduction is almost entirely devoted to a
consideration of Pig-Faced Ladies, and the various stories concerning
them._
=Wright’s (Andrew) Court-Hand Restored=; or, Student’s Assistant in
Reading Old Deeds, Charters, Records, &c. Half Morocco, a New Edition,
10_s._ 6_d._
⁂ _The best guide to the reading of old Records, &c._
=Wright’s Caricature History of the Georges= (House of Hanover). With
400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c. By
THOMAS WRIGHT, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 7_s._ 6_d._
[Illustration]
“A set of caricatures such as we have in Mr. Wright’s volume brings
the surface of the age before us with a vividness that no prose
writer, even of the highest power, could emulate. Macaulay’s most
brilliant sentence is weak by the side of the little woodcut from
Gillray, which gives us Burke and Fox.”--_Saturday Review._
“A more amusing work of its kind was never issued.”--_Art Journal._
“It is emphatically one of the liveliest of books, as also one of the
most interesting. It has the twofold merit of being at once amusing
and edifying.”--_Morning Post._
=Yankee Drolleries=, Edited by G. A. SALA. Containing ARTEMUS WARD’S
BOOK; BIGLOW PAPERS; ORPHEUS C. KERR; JACK DOWNING; and NASBY PAPERS.
700 pp., 3_s._ 6_d._
=More Yankee Drolleries.= Containing ARTEMUS WARD’S TRAVELS; HANS
BREITMANN; PROFESSOR AT BREAKFAST TABLE; BIGLOW PAPERS, Part II.; and
JOSH BILLINGS; with Introduction by G. A. SALA. 700 pp., cloth, 3_s._
6_d._
=A Third Supply of Yankee Drolleries.= Containing ARTEMUS WARD’S
FENIANS; AUTOCRAT OF BREAKFAST TABLE; BRET HARTE’S STORIES; INNOCENTS
ABROAD; and NEW PILGRIM’S PROGRESS; with an Introduction by G. A.
SALA. 700 pp., cloth, 3_s._ 6_d._
_74 & 75, PICCADILLY, LONDON, W._
Facsimiles of newspaper pages transcribed in the text
Domestick Intelligence
(following Page 4)
[Illustration: facsimile]
[Illustration: facsimile]
WEEKELY Newes from Italy, etc.
(following Page 96)
[Illustration: facsimile]
The Weekly Account: etc.
(following Page 104)
[Illustration: fasimile]
THE TIMES
(following Page 234)
First sheet
[Illustration: facsimile]
Second sheet
[Illustration: facsimile]
Third sheet
[Illustration: facsimile]
Fourth sheet
[Illustration: facsimile]
Bish lottery advertisement
(page 465)
[Illustration: facsimile]
Overend Gurney & Co. Disaster Handbill
(Page 555)
[Illustration: facsimile]
Transcriber’s Notes
Other versions of this e-text contain facsimiles of newspapers and
advertisements that cannot be shown to full advantage in a flat text
like this. Please see www.gutenberg.org for these other versions.
Inconsistent and unusual spelling (in English and other languages)
have been retained, and accents and diacritical characters have not
been changed, except as mentioned below.
Depending on the hard- and software used and their settings, not all
elements may display as intended.
Domestick Intelligence (following page 4), (_which was as it seems_
... _discontented_;): one closing bracket is missing in the source
document.
The Times (following page 234): some of the printing was difficult to
read. The following transcriptions are therefore not certain: A
complete Dressing case ... 6d.; Dr. (in Dr. Arnold); the price (12s.)
of Dr. Derham’s Theology; principals in ... two of the principals ...;
several of the names in SHIP NEWS; several items in PRICES OF STOCKS;
some prices and descriptions in FURNISHING KITCHENS; life in ... a
certificate of the life ... (IRISH LIFE ANNUITIES); several names in
the list on the page bottom
STATIONARY, New Goal, no otherwise provided for, sallard oil, Sour
Crout: as printed in the original work. During the late memorable
contest ...: both Johnson and Johnstone are used in the same
paragraph.
Page 286 ff, codes: the coded messages and decoding methods have been
copied verbatim from the source, without any corrections.
Page 340, the balance due should be £1, 3s., 10½d.
Page 486, ... one that is deemed no Scold: as printed; other sources
have ... one that is deemed a Scold.
Page 508, affectione: possibly an error for affectionate
Page 532, item 5 is printed on the same line as item 4 in the source
document, unlike the other items.
Page 533, 16 ¶: as printed in the original work.
Page 562, patent pen fountain: as printed
Page 600: QUI À CESSE: as printed
Changes made:
Footnotes have been moved to the end of the chapters.
Some obvious punctuation and typographical errors have been corrected
silently; all corrections made to quoted material are listed below.
Inverted asterisms have been replaced by asterisms.
Page 45: IIII., IIII., VI., changed to IIII., IIII., VII.,
Page 52: Exigius changed to Exiguis; characteritus changed to
characteribus
Page 64: Italien en de Duytschland changed to Italien ende Duytschland
Page 71: To Salisbury in two days changed to To _Salisbury_ in two
days (cf. other place names)
Page 86: comma inserted after ... only her husband
Page 113: Sedley Rochester, changed to Sedley, Rochester,
Page 126: _Domestic Intelligence_ changed to _Domestick Intelligence_
as elsewhere
Page 218: closing bracket inserted after ... to the said Parish
The Times, following page 234: Lousia Hervey changed to Louisa Hervey;
divided into Half Quarter, Eighth ... changed to divided into Half,
Quarter, Eighth ...; Lofseter changed to Losseter; cominee changed to
nominee
Page 256: Prospects of Lorton’s changed to Prospects of LORTON’S;
opening quote inserted before Use my _vegetable_ ...
Page 272: comma inserted after James Speculate, Esq.
Page 410, Footnote [37]: was’nt changed to wasn’t
Page 424: The N of lotts changed to The N^{o} of lotts
Page 450, table (last row before totals): 2880 changed to 28800
Adverts at end of book: Edicion changed to Edición (2x); might not
inappropriately termed changed to might not inappropriately be termed.
End of Project Gutenberg's A History of Advertising, by Henry Sampson