gilded placards discoursed eloquently of the merits of “Gosling’s Blacking.” The newspapers teemed with poems written in its praise, and showers of pictorial handbills, illustrated almanacs, and tinseled souvenirs, all lauding the virtues of “Gosling’s Blacking,” smothered you at every point.
The celebrated originator of delineations, “Jim Crow Rice,” made his first appearance at Hamblin’s Bowery Theatre at about this time. The crowds which thronged there were so great that hundreds from the audience were frequently admitted upon the stage. In one of his scenes, Rice introduced a negro boot-blacking establishment. Gosling was too “wide awake” to let such an opportunity pass unimproved, and Rice was paid for singing an original black Gosling ditty, while a score of placards bearing the inscription, “Use Gosling’s Blacking,” were suspended at different points in this negro boot polishing hall. Everybody tried “Gosling’s Blacking;” and as it was a really good article, his sales in city and country soon became immense; Gosling made a fortune in seven years, and retired but, as with thousands before him, it was “easy come easy go.” He engaged in a lead-mining speculation, and it was generally understood that his fortune was, in a great measure, lost as rapidly as it was made.
Here let me digress, in order to observe that one of the most difficult things in life is for men to bear discreetly sudden prosperity. Unless considerable time and labor are devoted to earning money, it is not appreciated by its possessor; and, having no practical knowledge of the value of money, he generally gets rid of it with the same ease that marked its accumulation. Mr. Astor gave the experience of thousands when he said that he found more difficulty in earning and saving his first thousand dollars than in accumulating all the subsequent millions which finally made up his fortune. The very economy, perseverance, and discipline which he was obliged to practice, as he gained his money dollar by dollar, gave him a just appreciation of its value, and thus led him into those habits of industry, prudence, temperance, and untiring diligence so conducive and necessary to his future success.
Mr. Gosling, however, was not a man to be put down by a single financial reverse. He opened a store in Canajoharie, N. Y., which was burned, and on which there was no insurance. He came again to New York in 1839, and established a restaurant, where, by devoting the services of himself and several members of his family assiduously to the business, he soon reveled in his former prosperity, and snapped his fingers in glee at what unreflecting persons term “the freaks of Dame Fortune.” He is still living in New York, hale and hearty at the age of seventy. Although called a “French” blacking-maker, Mr. Gosling is in reality a Dutchman, having been born in the city of Amsterdam, Holland. He is the father of twenty-four children, twelve of whom are still living, to cheer him in his declining years, and to repay him in grateful attentions for the valuable lessons of prudence, integrity, and industry through the adoption of which they are honored as respectable and worthy members of society.
I cannot however permit this chapter to close without recording a protest in principle against that method of advertising of which Warren’s on the Pyramid is an instance. Not that it is a crime or even an immorality in the usual sense of the words; but it is a violent offence against good taste, and a selfish and inexcusable destruction of other people’s enjoyments. No man ought to advertise in the midst of landscapes or scenery, in such a way as to destroy or injure their beauty by introducing totally incongruous and relatively vulgar associations. Too many transactions of the sort have been perpetrated in our own country. The principle on which the thing is done is, to seek out the most attractive spot possible—the wildest, the most lovely, and there, in the most staring and brazen manner to paint up advertisements of quack medicines, rum, or as the case may be, in letters of monstrous size, in the most obtrusive colors, in such a prominent place, and in such a lasting way as to destroy the beauty of the scene both thoroughly and permanently.
Any man with a beautiful wife or daughter would probably feel disagreeably, if he should find branded indelibly across her smooth white forehead, or on her snowy shoulder in blue and red letters such a phrase as this: “Try the Jigamaree Bitters!” Very much like this is the sort of advertising I am speaking of. It is not likely that I shall be charged with squeamishness on this question. I can readily enough see the selfishness and vulgarity of this particular sort of advertising, however.
It is outrageously selfish to destroy the pleasure of thousands, for the sake of a chance of additional gain. And it is an atrocious piece of vulgarity to flaunt the names of quack nostrums, and of the coarse stimulants of sots, among the beautiful scenes of nature. The pleasure of such places depends upon their freedom from the associations of every day concerns and troubles and weaknesses. A lovely nook of forest scenery, or a grand rock, like a beautiful woman, depends for much of its attractiveness upon the attendant sense of freedom from whatever is low; upon a sense of purity and of romance. And it is about as nauseous to find “Bitters” or “Worm Syrup” daubed upon the landscape, as it would be upon the lady’s brow.
Since writing this I observe that two legislatures—those of New Hampshire and New York—have passed laws to prevent this dirty misdemeanor. It is greatly to their credit, and it is in good season. For it is matter of wonder that some more colossal vulgarian has not stuck up a sign a mile long on the Palisades. But it is matter of thankfulness too. At the White Mountains, many grand and beautiful views have been spoiled by these nostrum and bedbug souled fellows.
It is worth noticing that the chief haunts of the city of New York, the Central Park, has thus far remained unviolated by the dirty hands of these vulgar advertisers. Without knowing anything about it, I have no doubt whatever that the commissioners have been approached often by parties desiring the privilege of advertising within its limits. Among the advertising fraternity it would be thought a gigantic opportunity to be able to flaunt the name of some bug-poison, fly-killer, bowel-rectifier, or disguised rum, along the walls of the Reservoir; upon the delicate stone-work of the Terrace, or the graceful lines of the Bow Bridge; to nail up a tin sign on every other tree, to stick one up right in front of every seat; to keep a gang of young wretches thrusting pamphlet or handbill into every person’s palm that enters the gate, to paint a vulgar sign across every gray rock; to cut quack words in ditch-work in the smooth green turf of the mall or ball-ground. I have no doubt that it is the peremptory decision and clear good taste of the Commissioners alone, which have kept this last retreat of nature within our crowded city from being long ago plastered and daubed with placards, handbills, sign-boards and paint, from side to side and from end to end, over turf, tree, rock, wall, bridge, archway, building and all.
CHAPTER III.
MONSIEUR MANGIN, THE FRENCH HUMBUG.
One of the most original, unique, and successful humbugs of the present day was the late Monsieur Mangin, the blacklead pencil maker of Paris. Few persons who have visited the French capital within the last ten or twelve years can have failed to have seen him, and once seen he was not to be forgotten. While passing through the public streets, there was nothing in his personal appearance to distinguish him from any ordinary gentlemen. He drove a pair of bay horses, attached to an open carriage with two seats, the back one always occupied by his valet. Sometimes he would take up his stand in the Champs Elysées; at other times, near the column in the Place Vendôme; but usually he was seen in the afternoon in the Place de la Bastille, or the Place de la Madeleine. On Sundays, his favorite locality was the Place de la Bourse. Mangin was a well-formed, stately-looking individual, with a most self-satisfied countenance, which seemed to say: “I am master here; and all that my auditors have to do is, to listen and obey.” Arriving at his destined stopping-place, his carriage halted. His servant handed him a case from which he took several large portraits of himself, which he hung prominently upon the sides of his carriage, and also placed in front of him a vase filled with medals bearing his likeness on one side and a description of his pencils on the other. He then leisurely commenced a change of costume. His round hat was displaced by a magnificent burnished helmet, mounted with rich plumes of various brilliant colors. His overcoat was laid aside, and he donned in its stead a costly velvet tunic with gold fringes. He then drew a pair of polished steel gauntlets upon his hands, covered his breast with a brilliant cuirass,