COUNTERFEIT PRESENTMENTS.
A Portrait, so called from the Latin protrahere, to draw forth, is produced by the individual skill of an artist; whereas a Photograph, conformably to the two Greek words photos, light, and graphein, to write, is obtained by the action of sunlight upon a chemically prepared surface, such as silver, zinc, copper, glass, or paper.
The earliest examples of portraiture were styled Miniatures because they originated from the head of the Virgin or of some well-known saint introduced into the initial letters of illuminated rubics by the Miniatori, a number of monks noted for their skill in painting with minium, or red lead. The reason why the portraits of monarchs are represented on coins and medals in Profile dates back to Antigonus, one of the generals of Alexander the Great, who, having lost one eye, ordered his likeness to be drawn from a side view. This occurred in the year 330 B.C. The term is a corruption, by way of the French profil, of the Latin perfilum, compounded out of per, through, by, and filum, a line, a thread. A profile cut out of black paper bears the name of a Silhouette in honour of Etienne de Silhouette, the French Comptroller of Finance under Louis XV. (born 1709, died 1767), who was the first to have his features outlined in this manner.
The earlier descriptions of photographs were respectively styled Talbotypes, Daguerreotypes, and Ferriertypes, after the names of their inventors. The smaller-sized photographs at present in use were originally described as Cartes-de-Visite from the practice of the Duc de Parma, who, while staying at Nice in the year 1857, had his photograph produced on the back of his visiting cards. The designation Vignette, which expresses the French diminutive of vine or tendril, owes its origin to the vine-leaves or branches that properly surround the photographs produced in this style. A photograph of the larger size is called a Cabinet because it forms a picture suited to the walls of a cabinet or very small room. A three-quarter-length photograph or portrait is styled among artists a Kit-Kat, in allusion to the portraits of the original members of the “Kit-Kat Club,” which were painted by Sir Godfrey Kneller for Jacob Tonson, the secretary, to suit the dimensions of the room in which the Club was latterly held at his villa at Barn Elms. Similarly, a canvas measuring 28 inches by 36 inches is styled a Kit-Kat Canvas because this was the uniform size of the famous “Kit-Kat Club portraits.” We may as well add here that the Kit-Kat Club derived its name from Christopher Kat, a pastrycook of King Street, Westminster, in whose house the thirty noblemen and gentlemen who formed themselves into a Club for the purpose of promoting the Protestant Succession in the year 1703 held their first meetings.
LONDON INNS AND GARDENS.
In our article on [Tavern Signs] we confined ourselves to a general survey of the subject; we now purpose to consider the significance of a few Inn Signs that are, or were once, peculiar to London. Commencing with the celebrated Tabard, in Southwark, so dear to the memory of Chaucer and his Canterbury Pilgrims, that sign was derived from the rich tunic or mantle of the same name worn by military nobles over their armour and emblazoned with heraldic devices. The Tabard still forms part of the costume of the heralds. La Belle Sauvage, on Ludgate Hill, was, as is evident from a legal document dated the thirty-first year of the reign of Henry VI., known both as “Savage’s Inn” and “The Bell and the Hoop.” The latter was the actual sign, representing a bell within a hoop, of the Inn which was kept by Isabelle Savage; and the combination of these two names resulted in the punning title of “La Belle Sauvage.” The Swan with Two Necks, in Lad Lane, was a corruption of “The Swan with Two Nicks.” As most Londoners are aware, it has long been the custom of the Vintners’ Company, in their annual “swan-upping” expeditions on the Thames, to mark their swans with a couple of nicks or notches in the bill, so as to distinguish them from the royal swans, whose nicks are five in number, viz., two lengthways and three across on the bill. That this characteristic mark of the Vintners’ Company should have been chosen for a London Inn Sign is scarcely extraordinary.
The sign of The Elephant and Castle, on the south side of the river, was adopted from the crest of the Cutlers’ Company, into whose trade ivory, and consequently elephants’ tusks, enters very considerably. With regard to the “Castle,” this was in mediæval times inseparable from the idea of an elephant, owing to the part which these huge animals anciently took in the Punic wars. Another “Elephant and Castle” exists in the parish of St. Pancras, near King’s Cross; but this sign originated from the discovery, in 1714, of the skeleton of an elephant in the neighbourhood of Battle Bridge. A flint-headed spear lay beside the remains, and from this it is reasonable to conjecture that the animal must have been killed by the Britons who were led by Queen Boadicea against the Romans in the year 61 A.D.
The Horse Shoe, Tottenham Court Road, came into existence as a sign from the large horse-shoes nailed up at the entrance of Messrs. Meux’s brewery adjoining. The shoes are also conspicuous on the trappings of the dray-horses belonging to that establishment; in short, they comprise the trade-mark of the firm. The Blue Posts, at the corner of Hanway Street, nearly opposite the “Horse Shoe,” arose out of the fancy of an old innkeeper to distinguish his hostelry from all others by causing the chain-posts abutting on the road to be painted blue instead of white, which eccentricity fully served the purpose of a sign. There is another “Blue Posts” in Cork Street, Piccadilly, and yet another in Southampton Buildings, Holborn; but the first-named is the oldest of the three, and therefore the original. The Black Posts, Bond Street, may also be regarded as a modified imitation of the example set by the original “Blue Posts.” The Three Chairmen, at the foot of Hay Hill, Berkeley Square, and The Running Footman, in Hayes’ Mews, close by, were so denominated from being the resort of gentlemen’s servants in the days when Sedan Chairs (these chairs were first made at Sedan, in France, which accounts for their name, exactly as Bath Chairs were originally introduced at Bath during the last century, when fashionable invalids flocked to the West of England to drink the Bath and Cheltenham waters) and Running Footmen preceded the use of private carriages by the wealthy.