The Confessions of a Caricaturist, Vol. 2, Harry Furniss [affordable ebook reader txt] 📗
- Author: Harry Furniss
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I received a note from du Maurier:
"I am awfully sorry, old chap, but the capital story I told you of Sala and the six toes was about another fellow after all!"
Although a letter from me was published immediately correcting this ridiculous blunder on the part of the reporters, pointing out that what I did say was that Mr. Sala was not the only literary man who began life as an artist; and that I had[Pg 200] quoted casually as an instance that Thackeray in early life went to Dickens, my correction—though well known to Sala—was, to my surprise, ignored, and the words I had never used were made the point of the whole action!
COUNSEL FOR THE PLAINTIFF.
Mr. Kemp, counsel for Sala, rolled them out with unctuousness then paused for the Judge to write them down. Mr. Sala, in the witness-box, in melodramatic style denied that he had ever taken sketches to Dickens, and the jury noted that fact. Yet I had never said he did! and furthermore Sala knew I had referred to Thackeray and not to him. Still, for some reason I could never understand, Lockwood allowed this to pass, and cross-examined Sala, admitting that he had heard the story of Thackeray and Dickens—as to my right as a critic—but never denied that these words attributed to me were absolutely a false report! The next point Sala made was that an "offensive caricature" (reproduced by permission on this page) was by me! It was Mr. F. C. Gould's. Sala knew this; so did Lockwood, but he did not deny it: in fact, when the jury considered their verdict, the two points they were clear upon were (1) that I said Sala had offered work to Dickens, and had been refused; (2) that I was the author of the clever (but in Sala's opinion most offensive) caricature of himself and me.
I prompted Lockwood in Court, but he told me that he would not bother about facts, or call me, or deny anything—he took[Pg 201] the line that the whole thing was too absurd for serious consideration, and that he would "laugh it out of Court."
MR. F. C. GOULD'S SKETCH INTHE WESTMINSTER, WHICH SALA MAINTAINED WAS MINE.
One report says that "Mr. Lockwood handled Mr. Sala very gently in cross-examination, and got from him an explosive declaration that Mr. Furniss's statements represented him as an ignorant and impudent pretender. 'Don't be angry with me, Mr. Sala.'"
But the Judge was angry with dear, good, kind Frank Lockwood, and scotched his humour, and refused to allow him to "laugh it out of Court." It annoyed him, and he summed up dead against me. Lockwood could only squeeze one joke out of the whole thing.
Sala in cross-examination said to Lockwood in a bombastic, inflated, Adelphi-drama style:
"That was not my greatest artistic work. Perhaps my greatest was an engraving of the funeral of the Duke of Wellington. It was from my original drawings. I engraved it on a steel plate, and it contained many thousand figures."
Lockwood: "All, I suppose, had the proper number of toes?" (Laughter.)
"They had boots on." (Continued laughter.)
Sala got five pounds for the Judge's want of humour, not for mine.
Having no chance of making my little joke in Court, I took my revenge by accepting a commission to report and illustrate my own trial for the Daily Graphic, and the following—the only authentic account of the Great Six Toes Trial—appeared the following morning:
"It was unfortunate that the Royal Academicians were all busy varnishing their pictures for the forthcoming exhibition at Burlington House when the Great Sala-Furniss Libel Case was heard on Friday last, and that in their absence you have had to apply to me (the defendant) for sketches of the scene in Court. What a chance Mr. Calderon has missed for a companion picture to the one he is painting of another great legal battle—the Parnell Commission! A picture in next year's Royal Academy of the trial between two art critics is surely worthy to be[Pg 202] handed down to posterity, say, in the Council Room of the Royal Academy.
DEFENDANT.
"That the subject is not a picturesque one, I admit, but I can offer the painter an historical incident connected with it that should recommend itself. We all know that Sir Francis Drake playing at bowls when the Spanish Armada was sighted is a favourite theme with artists. In this case, although there is nothing Spanish about it, there is a parallel incident. I was, like Drake, by the sad sea waves, not playing at bowls, but sketching a common, or garden, donkey, when a telegram arrived from London to say that the great trial was in sight, and my presence was demanded at the Royal Courts of Justice (Court 3) at eleven o'clock the following morning. Let it be recorded that my nerve was equal to the great Admiral's—I finished the drawing of that donkey.
MY HAT.
"The morning was a gloomy one, and no doubt the weather had something to do with the solemn tone of the proceedings. A collection of briefless barristers, irritated jurymen, and wet umbrellas in dark corridors is not enlivening; and when you arrive, to find the Court crowded, and you happen to be, like me, considerably under the medium height, and rather broad in proportion, it is difficult to come up at all, much less smiling, to the feet of justice. Here is a subject for a Punch puzzle. The defendant—how is he to get into Court? It is a mystery to me how I managed to squeeze myself through. I stuck to my hat, and my hat pulled me through (alas, a new one!). The hat was more rubbed the wrong way by the trial than was its wearer; but it is an item in the expense of legal warfare that ought not to be forgotten by the taxing master. However, I found myself sitting next my consulter and friend, the 'sage of Ely Place,' in good time. Although a case is down to be[Pg 203] tried in a particular Court, it may be transferred to another Court at a moment's notice. This is bewildering to the parties interested and, from what I saw, irritating to the legal fraternity. Tomkins v. Snooks is down for trial, Court 2. The legal call-boys bustle in the counsel and others engaged. Mr. Buzfuz, Q.C., pushes his way into Court, surrounds himself with briefs and other documents, when some mysterious harlequin of the Law Courts changes Tomkins v. Snooks to Court 4, and calls upon Brown v. Jones, who are packed away in Court 3, waiting their turn. Buzfuz gets very angry, and bustles off to Court 4. In fact, getting your case into Court reminded me forcibly of that amusing toy, so popular then, called 'Pigs in Clover'—wigs in clover, I was nearly writing. I apologise at once for the mere thought. We were transferred from one Court to another, and our friends sat out a case in the Court advertised to try ours, wondering what on earth 'The Prince of Journalists' and I had to do with 'chops and tomato sauce.' What followed has been pretty fully reported, so I need not dwell upon it. Indeed, I could not live in the frightful atmosphere of those Courts, and would gladly pay twice five pounds to be allowed to sit on the roof if ever I find myself a defendant again.
THE PLAINTIFF.
THE EDITOR OF PUNCHSUPPORTS ME.
"According to the reports, 'the plaintiff was supported by his wife, and the defendant by the editor of Punch.' The solemn occasion demanded a certain amount of gravity, which was particularly difficult for me to retain, as my 'supporter,' although fully alive to the tremendous bearings of the case and the importance of the issues, failed to hide in his expression those 'happy thoughts' that flow ceaselessly through his fertile brain. The outward effect was a see-saw antic with his imposing eyebrows—a proof to me that his sense of the ridiculous had got the better of his gravity. 'Put on your gloves at once,' he whispered impressively to me. 'Why?' I asked. 'Because you may then leave the court with clean hands!' (The 'putting[Pg 204] on the gloves' must not be taken in a double sense.) But this is a digression. You merely ask for sketches in Court. Well, I send you my recollection of Mr. Kemp, Q.C., trying to be very angry with me; of my 'brother caricaturist' (vide reports), Mr. Lockwood, struggling to be very angry with Mr. Kemp, and pointing to the defendant, 'That miscreant! (note the effect upon me), and the Judge very serious with everybody. As an antidote, I was spoiling a beautiful sheet of white blotting-paper by drawing recollections of the donkey I was studying in the country when I was summoned to town to take my trial. I am anxious to make this public, as I now remember that I left that sheet of sketches in the court; and who can tell? Some one may yet 'invest those sketches with an almost European importance,' and the number of five pounds I shall be called upon to dole out all round will be something appalling.
SIR F. LOCKWOOD AND MYSELF.
"A propos of this truly great trial, the Observer remarked, in its leader upon it, that 'future treatises on the law of libel will, if properly and picturesquely indexed, be enriched with this entry, "Art critic, statement held to be a libel upon, see Toes." Indeed, the antics of the law of libel ought to be written, edited, let me suggest, by Mr. George Lewis, and illustrated by the genius of Mr. Frank Lockwood. I will supply a footnote."
Over this jeu d'esprit on my part Sala waxed very wroth, for besides having to pay £80 costs of his own, he brought upon himself columns of chaff, of which the following is a fair[Pg 205] specimen. "The Prince of Journalists," wrote a wag of journalists, "is lamenting that he has jumped out of the Furniss into the fire, for of a surety five pounds will hardly repay Mr. Sala for the roasting he will receive from his good-natured friends." Skits showing six toes were plentiful, jokes in burlesque and on the music-hall stage were introduced as a matter of course, and private chaff in letters was kept up for some time. One private letter I wrote du Maurier, "Sala has no sole for humour—you have made me put my foot in it," and added the Six Toes signature sketch. In this no doubt du Maurier found inspiration for Trilby.
In the witness-box Mr. Sala took up a curious position with regard to that filched and fatal joke. He said that I told that joke because he had been invited to distribute the prizes at the Art School at Nottingham shortly before, and that I had run down and, like the miscreant who sowed tares in his neighbour's wheat, deliberately made him look ridiculous. As a matter of fact, I neither knew that Sala had distributed the prizes, nor that he had ever put in an appearance at Nottingham. Sala in his evidence said, "I have always been well received there (Nottingham). The people have always been very kind to me, and they expressed surprise at the libel." Nottingham people reading this, assured me it was the very reverse of the facts, that Sala was socially anything but friendly and most objectionable in his behaviour when there; and they invited me to distribute the prizes the following year, which I did—the last[Pg 206] stage of all of this strange, eventful joke, which ended, as it began, in good-natured laughter.
THE SEQUEL: I DISTRIBUTE THE PRIZES AT NOTTINGHAM.
HE one confession I desire in all seriousness should reach the ears of my fellow artists is that my object in
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