The Pictorial Press: Its Origin and ProgressJackson, Mason
History
The Pictorial Press: Its Origin and Progress
Jackson, Mason
Illustration of books; Newspapers -- Illustrations
The _Illustrated London News_ had five artists in the field during the
Franco-German war: W. Simpson, R. T. Landells, G. H. Andrews, C. J.
Staniland, and Jules Pelcoq. From the fact of Landells being already
known to the Crown Prince of Prussia and several of his staff, it was
settled that his destination should be Germany, and I remember that
before his departure he expressed to me just the slightest shade of
discontent that he should be selected to go on what he thought would be
the losing side. He was destined, however, to be present at the
proclamation of the German Emperor in the palace of Versailles, and he
was one of the first to enter Paris after it capitulated to the German
army. Soon afterwards he very nearly experienced the unpleasant
consequences of being taken for a German spy. Landells himself was of a
dark complexion, and might very well have passed for a Frenchman, but on
the occasion referred to he was in the company of a brother artist (Mr.
Sidney Hall, of the _Graphic_), who, being fair, might easily be
mistaken for German. The excited mob of Paris had just vented their rage
on a suspected spy by drowning him in the Seine, and the two special
artists were loitering on the outskirts of the crowd, when Mr. Hall
imprudently took out his sketch-book, which was no sooner perceived than
a cry was raised of 'Prussian spy!' and they too would probably have
been pitched into the river had they not managed, with great difficulty,
to escape from the crowd.
[Illustration: NEWSPAPER CORRESPONDENTS ON THEIR WAY TO THE FRONT.
SISTOVA, 1877.]
When the German armies were closing round Paris M. Jules Pelcoq
consented to be shut up in the devoted city for the purpose of supplying
the _Illustrated London News_ with sketches. During the hardships of the
siege he was quite unable to obtain fuel to warm his apartment, and was
compelled to retire to bed, where, wrapped in a blanket, he finished up
the rough sketches he had made out of doors, which were then
photographed and sent off by balloons to London. These balloons were
regularly despatched during the prevalence of winds that would carry
them to the provinces unoccupied by the Germans. They were followed by
Prussian light cavalry as long as they were in sight, and some were
captured. Afterwards, as the city became more closely invested, and the
danger increased, the precaution was taken of despatching the balloons
at night, and the time fixed on was kept concealed from all save those
immediately concerned, in order to avoid, as far as possible, the
chances of its being communicated to the enemy, and thereby exposing the
aëronauts to the fiery rockets and other projectiles with which the
Germans were prepared to favour them. The railway-stations were
generally chosen as the starting-places, for they not only offered large
open spaces in which to fill the balloons, but, being situated away from
the centre of Paris, there was less risk, in ascending, of coming in
contact with buildings.
Public-domain text, read in full here on John Shaqi.
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