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, and placed a richly-mounted sword at his side. His servant watched him closely, and upon receiving a sign from his master, he too put on his official costume, which consisted of a velvet robe and a helmet. The servant then struck up a tune on the richly-toned organ which always formed a part of Mangin’s outfit. The grotesque appearance of these individuals, and the music, soon drew together an admiring crowd.
Then the great charlatan stood upon his feet. His manner was calm, dignified, imposing, indeed almost solemn, for his face was as serious as that of the chief mourner at a funeral. His sharp, intelligent eye scrutinized the throng which was pressing around his carriage, until it rested apparently upon some particular individual, when he gave a start; then, with a dark, angry expression, as if the sight was repulsive, he abruptly dropped the visor of his helmet and thus covered his face from the gaze of the anxious crowd. This bit of coquetry produced the desired effect in whetting the appetite of the multitude, who were impatiently waiting to hear him speak. When he had carried this kind of by-play as far as he thought the audience would bear it, he raised his hand, and his servant understanding the sign, stopped the organ. Mangin then rang a small bell, stepped forward to the front of the carriage, gave a slight cough indicative of a preparation to speak, opened his mouth, but instantly giving a more fearful start and assuming a more sudden frown than before, he took his seat as if quite overcome by some unpleasant object which his eyes had rested upon. Thus far he had not spoken a word. At last the prelude ended, and the comedy commenced. Stepping forward again to the front of his carriage where all the gaping crowd could catch every word, he exclaimed:
“Gentlemen, you look astonished! You seem to wonder and ask yourselves who is this modern Quixote. What mean this costume of by-gone centuries—this golden chariot—these richly caparisoned steeds? What is the name and purpose of this curious knight-errant? Gentlemen, I will condescend to answer your queries. I am Monsieur Mangin, the great charlatan of France! Yes, gentlemen, I am a charlatan—a mountebank; it is my profession, not from choice, but from necessity. You, gentlemen, created that necessity! You would not patronize true, unpretending, honest merit, but you are attracted by my glittering casque, my sweeping crest, my waving plumes. You are captivated by din and glitter, and therein lies my strength. Years ago, I hired a modest shop in the Rue Rivoli, but I could not sell pencils enough to pay my rent, whereas, by assuming this disguise—it is nothing else—I have succeeded in attracting general attention, and in selling literally millions of my pencils; and I assure you there is at this moment scarcely an artist in France or in Great Britain who don’t know that I manufacture by far the best blacklead pencils ever seen.”
And this assertion was indeed true. His pencils were everywhere acknowledged to be superior to any other.
While he was thus addressing his audience, he would take a blank card, and with one of his pencils would pretend to be drawing the portrait of some man standing near him; then showing his picture to the crowd, it proved to be the head of a donkey, which, of course, produced roars of laughter.
“There, do you see what wonderful pencils these are? Did you ever behold a more striking likeness?”
A hearty laugh would be sure to follow, and then he would exclaim: “Now who will have the first pencil—only five sous.” One would buy, and then another; a third and a fourth would follow; and with the delivery of each pencil he would rattle off a string of witticisms which kept his patrons in capital good-humor; and frequently he would sell from two hundred to five hundred pencils in immediate succession. Then he would drop down in his carriage for a few minutes and wipe the perspiration from his face, while his servant played another overture on the organ. This gave his purchasers a chance to withdraw, and afforded a good opportunity for a fresh audience to congregate. Then would follow a repetition of his previous sales, and in this way he would continue for hours. To those disposed to have a souvenir of the great humbug he would sell six pencils, a medal and a photograph of himself for a franc (twenty cents.) After taking a rest he would commence a new speech.
“When I was modestly dressed, like any of my hearers, I was half starved. Punch and his bells would attract crowds, but my good pencils attracted nobody. I imitated Punch and his bells, and now I have two hundred depots in Paris. I dine at the best cafés, drink the best wine, live on the best of everything, while my defamers get poor and lank, as they deserve to be. Who are my defamers? Envious swindlers! Men who try to ape me, but are too stupid and too dishonest to succeed. They endeavor to attract notice as mountebanks, and then foist upon the public worthless trash, and hope thus to succeed. Ah! defamers of mine, you are fools as well as knaves. Fools, to think that any man can succeed by systematically and persistently cheating the public. Knaves, for desiring the public’s money without giving them an equivalent. I am an honest man. I have no bad habits; and I now declare, if any trader, inventor, manufacturer, or philanthropist will show me better pencils than mine, I will give him 1,000f.—no, not to him, for I abhor betting—but to the poor of the Thirty-first Arrondissement, where I live.”
Mangin’s harangues were always accompanied by a peculiar play of feature and of voice, and with unique and original gestures, which seemed to excite and captivate his audience.
About seven years ago, I met him in one of the principal restaurants in the Palais Royale. A mutual friend introduced me.
“Ah!” said he, “Monsieur Barnum, I am delighted to see you. I have read your book with infinite satisfaction. It has been published here in numerous editions. I see you have the right idea of things. Your motto is a good one—‘we study to please.’ I have much wanted to visit America; but I cannot speak English, so I must remain in my dear belle France.”
I remarked that I had often seen him in public, and bought his pencils.
“Aha! you never saw better pencils. You know I could never maintain my reputation if I sold poor pencils. But sacre bleu, my miserable would-be imitators do not know our grand secret. First, attract the public by din and tinsel, by brilliant sky-rockets and Bengola lights, then give them as much as possible for their money.”
“You are very happy,” I replied, “in your manner of attracting the public. Your costume is elegant, your chariot is superb, and your valet and music are sure to draw.”
“Thank you for your compliment, Mr. B., but I have not forgotten your Buffalo-hunt, your Mermaid, nor your Woolly Horse. They were a good offset to my rich helmet and sword, my burnished gauntlets and gaudy cuirass. Both are intended as advertisements of something genuine, and both answer the purpose.”
After comparing notes in this way for an hour, we parted, and his last words were:
“Mr. B., I have got a grand humbug in my
