The Confessions of a Caricaturist, Vol. 1 by Harry Furniss (ebook reader that looks like a book TXT) 📗

I arrive in London—A Rogue and Vagabond—Two Ladies—Letters of Introduction—Bohemia—A Distinguished Member—My Double—A Rara Avis—The Duke of Broadacres—The Savages—A Souvenir—Portraits of the Past—J. L. Toole—Art and Artists—Sir Spencer Wells—John Pettie—Milton's Garden.

I did not make my appearance in London with merely the proverbial half-crown in my pocket, nor was I breathlessly expectant to find the CARICATURE OF MYSELF,
DRAWN WHEN I FIRST
ARRIVED IN LONDON. streets paved with gold. Thanks chiefly to my savings in Dublin, my balance at my bankers' was sufficient to keep me for at least a year, and as soon as the editors returned from their summer holidays I was fortunate enough to procure commissions, which have been pouring in pretty steadily ever since.

It was with a strange feeling that I found myself for the first time in London, among four millions of people, with not one of whom I could claim acquaintance, and I think it will not be out of place if I here offer a hint which may possibly be of use to other young men who are placed in similar circumstances. Upon first coming to the metropolis, then, let them invariably act, in as much as it is possible, as if they were Londoners old and seasoned. To stand gazing at St. Paul's with mouth agape and eyes astare, or to enquire your way to the National Gallery or Madame Tussaud's, is a sure means of finding yourself ere long [Pg 31] in the hands of the unscrupulous and designing. For my part, as I took my first admiring peep at the masterpiece of Sir Christopher, I whistled to myself with an air of nonchalance, and as I passed down Fleet Street I made a point of nodding familiarly to the passers-by as if I were already a frequent habitu� of the thoroughfare of letters. Did I find myself accosted by any particularly ingenuous stranger asking his way, I always promptly told him to go on as straight as ever he could go—a piece of advice which, coming from one so young, I think was highly proper and creditable, whatever may have proved its value in some cases from a topographical point of view. On the other hand, the following incident will serve to show the prudence of exercising due caution in addressing strangers oneself.

Upon the evening of my arrival in the big city I had dined at the London Restaurant, which was situate at the corner of Chancery Lane and Fleet Street, in the premises now occupied by Messrs. Partridge and Cooper (the name of this firm must not be taken as an indication of the nature of my repast), and, fired with the curiosity of youth, I mounted the knifeboard of an omnibus bound for Hyde Park. Arrived at the famous statue of Wellington astride the impossible horse which has since ambled off to the seclusion of Aldershot, and which at once recalled to my mind the inimitable drawings of that infamous quadruped by John Leech, an artist who had done as much to familiarise me with London scenes and characters with his pencil as had Dickens with the pen, I happened to ask a sturdy artisan who was sitting beside me whether this was Hyde Park Corner.

"'Ide Park!" he muttered. "'Oo are you a-tryin' ter git at? 'Ide Park! None o' yer 'anky panky with me, my covey!"

I forthwith slipped off that 'bus, not a little nettled that the first person to whom I had spoken in London should have taken me for a rogue and a vagabond.

I had been fortunate enough to secure quarters which had been recommended to me in a comfortable boarding-house in one of the old-fashioned Inns in Holborn—Thavies' Inn—in which, I [Pg 32]was informed, whether accurately or not I do not pretend to know, the Knight Templars of old had once resided. There were no Knight Templars there when I arrived, but in their stead I found some highly-proper and non-belligerent clerics with their wives and families, and other visitors from the country, who seemed very satisfied with the comfortable provision that was made for them. But, best of all, I found a hostess who soon became one of the kindest and best of friends I ever had, and although I at once engaged a studio in the neighbouring artistic quarter of Newman Street, I continued for some time to live in Thavies' Inn in the enjoyment of the pleasant society and many advantages of her pleasant home.

Not the least of these to me was the perfect gallery of characters who were continually coming and going, and the many and various studies I made of the different visitors to that boarding-house long supplied me with ample material for my sketch-book.

I should be ungallant indeed were I to omit to add that not only was it a lady who first made me feel at home amid the bustle and turmoil of Modern Babylon, but that it was also a lady who primarily welcomed me as a contributor to the Press and gave me my first work in London. Curiously enough, both of these ladies possessed points of resemblance, not only in person, but in manner and goodness of heart. It was Miss Florence Marryat, then editress of London Society, who gave me my first commission, and I am more anxious to record the fact because I am aware that many a youthful journalist besides myself owed his first introduction to the public to the sympathy and enterprise of this accomplished lady. Perhaps I have less to grumble at personally than most others concerning the treatment which, as a young man, I experienced at the hands of editors; but I must say that the majority of such potentates with whom I then came in contact lamentably lacked that readiness to welcome new-comers which Miss Florence Marryat notably, and possibly too readily, evinced. Here I may offer a hint to beginners—that on coming to London letters of introduction are of little or no value. One such letter I [Pg 33] possessed, and it led me into more trouble, and was the means of my losing more time, than I should ever have received recompense for, even if it had obtained me the work which it was intended to bring me.

In the first place, these letters often get into the hands of others than the particular individuals to whom they are addressed. In my case the letter had been inadvertently directed to the literary editor instead of to the art editor of one of the largest publishing firms, and that gentleman—I refer to the literary editor—was good enough to supply me with a quantity of work. I executed the commission, but, lo and behold! when I sent the work in, the monster Red Tape intervened in the person of the art editor, who became scarlet with rage because he had not been invoked instead of his colleague, and promptly repudiated the entire contract. Thereupon the literary editor wrote to me saying that unless I withdrew my contributions he would be personally out of pocket; and it may not be uninteresting to record that some day, when I strip this amongst my other mummies, it will be found that he subsequently became a wearer of lawn sleeves. Thus, whilst the two editors quarrelled between themselves, I was left out in the cold, and became a considerable loser over the transaction.

A propos of letters of introduction, I am reminded of a brother artist, who, although a caricaturist, was entirely devoid of guile, and, in addition, was as absent-minded as the popularly-accepted type of ardent scientist or professor of ultra-abstruse subject. Well, this curious species of satirist was setting forth on travels in foreign climes, and in order to lighten in some measure the vicissitudes inseparable from peripatetic wandering, he was provided with a letter of introduction to a certain British consul. The writer of this letter enclosed it in one to