Martin Jones was another of Von Smudge’s sitters. He also ‘wrote his usual signature,’ and in like manner did ‘the artist’ fold the paper on which it was written and produce the accompanying Napoleonic figure ([Fig. 2]). As Martin is a fat-faced stunted little fellow with no chance of reaching five feet two, he decided long ago to go in for ‘brain power and command,’ and the Bonapartish portrait is said by him to be ‘characteristic.’ So it is—of Von Smudge.
Fig. 3.
Von Smudge’s theory is, that no matter what name be written, ‘the character will always be that of the writer.’ In an unguarded moment he consented to sign himself as Walter Scott, and this is the ‘character’ that was revealed ([Fig. 3]). There must be some truth in Von Smudge’s theory, for this is not in the least like Sir Walter, whereas in general Janusfacedness and clumsiness it may be taken as a fit symbol of ‘the artist.’
Fig. 4.
Miss Jenks was persuaded to have her ‘character indicated.’ It was ‘indicated’ with a vengeance ([Fig. 4]).
She has not called again. Von Smudge says she used too fine a pen. ‘Freedom, perfect freedom, is necessary in the handwriting.’ To which we may add that the thicker the lines, the more the ink, and the harder the paper, the better the result.
