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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b38fa6e --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #60214 (https://www.gutenberg.org/ebooks/60214) diff --git a/old/60214-0.txt b/old/60214-0.txt deleted file mode 100644 index 059f3b6..0000000 --- a/old/60214-0.txt +++ /dev/null @@ -1,1320 +0,0 @@ -The Project Gutenberg EBook of Ernesto Garcia Cabral, by -George Robert Graham (G. R. G.) Conway - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Ernesto Garcia Cabral - A Mexican Cartoonist - -Author: George Robert Graham (G. R. G.) Conway - -Illustrator: Ernesto Garcia Cabral - -Release Date: September 1, 2019 [EBook #60214] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL *** - - - - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - - - [Illustration: ERNESTO GARCIA CABRAL.] - - - - - ERNESTO GARCIA CABRAL - - -A- - - MEXICAN CARTOONIST - - - BY - - G. R. G. CONWAY - - - [Illustration] - - Issued for private circulation from - - Calle de Marsella No. 47, City of Mexico. - - MCMXXIII - - - Of this little book, one hundred and fifty copies - have been printed for the amusement of friends, - who will admire the genius of the famous Mexican - cartoonist and at the same time forgive the shortcomings - of the compiler. - - This copy, which is No. ____ is dedicated - with friendly greetings - - to ____ - - By ____ - - - _Xmas. 1923._ - - - - -CONTENTS - - - PAGE - -Biographical Foreword 7 to 13. - - -ILLUSTRATIONS - -I. Ernesto García Cabral. - -II. Sr. Ing. Don Alberto Pani. - -III. Lic. Miguel Alessio Robles. - -IV. Sr. Ing. Antonio Madrazo. - -V. Lic. Benito Javier Pérez Verdía. - -VI. Lic. Luis Manuel Rojas. - -VII. Sr. Lic. Antonio Pérez Verdía F. - -VIII. Sr. Don Carlos B. Zetina. - -IX. Don José de la Macorra. - -X. The late Don Genaro García. - -XI. Sr. Don Carlos Meneses. - -XII. Señora Eugenia de Meléndez. - -XIII. Dr. Atl. - -XIV. Hon. William Howard Taft. - -XV. Ambassador Fletcher. - -XVI. Mr. George T. Summerlin. - -XVII. Mr. Matthew Elting Hanna. - -XVIII. Mr. Oscar Maxon. - -XIX. Mr. William Randolph Hearst. - -XX. Mr. Henry Ford. - -XXI. Ramón del Valle Inclán. - -XXII. Josef Lhévinne. - -XXIII. Anna Pavlowa. - -XXIV. Mr. E. R. Peacock. - -XXV. G. R. G. Conway. - -XXVI. Mr. Claude Marsh Butlin. - -XXVII. Georges Carpentier. - -XXVIII. Jack Dempsey. - -XXIX. Rodolfo Gaona. - -XXX. Ignacio Sánchez Mejías. - -XXXI. Juan Belmonte. - -XXXII.-LVIII. Political, Social and Topical Cartoons. - - - - - Ernesto García Cabral - - _Once, on a glittering ice-field, ages and ages ago,_ - _Ung, a maker of pictures, fashioned an image of snow,_ - _Fashioned the form of a tribesman--gaily he whistled and sung,_ - _Working the snow with his fingers. Read ye the Story of Ung!_ - - _Pleased was his tribe with that image--came in their hundreds to scan--_ - _Handled it, smelt it, and grunted: “Verily, this is a man!_ - _“Thus do we carry our lances--thus is a war belt slung,_ - _“Lo! it is even as we are. Glory and honor to Ung!”_ - - ....................... - - _Straight on the glittering ice-field, by the caves of the lost Dordogne,_ - _Ung, a maker of pictures, fell to his scriving on bone--_ - _Even to mammoth editions...._ - (_KIPLING_) - - -The art of the cartoonist was flourishing in the palaeolithic age, about -fifty thousand years ago. In the caves of Dordogne, in Southern France, -the early artist scraped and scratched his figures of reindeers and -mammoths, and colored them in red, white and black. He was a magic -worker, using his remarkable art to impress his less skilled brother. -The caricaturist belongs to a much later period; but he, too, was in -evidence in Greece during the days of Aristophanes, a century or two -before the artistic genius of the Maya race carved and modelled their -quaint, grotesque figures of men and animals. That the art of caricature -is an ancient one in Mexico we have abundant evidence. The artist -usually worked in clay, but he also made drawings with pointed obsidian -knives or charcoal on stone. Representations of his art craft can be -seen in many of the ancient codices. In Padre Sahagun’s illustrations -(the Florentine Codex) we find many whimsical and fantastic sketches, -grim with sardonic humor. Except here and there, on rare occasions, the -art of caricature which flourished in Europe during the Spanish Colonial -period, was dormant in Mexico. In the Codex of San Juan Teotihuacan, -which dates from the middle of the sixteenth century, we see the Indian -artist caricaturing the portly Augustinian friars, and revealing with -tragic earnestness the suffering of the poor natives whom the monks -compelled to build their beautiful churches to the “Glory of God.” - -But the art of satirical expression can only be developed when some -degree of freedom obtains. Under Spanish rule and the rigid jurisdiction -of the Inquisition no freedom of thought was possible. With the changed -conditions brought about by the separation of New Spain from the mother -country there was liberty enough--and even license--for the -caricaturist, which he used with biting satire against the ever-changing -political heroes. To-day, the political cartoonist in Mexico is a -powerful factor in moulding public opinion against influential persons. -Since the fall of Porfirio Diaz the daily and weekly journals have been -enlivened by the cartoons of a brilliant group of young men--foremost -and leader of them all is Ernesto Garcia Cabral, the fertile genius who -has daily depicted and delineated every phase of Mexican life and -politics. - -Cabral, who is quite young, was born in the year 1891, in Huatusco, a -picturesque village in the State of Veracruz. As a child of three or -four years he amused himself by tracing figures on the ground and before -the age of fourteen he delineated figures of animals and saints on the -walls of the village church. At that time he also discovered his future -artistic bent in making profile caricatures of his younger brothers and -school-fellows. His school teacher, early recognizing the ability of -the boy in draughtsmanship, persuaded the “Jefe Politico” of the -district to solicit a scholarship from Señor Don Teodoro Dehesa, the -enlightened Governor of the State. Señor Dehesa, a patron of art, who -frequently acted as a Maecenas to struggling artists, granted the young -Ernesto the coveted bursary which entitled him to enter the San Carlos -Academy in the Capital of the Republic. There he was able to improve his -technique, but the scholarship did not make him independent. To live and -continue his studies it was necessary for him to earn money. He -therefore commenced to draw for the public, collaborating in the -publication of a lithographed political paper called “La Tarantula.” In -this paper, directed by Fortunato Herrerías, he dedicated himself -exclusively to the art of caricature. At the end of six months he joined -the staff of the short-lived comic weekly “Frivolidades” which soon had -to stop publication for want of funds. The next important step in -Cabral’s career was his collaboration with Mario Vitoria, in the -well-known political weekly “Multicolor” and through the medium of this -paper his drawings became known to a wider and more influential circle. -“Multicolor” had great political influence during the three years it was -published (1911-1914), and helped very powerfully towards the making and -unmaking of the political idols of the hour. - -It was during this period that the brilliant young artist came to the -notice of President Madero, who decided to send him to Paris to continue -his studies at the expense of the Mexican Government. Cabral settled in -Paris in 1912 and pursued his studies at the free academies of Colorossi -and the Grande Chaumiére. Cabral’s native land was soon afterwards -passing through the agonies of revolution and the tragic death of Madero -left the artist penniless, as the new Government stopped all the -bursaries of Mexican students then studying under official patronage in -Europe. Deprived of all means of subsistence, Cabral, as he once told -the present writer, was, for a time, actually starving. Some -amelioration came to him as the result of winning a competition -inaugurated by an official Academy of Painting at No. 80 Boulevard -Montparnasse, the prize being free admission to the upper class of -drawing from the nude. The competitors, who were fifteen in number, were -required to make in five hours--one hour a night--a crayon drawing of a -Greek statue. The starving artist’s success, ironically enough, was -communicated by the Mexican Consul in Paris, to the Minister of Public -Instruction and Fine Arts in Mexico, and the local press made Cabral the -subject of flattering comment. Cabral was then able to continue his -studies without expense, but was compelled at the same time to struggle -gallantly for a pittance, by selling the productions of his pencil -through the “Marchand de Tableaux”--and shortly afterwards he was taken -on the staffs of “Le Rire” and “Bayonette.” - -When the Great War broke out, Cabral was again in difficulties. Paris -cared only for her own cartoonists, and it was then that he lived the -bohemian life of the Latin Quarter--that centre of cardiac -energy--described so graphically by Du Maurier and Murger, with the -usual companionship of a sweet, pious and self-sacrificing blonde -“Midinette” who shared the dark days of his misery. At that time, he has -told us, he was in the habit of casting lots with his bohemian -companions, to see who would procure sufficient funds for the satisfying -of their ravenous stomachs--a motley lot of comrades in adversity, -including would-be painters, musicians, poets and journalists. Garcia -Cabral had, on more than one occasion, the experience of resorting to -extraordinary stratagems to obtain sufficient food for their wants. - -During 1918, when the Constitutional Government of Mexico was presided -over by Don Venustiano Carranza, there was residing in Paris as the -special envoy of the President, Lic. Isidoro Fabela, and under Sr. -Fabela’s generous protection Cabral was appointed an Attaché in the -Mexican Legation, his duties being the pleasant task of illustrating a -book of narratives which Señor Fabela was intending to publish. Shortly -afterwards, he accompanied Señor Fabela on his official missions to -Madrid and Buenos Ayres and in the Argentine capital they stayed fifteen -months. There, in the interest of a Mexican national propaganda, Cabral -contributed his cartoons to the principal newspapers and reviews, -achieving a very considerable reputation in the Argentine. In the -beginning of 1919, after an exile of seven years, Cabral returned to his -native land and his work immediately began to appear in the weekly -“Revista de Revistas” and in the influential daily newspaper -“Excelsior.” Since that time his career has been one of unbroken success -and of extraordinary popularity. - -Cabral’s amazing drawings are worthy of taking rank with those of the -most distinguished foreign cartoonists. He can, with equal facility, -produce the most humorous of cartoons or the most satirical of -caricatures. In his cartoons of representative people, he seems to -extract by critical penetration--sympathetically--the quintessential -expression of his subject. He is always an artist, a consummate designer -and a psychological observer who analytically peers into the minds of -men and lays bare their personalities. His art is versatile. In line, he -excels as no other Mexican artist; but he is also a master of -chiaroscuro, and as an illustrator his understanding of the massing of -color is extraordinary. - -During the past three or four years, Cabral must have produced several -thousand cartoons and caricatures. His cartoons of representative people -in Mexico have been drawn mostly from life, each sketched rapidly and -surely in a little over half an hour. His political, social and topical -cartoons form a kaleidoscopic history of contemporary Mexico. A great -political question, such as the official American recognition of -President Obregon’s Government, finds Cabral sympathetically -interpreting the international aspirations of the Mexican people. The -danger of Bolshevism in the State of Veracruz becomes a subject for many -convincing cartoons, of more influence than dozens of leading articles. -Mexico City, due to an exceptional drought, is called upon to economize -in its use of electric energy and daylight-saving is officially -established for a time. Cabral, during the crisis, daily illustrates the -necessity. He wages war upon incompetent medical men, portrays the risk -the pedestrian takes on the crowded streets of the Capital, the evil -effects of unlawful strikes, and so on;--every phase in the everchanging -life of the Capital is eloquently depicted. In some of his cartoons of -persons he subordinates caricature in favor of true portraiture, and in -others, the kindly sympathetic personality of the artist changes rapidly -into the satirist and cynical student of life with an ineradicable -memory of its shams and miseries. - -For the selection of the cartoons reproduced in this book the writer is -responsible; it does not profess to represent Cabral’s best work, and he -himself would probably have chosen quite differently from the thousands -he has done. The cartoons have suffered by reduction and reproduction, -as the majority of them have been copied direct from the “Excelsior.” -Nos. I., XVII-XXIV and XXV, were reproduced from the original drawings. - -The writer’s apology for a selection that may not represent the best of -the artist’s work is due to the cartoonist, as those reproduced have -been selected on account of their personal appeal to the friends for -whom this limited edition is intended. Cabral hopes, at an early date, -to publish a representative collection of his work--which all lovers of -his art will joyfully welcome. - -A critical study of the Mexican cartoonist’s genius will some day be -attempted. This little book does not pretend to be anything more than an -appreciation by an admirer, who lacks the critical and artistic -knowledge to determine Cabral’s true place among cartoonists in Mexico -and abroad. - - _G. R. G. CONWAY._ - -[Caption for following illustration: I. - -ERNESTO GARCIA CABRAL. - -As he sees himself.] - -[Illustration] - -[Caption for following illustration: II. - -SR. ING. DON ALBERTO PANI. - -Has held the Portfolios of Foreign Affairs, and of Commerce and -Industry. Was formerly Mexican Minister accredited to France and is now -Minister of Hacienda. He is the “handy man” of the Mexican Government: a -cultivated engineer, a technical and political writer, and a lover of -art. A genial spirit, perpetually smiling and smoking.] - -[Illustration] - -[Caption for following illustration: III. - -LIC. MIGUEL ALESSIO ROBLES. - -Recently Minister of Commerce and Industry. Formerly Mexican Ambassador -to the Court of Madrid.] - -[Illustration] - -[Caption for following illustration: IV. - -SR. ING. ANTONIO MADRAZO. - -During President Carranza’s administration acted as Sub-secretary of the -Department of Finance; and under President Obregon has been Governor of -the State of Guanajuato.] - -[Illustration] - -[Caption for following illustration: V. - -BENITO JAVIER PEREZ VERDIA. - -Lawyer, journalist and man of letters. One of the founders of the -Fascisti movement in Mexico.] - -[Illustration] - -[Caption for following illustration: VI. - -LIC. LUIS MANUEL ROJAS. - -One of the originators of the Mexican Constitution of 1917; the founder -of the “Revista de Revistas” and a prominent mason.] - -[Illustration] - -[Caption for following illustration: VII. - -SR. LIC. ANTONIO PEREZ VERDIA F. - -An eminent lawyer and Chairman of the Mexican Bar.] - -[Illustration] - -[Caption for following illustration: VIII. - -SR. DON CARLOS B. ZETINA. - -A progressive and democratic captain of industry who realizes that the -old order passeth giving place to the new. Many of his friends would -like to see him a future President of the Republic; but he prefers a -more tranquil pathway along life’s pilgrimage.] - -[Illustration] - -[Caption for following illustration: IX. - -DON JOSE DE LA MACORRA. - -A representative Spanish merchant and manufacturer of paper.] - -[Illustration] - -[Caption for following illustration: X. - -THE LATE DON GENARO GARCIA. - -A scholarly historian of Mexico, who gave to the world for the first -time an exact transcript of the Guatemala manuscript of “The True -History of the Conquest of New Spain” by that lovable and garrulous old -conquistador, Bernal Diaz. Genaro Garcia’s fine library is now a -treasured possession of the University of Texas.] - -[Illustration] - -[Caption for following illustration: XI. - -SR. DON CARLOS MENESES. - -A notable Mexican musician. Founder of the School of Pianists and -organizer of the first symphonic concerts in Mexico; one who has done -much for the advancement of music in his native land.] - -[Illustration] - -[Caption for following illustration: XII. - -SEÑORA EUGENIA DE MELENDEZ. - -A well-known Mexican woman writer.] - -[Illustration] - -[Caption for following illustration: XIII. - -DR. ATL. - -Originator of the Casa Mundial (I. W. W.) of Mexico. As a writer and -teacher has done a great deal to popularize the minor arts of Mexico. Is -a painter with ultra-impressionistic tendencies, and well-known as an -intrepid climber of Popocatepetl.] - -[Illustration] - -[Caption for following illustration: XIV. - -HON. WILLIAM HOWARD TAFT. - -Twenty-seventh President of the United States; now Chief Justice of the -Supreme Court.] - -[Illustration] - -[Caption for following illustration: XV. - -AMBASSADOR FLETCHER. - -Formerly Ambassador of the United States in Mexico; an authority on -Latin America; now Ambassador in Belgium. Has had long diplomatic -experience, his whole career having been spent in the service in many -lands.] - -[Illustration] - -[Caption for following illustration: XVI. - -MR. GEORGE T. SUMMERLIN. - -Counsellor of the American Embassy with Ambassador Fletcher when he took -office in 1917, and since January 1919 has been Chargé d’Affaires. -“Summie,” as his intimate friends affectionately call him, has served -his country well and has gained the respect and confidence of the -Mexican people. His friends hope that his expected promotion will take -him to the Court of St. James.] - -[Illustration] - -[Caption for following illustration: XVII. - -MR. MATTHEW ELTING HANNA. - -Has charge of Mexican affairs in the State Department of Washington. -“Joe,” as he is known to all his friends in Mexico City, was formerly -First Secretary of the American Embassy. He is a hard worker, a genial -host and a welcome guest and is greatly missed in the Capital.] - -[Illustration] - -[Caption for following illustration: XVIII. - -MR. OSCAR MAXON. - -Maxy is the wittiest American in Mexico City. Probably he would be -called in his own home town “a wealthy and prominent realtor.” He -collects many beautiful things and is always willing to open his packing -cases to show them to genuine lovers of antiques.] - -[Illustration] - -[Caption for following illustration: XIX. - -MR. WILLIAM RANDOLPH HEARST.] - -[Illustration] - -[Caption for following illustration: XX. - -MR. HENRY FORD.] - -[Illustration] - -[Caption for following illustration: XXI. - -RAMON DEL VALLE INCLAN. - -The most skilful musician among modern Spanish poets. As a visitor to -Mexico he received an indifferent welcome from his “paisanos” owing to -his outspoken remarks on the reigning Spanish monarchy.] - -[Illustration] - -[Caption for following illustration: XXII. - -JOSEF LHEVINNE. - -The eminent pianist who always finds a popular welcome in Mexico City.] - -[Illustration] - -[Caption for following illustration: XXIII. - -ANNA PAVLOWA. - -The Queen of dancers.] - -[Illustration] - -[Caption for following illustration: XXIV. - -MR. E. R. PEACOCK. - -A Canadian by birth and a graduate in arts of Queen’s University. About -20 years ago was a senior master in Upper Canada College, Toronto. From -there he entered the world of finance in London and now has the -distinction of being the first Director of the Bank of England appointed -outside of the esoteric circle of “the City”--a tribute not only to -himself but a compliment to Canada. Is actively interested in many -British enterprises in Mexico, Spain and South America.] - -[Illustration] - -[Caption for following illustration: XXV. - -G. R. G. CONWAY. - -“Cuando había agua.” (Excelsior, 11th February, 1921.)] - -[Illustration] - -[Caption for following illustration: XXVI. - -MR. CLAUDE MARSH BUTLIN. - -The best all-round sportsman in Mexico. As becomes an Englishman he -excels in cricket; has been for many years tennis champion; a scratch -golfer and withal a fine player of the difficult game of pelota.] - -[Illustration] - -XXII - -GEORGVE CARPENTER - -The famous French puglist. - -[Illustration] - -[Caption for following illustration: XXVIII. - -JACK DEMPSEY.] - -[Illustration] - -[Caption for following illustration: XXIX. - -RODOLFO GAONA. - -A Mexican “Torero” and the idol of the bull-fighting public. He is -reputed to be the bravest that ever appeared in the rings of New -Spain.] - -[Illustration] - -[Caption for following illustration: XXX. - -IGNACIO SANCHEZ MEJIAS. - -A very brave and ambitious bull-fighter from Seville. Formerly a student -of medicine, he abandoned his profession for the plaudits of the middle -and upper-class frequenters of the bull-ring, who adore him.] - -[Illustration] - -[Caption for following illustration: XXXI. - -JUAN BELMONTE. - -The “Phenomenon” from Seville, who thrills his excitable audiences with -his daring work near the horns of the bull.] - -[Illustration] - -[Caption for following illustration: XXXII. - -FINAL CONSULTATION. - -HE WHO IS POINTING (President Obregon): “Energy within the law!” ... - -PUBLIC OPINION: “I have confidence in you, Doctor.”] - -[Illustration] - -[Caption for following illustration: XXXIII. - -INTERNATIONAL TAILORING. - -President Obregon: When will you let me have the suit, boss? - -Uncle Sam: We require many fittings (pruebas) yet, General. - -(“Pruebas” in Spanish means both fittings and proofs.)] - -[Illustration] - -[Caption for following illustration: XXXIV. - -THE RECOGNITION QUESTION. - -General Obregon, as Ford driver: Ready sir? - -Uncle Sam: Does the car go well? - -Ford Driver: Just examine (reconozca) it and you’ll see. - -(“Reconocer” in Spanish means both examine and recognize.)] - -[Illustration] - -[Caption for following illustration: XXXV. - -WILL HE GIVE HER THE DEATH BLOW? - -Cabral here depicts the strangling of Industry in the State of Veracruz -by Bolshevism.] - -[Illustration] - -[Caption for following illustration: XXXVI. - -TAKE YOUR MUSIC ELSEWHERE. - -The Average Man: “What a goat’s whiskers he’s got.”] - -[Illustration] - -[Caption for following illustration: XXXVII. - -WHAT A KNOCK IN THE EYE! - -This cartoon refers to an insulting and threatening telegram sent by the -Strike Committee to General Obregon during a Tramways strike in Mexico -City, and the President’s vigorous reply.] - -[Illustration] - -[Caption for following illustration: XXXVIII. - -Employer: I won’t give you work because you get drunk so often. - -Workman: Not very often, boss; only when I celebrate my name day. - -Employer: What’s your name? - -Workman: Domingo. (Sunday).] - -[Illustration] - -[Caption for following illustration: XXXIX. - -INFALLIBLE FOR HEADACHES. - -“Comment unnecessary.” - -In Mexico City the jitney is a terror to the pedestrian. Upon this one -is an advertisement of a patent medicine “Infallible for headaches.”] - -[Illustration] - -[Caption for following illustration: XL. - -He: I am reading a sensational piece of news. - -She: What is it? - -He: An automobile knocked a man down and killed him. - -She: That’s nothing; many people are knocked down every day. - -He: Yes, but in this case they arrested the chauffeur.] - -[Illustration] - -[Caption for following illustration: XLI. - -“Excuse me, sir, has the Colonia-Roma tram gone by?” - -“Do you take me for a tram despatcher?” - -“No, sir, I mistook you for a gentleman, that’s all.”] - -[Illustration] - -[Caption for following illustration: XLII. - -IS LIGHT NECESSARY? - -“Shall we get accustomed to being without light, friend?” - -“That is a matter of indifference to me as my wife gives a tremendous -lot of light.” - -(In Spanish, the verb “To give light” means also “To give birth.”)] - -[Illustration] - -[Caption for following illustration: XLIII. - -EL CONFLICTO DE LUZ Y FUERZA - -(The Light and Power Conflict) - -Who gave you that, brother? - -Luz, (Light) my wife. - -What energy she used! - -Naturally, seeing she has lots of motive power. (fuerza motriz.)] - -[Illustration] - -[Caption for following illustration: XLIV. - -THE OFFICIAL TIME. - -Widow: He died at four in the morning, official time, without making a -will; he didn’t have time to do so.... - -... God’s will be done; but if he had died at four o’clock astronomical -time, everything would have been all right!] - -[Illustration] - -[Caption for following illustration: XLV. - -OFFICIAL TIME. - -“I’m awfully sorry to tell you, old man, but on Saturday, at 11 o’clock -at night, I saw your wife with another man.” - -“You lie, you idiot!” - -“Man!--You insult me!” - -“It was twelve o’clock. Don’t you know that we are an hour in advance?” - -“You’re quite right--pardon me.”] - -[Illustration] - -[Caption for following illustration: XLVI. - -THE WATER CRISIS. - -“Have you noticed that black shirts are fashionable?” - -“Certaintly--it is the triumph of Fascismo.” - -“Rubbish!--it’s on account of excess of dirt and want of water.”] - -[Illustration] - -[Caption for following illustration: XLVII. - -OUR RESTAURANTS. - -Diner: Imbecile!--the fish you gave me a week ago was better. - -Waiter: You are the imbecile--because I can prove to you it’s the -same!] - -[Illustration] - -[Caption for following illustration: XLVIII. - -1st kiddie: My parents bought me new shoes and a little brother in -Paris. - -2nd kiddie: Oh well, mine didn’t bring me shoes because they bought me -twins.] - -[Illustration] - -[Caption for following illustration: XLIX. - -SAFETY AT NIGHT. - -The Young Fellow: My wife has just given birth to twins--at four o’clock -in the morning. - -The Old Boy: Well, that’s very commendable caution. Few people care to -arrive alone in Mexico at that hour.] - -[Caption for following illustration: L. - -THE HENPECKED ONE. - -Lunch time, and my wife so jealous! What the deuce am I to do to justify -my late arrival?] - -[Illustration] - -[Illustration] - -[Caption for following illustration: LI. - -BETWEEN MILK VENDORS. - -“How many liters of milk does your cow give, Don Pancho?” - -“About eight liters, Doña Julia.” - -“And how many do you sell?” - -“Oh, not more than twenty.”] - -[Caption for following illustration: LII. - -“So you’ve finished crying at last!” - -The Kid: “No!” (sniffling)--“I’m only resting a little.”] - -[Illustration] - -[Illustration] - -[Caption for following illustration: LIII. - -IRONY. - -He: After you Madame!] - -[Caption for following illustration: LIV. - -FAMILY DISPUTES. - -He: And so you are capable of saying I am two-faced! - -She: Heavens, no! The one you have is enough!] - -[Illustration] - -[Illustration] - -[Caption for following illustration: LV. - -The Padre:--(Teaching his pupil the ten commandments) The fifth--‘Thou -shalt not kill.’ - -The Pupil: Not even when I have “fuero,” father? - -(“Fuero” is a privilege granted to Congressmen and others which exempts -them from arrest for crimes committed when holding office.)] - -[Caption for following illustration: LVI. - -FATHERS OF THE COUNTRY. - -“To think I have so many and am so neglected!” - -(Congressmen in Mexico are called “Fathers of the Country.”)] - -[Illustration] - -[Illustration] - -[Caption for following illustration: LVII. - -THE FAUX PAS. - -“What do you think of my wife’s voice?” - -“Excuse me, that woman’s making such a noise I can’t hear a word!--What -were you saying?”] - -[Caption for following illustration: LVIII. - -“Why don’t you marry Rose?” - -“Nothing doing, old man. She’s bitterly opposed to divorce.”] - -[Illustration] - -[Illustration] - - - - - -End of the Project Gutenberg EBook of Ernesto Garcia Cabral, by -George Robert Graham (G. R. G.) Conway - -*** END OF THIS PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL *** - -***** This file should be named 60214-0.txt or 60214-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/2/1/60214/ - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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R. G. Conway. -</title> -<style type="text/css"> - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.c {text-align:center;text-indent:0%;} - -.cb {text-align:center;text-indent:0%;font-weight:bold;} - -.cbig {text-align:center;text-indent:0%;font-weight:bold; -font-size:150%;} - -.cbs {text-align:center;text-indent:0%;font-weight:bold; -font-family:sans-serif, serif;} - -.letra {font-size:200%;float:left;margin-top:-.5%;} - @media print, handheld - { .letra - {font-size:200%;padding:0%;} - } - -.nind {text-indent:0%;} - -.nonvis {display:inline;} - @media print, handheld - {.nonvis - {display: none;} - } - -.r {text-align:right;margin-right: 5%; -font-family:sans-serif, serif;} - -.rt {text-align:right;} - -small {font-size: 70%;} - -big {font-size: 130%;} - - h1 {margin-top:5%;text-align:center;clear:both; -font-weight:normal;font-family:sans-serif, serif;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:100%;font-weight:normal;} - - hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;} - - body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -.smcap {font-variant:small-caps;font-size:100%;} - - img {border:none;} - -.blockquot {margin:2% 15% 2% 15%;} - -.caption {font-weight:bold;} -.caption p{font-size:100%;margin-left:8%;margin-right:8%;} - -.figleft {margin-bottom:1em;margin-top:1em; -padding:0;text-align:left;} - -.figright {margin-bottom:1em;margin-top:1em; -padding:0;text-align:right;} - -.figcenter {margin-top:3%;margin-bottom:3%;clear:both; -margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;} - @media handheld, print - {.figcenter - {page-break-after: always; -page-break-before:avoid;} - } - -div.ills {margin-bottom:0%;font-weight:bold;margin-top:4em; -padding-top:2em; -border-top:4px double black} - @media handheld, print -{.ills {page-break-before: always; -page-break-after: avoid;} -} - -div.poetry {text-align:center;} -div.poem {font-size:90%;margin:auto auto;text-indent:0%; -display: inline-block; text-align: left;} -.poem .stanza {margin-top: 1em;margin-bottom:1em;} -.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} -.poem span.iq1 {display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em; -letter-spacing:.25em;} -.poem span.i0r {display: block; margin-left: 0em; padding-left: 20em; text-indent: -3em;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} -@media print, handheld -{.pagenum - {display: none;} - } - -.pgnum {margin:0% 0% 0% 0%;} - -</style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Ernesto Garcia Cabral, by -George Robert Graham (G. R. G.) Conway - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Ernesto Garcia Cabral - A Mexican Cartoonist - -Author: George Robert Graham (G. R. G.) Conway - -Illustrator: Ernesto Garcia Cabral - -Release Date: September 1, 2019 [EBook #60214] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ERNESTO GARCIA CABRAL *** - - - - -Produced by Chuck Greif, ellinora and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover_lg.jpg"> -<img src="images/cover.jpg" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td><p class="c"><a href="#CONTENTS">Contents.</a></p> -<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> -</td></tr> -</table> - -<div class="figcenter"> -<a href="images/i_frontis_lg.jpg"> -<img src="images/i_frontis_sml.jpg" alt="[Image unavailable: photo of -ERNESTO GARCIA CABRAL.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> - -<h1><span class="smcap">Ernesto Garcia Cabral</span></h1> - -<p class="cb">-A-<br /><br /> </p> - -<p class="cbs">MEXICAN CARTOONIST</p> - -<p class="cbs">BY<br /><br /> -G. R. G. CONWAY<br /><br /><br /><br /> -<img src="images/colophon.png" -width="25" -alt="colophon" -/><br /> -Issued for private circulation from<br /><br /> -Calle de Marsella No. 47, City of Mexico.<br /><br /> -MCMXXIII</p> - -<p class="pgnum"><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> </p> - -<p class="pgnum"><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> </p> - -<div class="blockquot"> -<p class="nind"><b><span class="letra">O</span>F this little book, one hundred and fifty copies<br /> -have been printed for the amusement of friends,<br /> -who will admire the genius of the famous Mexican<br /> -cartoonist and at the same time forgive the shortcomings<br /> -of the compiler.<br /> -<br /> -This copy, which is No. ____ is dedicated<br /> -with friendly greetings<br /> -<br /> -to ____<br /> -<br /> -By ____<br /></b> -</p> - -<p class="r"><small> -<i>Xmas. 1923.</i></small><br /></p> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> </p> - -<p class="pgnum"><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> </p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left" colspan="2"> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td align="left">Biographical Foreword</td> -<td> </td> -<td align="left"><a href="#page_7">7 to 13</a>.</td></tr> -</table> - -<table border="0" cellpadding="3" cellspacing="0" summary=""> - -<tr><td class="c" colspan="2"><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_I">I.</a></td><td><a href="#ill_I">Ernesto García Cabral.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_II">II.</a></td><td><a href="#ill_II">Sr. Ing. Don Alberto Pani.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_III">III.</a></td><td><a href="#ill_III">Lic. Miguel Alessio Robles.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_IV">IV.</a></td><td><a href="#ill_IV">Sr. Ing. Antonio Madrazo.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_V">V.</a></td><td><a href="#ill_V">Lic. Benito Javier Pérez Verdía.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_VI">VI.</a></td><td><a href="#ill_VI">Lic. Luis Manuel Rojas.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_VII">VII.</a></td><td><a href="#ill_VII">Sr. Lic. Antonio Pérez Verdía F.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_VIII">VIII.</a></td><td><a href="#ill_VIII">Sr. Don Carlos B. Zetina.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_IX">IX.</a></td><td><a href="#ill_IX">Don José de la Macorra.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_X">X.</a></td><td><a href="#ill_X">The late Don Genaro García.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XI">XI.</a></td><td><a href="#ill_XI">Sr. Don Carlos Meneses.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XII">XII.</a></td><td><a href="#ill_XII">Señora Eugenia de Meléndez.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XIII">XIII.</a></td><td><a href="#ill_XIII">Dr. Atl.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XIV">XIV.</a></td><td><a href="#ill_XIV">Hon. William Howard Taft.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XV">XV.</a></td><td><a href="#ill_XV">Ambassador Fletcher.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XVI">XVI.</a></td><td><a href="#ill_XVI">Mr. George T. Summerlin.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XVII">XVII.</a></td><td><a href="#ill_XVII">Mr. Matthew Elting Hanna.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XVIII">XVIII.</a></td><td><a href="#ill_XVIII">Mr. Oscar Maxon.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XIX">XIX.</a></td><td><a href="#ill_XIX">Mr. William Randolph Hearst.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XX">XX.</a></td><td><a href="#ill_XX">Mr. Henry Ford.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXI">XXI.</a></td><td><a href="#ill_XXI">Ramón del Valle Inclán.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXII">XXII.</a></td><td><a href="#ill_XXII">Josef Lhévinne.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXIII">XXIII.</a></td><td><a href="#ill_XXIII">Anna Pavlowa.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXIV">XXIV.</a></td><td><a href="#ill_XXIV">Mr. E. R. Peacock.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXV">XXV.</a></td><td><a href="#ill_XXV">G. R. G. Conway.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXVI">XXVI.</a></td><td><a href="#ill_XXVI">Mr. Claude Marsh Butlin.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXVII">XXVII.</a></td><td><a href="#ill_XXVII">Georges Carpentier.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXVIII">XXVIII.</a></td><td><a href="#ill_XXVIII">Jack Dempsey.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXIX">XXIX.</a></td><td><a href="#ill_XXIX">Rodolfo Gaona.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXX">XXX.</a></td><td><a href="#ill_XXX">Ignacio Sánchez Mejías.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXXI">XXXI.</a></td><td><a href="#ill_XXXI">Juan Belmonte.</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#ill_XXXII">XXXII.-LVIII.</a></td><td><a href="#ill_XXXII">Political, Social and Topical Cartoons.</a></td></tr> -</table> - -<p class="pgnum"><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> </p> - -<p class="pgnum"><span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> </p> - -<p class="cbig">Ernesto García Cabral</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0"><i>Once, on a glittering ice-field, ages and ages ago,</i><br /></span> -<span class="i0"><i>Ung, a maker of pictures, fashioned an image of snow,</i><br /></span> -<span class="i0"><i>Fashioned the form of a tribesman—gaily he whistled and sung,</i><br /></span> -<span class="i0"><i>Working the snow with his fingers. Read ye the Story of Ung!</i><br /></span> -</div><div class="stanza"> -<span class="i0"><i>Pleased was his tribe with that image—came in their hundreds to scan—</i><br /></span> -<span class="i0"><i>Handled it, smelt it, and grunted: “Verily, this is a man!</i><br /></span> -<span class="i0"><i>“Thus do we carry our lances—thus is a war belt slung,</i><br /></span> -<span class="i0"><i>“Lo! it is even as we are. Glory and honor to Ung!”</i><br /></span> - -<span class="iq1">.............................<br /></span> - -<span class="i0"><i>Straight on the glittering ice-field, by the caves of the lost Dordogne,</i><br /></span> -<span class="i0"><i>Ung, a maker of pictures, fell to his scriving on bone—</i><br /></span> -<span class="i0"><i>Even to mammoth editions....</i><br /></span> -<span class="i0r">(<i>KIPLING</i>)<br /></span> -</div></div> -</div> - -<p class="nind"><span class="letra">T</span>HE art of the cartoonist was flourishing in the palaeolithic age, about -fifty thousand years ago. In the caves of Dordogne, in Southern France, -the early artist scraped and scratched his figures of reindeers and -mammoths, and colored them in red, white and black. He was a magic -worker, using his remarkable art to impress his less skilled brother. -The caricaturist belongs to a much later period; but he, too, was in -evidence in Greece during the days of Aristophanes, a century or two -before the artistic genius of the Maya race carved and modelled their -quaint, grotesque figures of men and animals. That the art of caricature -is an ancient one in Mexico we have abundant evidence. The artist -usually worked in clay, but he also made drawings with pointed obsidian -knives or charcoal on stone. Representations of his art craft can be -seen in many of the ancient codices. In Pa<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span>dre Sahagun’s illustrations -(the Florentine Codex) we find many whimsical and fantastic sketches, -grim with sardonic humor. Except here and there, on rare occasions, the -art of caricature which flourished in Europe during the Spanish Colonial -period, was dormant in Mexico. In the Codex of San Juan Teotihuacan, -which dates from the middle of the sixteenth century, we see the Indian -artist caricaturing the portly Augustinian friars, and revealing with -tragic earnestness the suffering of the poor natives whom the monks -compelled to build their beautiful churches to the “Glory of God.”</p> - -<p>But the art of satirical expression can only be developed when some -degree of freedom obtains. Under Spanish rule and the rigid jurisdiction -of the Inquisition no freedom of thought was possible. With the changed -conditions brought about by the separation of New Spain from the mother -country there was liberty enough—and even license—for the -caricaturist, which he used with biting satire against the ever-changing -political heroes. To-day, the political cartoonist in Mexico is a -powerful factor in moulding public opinion against influential persons. -Since the fall of Porfirio Diaz the daily and weekly journals have been -enlivened by the cartoons of a brilliant group of young men—foremost -and leader of them all is Ernesto Garcia Cabral, the fertile genius who -has daily depicted and delineated every phase of Mexican life and -politics.</p> - -<p>Cabral, who is quite young, was born in the year 1891, in Huatusco, a -picturesque village in the State of Veracruz. As a child of three or -four years he amused himself by tracing figures on the ground and before -the age of fourteen he delineated figures of animals and saints on the -walls of the village church. At that time he also discovered his future -artistic bent in making profile caricatures of his younger brothers and -school-fellows. His school teacher, early recognizing the ability<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> of -the boy in draughtsmanship, persuaded the “Jefe Politico” of the -district to solicit a scholarship from Señor Don Teodoro Dehesa, the -enlightened Governor of the State. Señor Dehesa, a patron of art, who -frequently acted as a Maecenas to struggling artists, granted the young -Ernesto the coveted bursary which entitled him to enter the San Carlos -Academy in the Capital of the Republic. There he was able to improve his -technique, but the scholarship did not make him independent. To live and -continue his studies it was necessary for him to earn money. He -therefore commenced to draw for the public, collaborating in the -publication of a lithographed political paper called “La Tarantula.” In -this paper, directed by Fortunato Herrerías, he dedicated himself -exclusively to the art of caricature. At the end of six months he joined -the staff of the short-lived comic weekly “Frivolidades” which soon had -to stop publication for want of funds. The next important step in -Cabral’s career was his collaboration with Mario Vitoria, in the -well-known political weekly “Multicolor” and through the medium of this -paper his drawings became known to a wider and more influential circle. -“Multicolor” had great political influence during the three years it was -published (1911-1914), and helped very powerfully towards the making and -unmaking of the political idols of the hour.</p> - -<p>It was during this period that the brilliant young artist came to the -notice of President Madero, who decided to send him to Paris to continue -his studies at the expense of the Mexican Government. Cabral settled in -Paris in 1912 and pursued his studies at the free academies of Colorossi -and the Grande Chaumiére. Cabral’s native land was soon afterwards -passing through the agonies of revolution and the tragic death of Madero -left the artist penniless, as the new Government stopped all the -bursaries of Mexican students then studying under<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> official patronage in -Europe. Deprived of all means of subsistence, Cabral, as he once told -the present writer, was, for a time, actually starving. Some -amelioration came to him as the result of winning a competition -inaugurated by an official Academy of Painting at No. 80 Boulevard -Montparnasse, the prize being free admission to the upper class of -drawing from the nude. The competitors, who were fifteen in number, were -required to make in five hours—one hour a night—a crayon drawing of a -Greek statue. The starving artist’s success, ironically enough, was -communicated by the Mexican Consul in Paris, to the Minister of Public -Instruction and Fine Arts in Mexico, and the local press made Cabral the -subject of flattering comment. Cabral was then able to continue his -studies without expense, but was compelled at the same time to struggle -gallantly for a pittance, by selling the productions of his pencil -through the “Marchand de Tableaux”—and shortly afterwards he was taken -on the staffs of “Le Rire” and “Bayonette.”</p> - -<p>When the Great War broke out, Cabral was again in difficulties. Paris -cared only for her own cartoonists, and it was then that he lived the -bohemian life of the Latin Quarter—that centre of cardiac -energy—described so graphically by Du Maurier and Murger, with the -usual companionship of a sweet, pious and self-sacrificing blonde -“Midinette” who shared the dark days of his misery. At that time, he has -told us, he was in the habit of casting lots with his bohemian -companions, to see who would procure sufficient funds for the satisfying -of their ravenous stomachs—a motley lot of comrades in adversity, -including would-be painters, musicians, poets and journalists. Garcia -Cabral had, on more than one occasion, the experience of resorting to -extraordinary stratagems to obtain sufficient food for their wants.<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p> - -<p>During 1918, when the Constitutional Government of Mexico was presided -over by Don Venustiano Carranza, there was residing in Paris as the -special envoy of the President, Lic. Isidoro Fabela, and under Sr. -Fabela’s generous protection Cabral was appointed an Attaché in the -Mexican Legation, his duties being the pleasant task of illustrating a -book of narratives which Señor Fabela was intending to publish. Shortly -afterwards, he accompanied Señor Fabela on his official missions to -Madrid and Buenos Ayres and in the Argentine capital they stayed fifteen -months. There, in the interest of a Mexican national propaganda, Cabral -contributed his cartoons to the principal newspapers and reviews, -achieving a very considerable reputation in the Argentine. In the -beginning of 1919, after an exile of seven years, Cabral returned to his -native land and his work immediately began to appear in the weekly -“Revista de Revistas” and in the influential daily newspaper -“Excelsior.” Since that time his career has been one of unbroken success -and of extraordinary popularity.</p> - -<p>Cabral’s amazing drawings are worthy of taking rank with those of the -most distinguished foreign cartoonists. He can, with equal facility, -produce the most humorous of cartoons or the most satirical of -caricatures. In his cartoons of representative people, he seems to -extract by critical penetration—sympathetically—the quintessential -expression of his subject. He is always an artist, a consummate designer -and a psychological observer who analytically peers into the minds of -men and lays bare their personalities. His art is versatile. In line, he -excels as no other Mexican artist; but he is also a master of -chiaroscuro, and as an illustrator his understanding of the massing of -color is extraordinary.</p> - -<p>During the past three or four years, Cabral must have produced several -thousand cartoons and caricatures. His cartoons of representative people -in Mexico have<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> been drawn mostly from life, each sketched rapidly and -surely in a little over half an hour. His political, social and topical -cartoons form a kaleidoscopic history of contemporary Mexico. A great -political question, such as the official American recognition of -President Obregon’s Government, finds Cabral sympathetically -interpreting the international aspirations of the Mexican people. The -danger of Bolshevism in the State of Veracruz becomes a subject for many -convincing cartoons, of more influence than dozens of leading articles. -Mexico City, due to an exceptional drought, is called upon to economize -in its use of electric energy and daylight-saving is officially -established for a time. Cabral, during the crisis, daily illustrates the -necessity. He wages war upon incompetent medical men, portrays the risk -the pedestrian takes on the crowded streets of the Capital, the evil -effects of unlawful strikes, and so on;—every phase in the everchanging -life of the Capital is eloquently depicted. In some of his cartoons of -persons he subordinates caricature in favor of true portraiture, and in -others, the kindly sympathetic personality of the artist changes rapidly -into the satirist and cynical student of life with an ineradicable -memory of its shams and miseries.</p> - -<p>For the selection of the cartoons reproduced in this book the writer is -responsible; it does not profess to represent Cabral’s best work, and he -himself would probably have chosen quite differently from the thousands -he has done. The cartoons have suffered by reduction and reproduction, -as the majority of them have been copied direct from the “Excelsior.” -Nos. I., XVII-XXIV and XXV, were reproduced from the original drawings.</p> - -<p>The writer’s apology for a selection that may not represent the best of -the artist’s work is due to the cartoonist, as those reproduced have -been selected on account of their personal appeal to the friends for -whom<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> this limited edition is intended. Cabral hopes, at an early date, -to publish a representative collection of his work—which all lovers of -his art will joyfully welcome.</p> - -<p>A critical study of the Mexican cartoonist’s genius will some day be -attempted. This little book does not pretend to be anything more than an -appreciation by an admirer, who lacks the critical and artistic -knowledge to determine Cabral’s true place among cartoonists in Mexico -and abroad.</p> - -<p class="r"> -<i>G. R. G. CONWAY.</i><br /> -<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<div class="ills"><a name="ill_I" id="ill_I"></a> - -<div class="caption"><p class="c">I.</p> - -<p class="c">ERNESTO GARCIA CABRAL.</p> - -<p>As he sees himself.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<div class="figcenter"> -<a href="images/i_016_lg.jpg"> -<img src="images/i_016_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p> - -<div class="ills"><a name="ill_II" id="ill_II"></a> -<div class="caption"><p class="c">II.</p> - -<p class="c">SR. ING. DON ALBERTO PANI.</p> - -<p>Has held the Portfolios of Foreign Affairs, and of Commerce and -Industry. Was formerly Mexican Minister accredited to France and is now -Minister of Hacienda. He is the “handy man” of the Mexican Government: a -cultivated engineer, a technical and political writer, and a lover of -art. A genial spirit, perpetually smiling and smoking.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p> - -<div class="figcenter"> -<a href="images/i_018_lg.jpg"> -<img src="images/i_018_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<div class="ills"><a name="ill_III" id="ill_III"></a> -<div class="caption"><p class="c">III.</p> - -<p class="c">LIC. MIGUEL ALESSIO ROBLES.</p> - -<p>Recently Minister of Commerce and Industry. Formerly Mexican Ambassador -to the Court of Madrid.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p> - -<div class="figcenter"> -<a href="images/i_020_lg.jpg"> -<img src="images/i_020_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p> - -<div class="ills"><a name="ill_IV" id="ill_IV"></a> -<div class="caption"><p class="c">IV.</p> - -<p class="c">SR. ING. ANTONIO MADRAZO.</p> - -<p>During President Carranza’s administration acted as Sub-secretary of the -Department of Finance; and under President Obregon has been Governor of -the State of Guanajuato.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p> - -<div class="figcenter"> -<a href="images/i_022_lg.jpg"> -<img src="images/i_022_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p> - -<div class="ills"><a name="ill_V" id="ill_V"></a> -<div class="caption"><p class="c">V.</p> - -<p class="c">BENITO JAVIER PEREZ VERDIA.</p> - -<p>Lawyer, journalist and man of letters. One of the founders of the -Fascisti movement in Mexico.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<div class="figcenter"> -<a href="images/i_024_lg.jpg"> -<img src="images/i_024_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<div class="ills"><a name="ill_VI" id="ill_VI"></a> -<div class="caption"><p class="c">VI.</p> - -<p class="c">LIC. LUIS MANUEL ROJAS.</p> - -<p>One of the originators of the Mexican Constitution of 1917; the founder -of the “Revista de Revistas” and a prominent mason.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p> - -<div class="figcenter"> -<a href="images/i_026_lg.jpg"> -<img src="images/i_026_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p> - -<div class="ills"><a name="ill_VII" id="ill_VII"></a> -<div class="caption"><p class="c">VII.</p> - -<p class="c">SR. LIC. ANTONIO PEREZ VERDIA F.</p> - -<p>An eminent lawyer and Chairman of the Mexican Bar.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<div class="figcenter"> -<a href="images/i_028_lg.jpg"> -<img src="images/i_028_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p> - -<div class="ills"><a name="ill_VIII" id="ill_VIII"></a> -<div class="caption"><p class="c">VIII.</p> - -<p class="c">SR. DON CARLOS B. ZETINA.</p> - -<p>A progressive and democratic captain of industry who realizes that the -old order passeth giving place to the new. Many of his friends would -like to see him a future President of the Republic; but he prefers a -more tranquil pathway along life’s pilgrimage.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<div class="figcenter"> -<a href="images/i_030_lg.jpg"> -<img src="images/i_030_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p> - -<div class="ills"><a name="ill_IX" id="ill_IX"></a> -<div class="caption"><p class="c">IX.</p> - -<p class="c">DON JOSE DE LA MACORRA.</p> - -<p>A representative Spanish merchant and manufacturer of paper.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p> - -<div class="figcenter"> -<a href="images/i_032_lg.jpg"> -<img src="images/i_032_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p> - -<div class="ills"><a name="ill_X" id="ill_X"></a> -<div class="caption"><p class="c">X.</p> - -<p class="c">THE LATE DON GENARO GARCIA.</p> - -<p>A scholarly historian of Mexico, who gave to the world for the first -time an exact transcript of the Guatemala manuscript of “The True -History of the Conquest of New Spain” by that lovable and garrulous old -conquistador, Bernal Diaz. Genaro Garcia’s fine library is now a -treasured possession of the University of Texas.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p> - -<div class="figcenter"> -<a href="images/i_034_lg.jpg"> -<img src="images/i_034_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p> - -<div class="ills"><a name="ill_XI" id="ill_XI"></a> -<div class="caption"><p class="c">XI.</p> - -<p class="c">SR. DON CARLOS MENESES.</p> - -<p>A notable Mexican musician. Founder of the School of Pianists and -organizer of the first symphonic concerts in Mexico; one who has done -much for the advancement of music in his native land.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - -<div class="figcenter"> -<a href="images/i_036_lg.jpg"> -<img src="images/i_036_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p> - -<div class="ills"><a name="ill_XII" id="ill_XII"></a> -<div class="caption"><p class="c">XII.</p> - -<p class="c">SEÑORA EUGENIA DE MELENDEZ.</p> - -<p>A well-known Mexican woman writer.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<div class="figcenter"> -<a href="images/i_038_lg.jpg"> -<img src="images/i_038_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p> - -<div class="ills"><a name="ill_XIII" id="ill_XIII"></a> -<div class="caption"><p class="c">XIII.</p> - -<p class="c">DR. ATL.</p> - -<p>Originator of the Casa Mundial (I. W. W.) of Mexico. As a writer and -teacher has done a great deal to popularize the minor arts of Mexico. Is -a painter with ultra-impressionistic tendencies, and well-known as an -intrepid climber of Popocatepetl.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<div class="figcenter"> -<a href="images/i_040_lg.jpg"> -<img src="images/i_040_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p> - -<div class="ills"><a name="ill_XIV" id="ill_XIV"></a> -<div class="caption"><p class="c">XIV.</p> - -<p class="c">HON. WILLIAM HOWARD TAFT.</p> - -<p>Twenty-seventh President of the United States; now Chief Justice of the -Supreme Court.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<div class="figcenter"> -<a href="images/i_042_lg.jpg"> -<img src="images/i_042_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p> - -<div class="ills"><a name="ill_XV" id="ill_XV"></a> -<div class="caption"><p class="c">XV.</p> - -<p class="c">AMBASSADOR FLETCHER.</p> - -<p>Formerly Ambassador of the United States in Mexico; an authority on -Latin America; now Ambassador in Belgium. Has had long diplomatic -experience, his whole career having been spent in the service in many -lands.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<div class="figcenter"> -<a href="images/i_044_lg.jpg"> -<img src="images/i_044_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p> - -<div class="ills"><a name="ill_XVI" id="ill_XVI"></a> -<div class="caption"><p class="c">XVI.</p> - -<p class="c">MR. GEORGE T. SUMMERLIN.</p> - -<p>Counsellor of the American Embassy with Ambassador Fletcher when he took -office in 1917, and since January 1919 has been Chargé d’Affaires. -“Summie,” as his intimate friends affectionately call him, has served -his country well and has gained the respect and confidence of the -Mexican people. His friends hope that his expected promotion will take -him to the Court of St. James.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p> - -<div class="figcenter"> -<a href="images/i_046_lg.jpg"> -<img src="images/i_046_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p> - -<div class="ills"><a name="ill_XVII" id="ill_XVII"></a> -<div class="caption"><p class="c">XVII.</p> - -<p class="c">MR. MATTHEW ELTING HANNA.</p> - -<p>Has charge of Mexican affairs in the State Department of Washington. -“Joe,” as he is known to all his friends in Mexico City, was formerly -First Secretary of the American Embassy. He is a hard worker, a genial -host and a welcome guest and is greatly missed in the Capital.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p> - -<div class="figcenter"> -<a href="images/i_048_lg.jpg"> -<img src="images/i_048_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p> - -<div class="ills"><a name="ill_XVIII" id="ill_XVIII"></a> -<div class="caption"><p class="c">XVIII.</p> - -<p class="c">MR. OSCAR MAXON.</p> - -<p>Maxy is the wittiest American in Mexico City. Probably he would be -called in his own home town “a wealthy and prominent realtor.” He -collects many beautiful things and is always willing to open his packing -cases to show them to genuine lovers of antiques.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p> - -<div class="figcenter"> -<a href="images/i_050_lg.jpg"> -<img src="images/i_050_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p> - -<div class="ills"><a name="ill_XIX" id="ill_XIX"></a> -<div class="caption"><p class="c">XIX.</p> - -<p class="c">MR. WILLIAM RANDOLPH HEARST.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> - -<div class="figcenter"> -<a href="images/i_052_lg.jpg"> -<img src="images/i_052_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> - -<div class="ills"><a name="ill_XX" id="ill_XX"></a> -<div class="caption"><p class="c">XX.</p> - -<p class="c">MR. HENRY FORD.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> - -<div class="figcenter"> -<a href="images/i_054_lg.jpg"> -<img src="images/i_054_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p> - -<div class="ills"><a name="ill_XXI" id="ill_XXI"></a> -<div class="caption"><p class="c">XXI.</p> - -<p class="c">RAMON DEL VALLE INCLAN.</p> - -<p>The most skilful musician among modern Spanish poets. As a visitor to -Mexico he received an indifferent welcome from his “paisanos” owing to -his outspoken remarks on the reigning Spanish monarchy.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p> - -<div class="figcenter"> -<a href="images/i_056_lg.jpg"> -<img src="images/i_056_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p> - -<div class="ills"><a name="ill_XXII" id="ill_XXII"></a> -<div class="caption"><p class="c">XXII.</p> - -<p class="c">JOSEF LHEVINNE.</p> - -<p>The eminent pianist who always finds a popular welcome in Mexico City.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p> - -<div class="figcenter"> -<a href="images/i_058_lg.jpg"> -<img src="images/i_058_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p> - -<div class="ills"><a name="ill_XXIII" id="ill_XXIII"></a> -<div class="caption"><p class="c">XXIII.</p> - -<p class="c">ANNA PAVLOWA.</p> - -<p>The Queen of dancers.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> - -<div class="figcenter"> -<a href="images/i_060_lg.jpg"> -<img src="images/i_060_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p> - -<div class="ills"><a name="ill_XXIV" id="ill_XXIV"></a> -<div class="caption"><p class="c">XXIV.</p> - -<p class="c">MR. E. R. PEACOCK.</p> - -<p>A Canadian by birth and a graduate in arts of Queen’s University. About -20 years ago was a senior master in Upper Canada College, Toronto. From -there he entered the world of finance in London and now has the -distinction of being the first Director of the Bank of England appointed -outside of the esoteric circle of “the City”—a tribute not only to -himself but a compliment to Canada. Is actively interested in many -British enterprises in Mexico, Spain and South America.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p> - -<div class="figcenter"> -<a href="images/i_062_lg.jpg"> -<img src="images/i_062_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p> - -<div class="ills"><a name="ill_XXV" id="ill_XXV"></a> -<div class="caption"><p class="c">XXV.</p> - -<p class="c">G. R. G. CONWAY.</p> - -<p>“Cuando había agua.” (Excelsior, 11th February, 1921.)</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p> - -<div class="figcenter"> -<a href="images/i_064_lg.jpg"> -<img src="images/i_064_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p> - -<div class="ills"><a name="ill_XXVI" id="ill_XXVI"></a> -<div class="caption"><p class="c">XXVI.</p> - -<p class="c">MR. CLAUDE MARSH BUTLIN.</p> - -<p>The best all-round sportsman in Mexico. As becomes an Englishman he -excels in cricket; has been for many years tennis champion; a scratch -golfer and withal a fine player of the difficult game of pelota.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p> - -<div class="figcenter"> -<a href="images/i_066_lg.jpg"> -<img src="images/i_066_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p> - -<div class="ills"><a name="ill_XXVII" id="ill_XXVII"></a> - -<div class="caption"><p class="c">XXVII</p> - -<p class="c">The famous French puglist.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p> - -<div class="figcenter"> -<a href="images/i_068_lg.jpg"> -<img src="images/i_068_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p> - -<div class="ills"><a name="ill_XXVIII" id="ill_XXVIII"></a> -<div class="caption"><p class="c">XXVIII.</p> - -<p class="c">JACK DEMPSEY.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p> - -<div class="figcenter"> -<a href="images/i_070_lg.jpg"> -<img src="images/i_070_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p> - -<div class="ills"><a name="ill_XXIX" id="ill_XXIX"></a> -<div class="caption"><p class="c">XXIX.</p> - -<p class="c">RODOLFO GAONA.</p> - -<p>A Mexican “Torero” and the idol of the bull-fighting public. He is -reputed to be the bravest that ever appeared in the rings of New -Spain.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> - -<div class="figcenter"> -<a href="images/i_072_lg.jpg"> -<img src="images/i_072_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_72" id="page_72">{72}</a></span></p> - -<div class="ills"><a name="ill_XXX" id="ill_XXX"></a> -<div class="caption"><p class="c">XXX.</p> - -<p class="c">IGNACIO SANCHEZ MEJIAS.</p> - -<p>A very brave and ambitious bull-fighter from Seville. Formerly a student -of medicine, he abandoned his profession for the plaudits of the middle -and upper-class frequenters of the bull-ring, who adore him.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p> - -<div class="figcenter"> -<a href="images/i_074_lg.jpg"> -<img src="images/i_074_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p> - -<div class="ills"><a name="ill_XXXI" id="ill_XXXI"></a> -<div class="caption"><p class="c">XXXI.</p> - -<p class="c">JUAN BELMONTE.</p> - -<p>The “Phenomenon” from Seville, who thrills his excitable audiences with -his daring work near the horns of the bull.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p> - -<div class="figcenter"> -<a href="images/i_076_lg.jpg"> -<img src="images/i_076_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p> - -<div class="ills"><a name="ill_XXXII" id="ill_XXXII"></a> -<div class="caption"><p class="c">XXXII.</p> - -<p class="c">FINAL CONSULTATION.</p> - -<p>HE WHO IS POINTING (President Obregon): “Energy within the law!” ...</p> - -<p>PUBLIC OPINION: “I have confidence in you, Doctor.<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_078_lg.jpg"> -<img src="images/i_078_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p> - -<div class="ills"><a name="ill_XXXIII" id="ill_XXXIII"></a> -<div class="caption"><p class="c">XXXIII.</p> - -<p class="c">INTERNATIONAL TAILORING.</p> - -<p>President Obregon: When will you let me have the suit, boss?</p> - -<p>Uncle Sam: We require many fittings (pruebas) yet, General.</p> - -<p>(“Pruebas” in Spanish means both fittings and proofs.)</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> - -<div class="figcenter"> -<a href="images/i_080_lg.jpg"> -<img src="images/i_080_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_80" id="page_80">{80}</a></span></p> - -<div class="ills"><a name="ill_XXXIV" id="ill_XXXIV"></a> -<div class="caption"><p class="c">XXXIV.</p> - -<p class="c">THE RECOGNITION QUESTION.</p> - -<p>General Obregon, as Ford driver: Ready sir?</p> - -<p>Uncle Sam: Does the car go well?</p> - -<p>Ford Driver: Just examine (reconozca) it and you’ll see.</p> - -<p>(“Reconocer” in Spanish means both examine and recognize.)</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p> - -<div class="figcenter"> -<a href="images/i_082_lg.jpg"> -<img src="images/i_082_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p> - -<div class="ills"><a name="ill_XXXV" id="ill_XXXV"></a> -<div class="caption"><p class="c">XXXV.</p> - -<p class="c">WILL HE GIVE HER THE DEATH BLOW?</p> - -<p>Cabral here depicts the strangling of Industry in the State of Veracruz -by Bolshevism.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_83" id="page_83">{83}</a></span></p> - -<div class="figcenter"> -<a href="images/i_084_lg.jpg"> -<img src="images/i_084_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_84" id="page_84">{84}</a></span></p> - -<div class="ills"><a name="ill_XXXVI" id="ill_XXXVI"></a> -<div class="caption"><p class="c">XXXVI.</p> - -<p class="c">TAKE YOUR MUSIC ELSEWHERE.</p> - -<p>The Average Man: “What a goat’s whiskers he’s got.<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_086_lg.jpg"> -<img src="images/i_086_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p> - -<div class="ills"><a name="ill_XXXVII" id="ill_XXXVII"></a> -<div class="caption"><p class="c">XXXVII.</p> - -<p class="c">WHAT A KNOCK IN THE EYE!</p> - -<p>This cartoon refers to an insulting and threatening telegram sent by the -Strike Committee to General Obregon during a Tramways strike in Mexico -City, and the President’s vigorous reply.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_87" id="page_87">{87}</a></span></p> - -<div class="figcenter"> -<a href="images/i_088_lg.jpg"> -<img src="images/i_088_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_88" id="page_88">{88}</a></span></p> - -<div class="ills"><a name="ill_XXXVIII" id="ill_XXXVIII"></a> -<div class="caption"><p class="c">XXXVIII.</p> - -<p>Employer: I won’t give you work because you get drunk so often.</p> - -<p>Workman: Not very often, boss; only when I celebrate my name day.</p> - -<p>Employer: What’s your name?</p> - -<p>Workman: Domingo. (Sunday).</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p> - -<div class="figcenter"> -<a href="images/i_090_lg.jpg"> -<img src="images/i_090_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p> - -<div class="ills"><a name="ill_XXXIX" id="ill_XXXIX"></a> -<div class="caption"><p class="c">XXXIX.</p> - -<p class="c">INFALLIBLE FOR HEADACHES.</p> - -<p>“Comment unnecessary.”</p> - -<p>In Mexico City the jitney is a terror to the pedestrian. Upon this one -is an advertisement of a patent medicine “Infallible for headaches.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_092_lg.jpg"> -<img src="images/i_092_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_92" id="page_92">{92}</a></span></p> - -<div class="ills"><a name="ill_XL" id="ill_XL"></a> -<div class="caption"><p class="c">XL.</p> - -<p>He: I am reading a sensational piece of news.</p> - -<p>She: What is it?</p> - -<p>He: An automobile knocked a man down and killed him.</p> - -<p>She: That’s nothing; many people are knocked down every day.</p> - -<p>He: Yes, but in this case they arrested the chauffeur.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p> - -<div class="figcenter"> -<a href="images/i_094_lg.jpg"> -<img src="images/i_094_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p> - -<div class="ills"><a name="ill_XLI" id="ill_XLI"></a> -<div class="caption"><p class="c">XLI.</p> - -<p class="c">“Excuse me, sir, has the Colonia-Roma tram gone by?”</p> - -<p>“Do you take me for a tram despatcher?”</p> - -<p>“No, sir, I mistook you for a gentleman, that’s all.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_096_lg.jpg"> -<img src="images/i_096_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p> - -<div class="ills"><a name="ill_XLII" id="ill_XLII"></a> -<div class="caption"><p class="c">XLII.</p> - -<p class="c">IS LIGHT NECESSARY?</p> - -<p>“Shall we get accustomed to being without light, friend?”</p> - -<p>“That is a matter of indifference to me as my wife gives a tremendous -lot of light.”</p> - -<p>(In Spanish, the verb “To give light” means also “To give birth.”)</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p> - -<div class="figcenter"> -<a href="images/i_098_lg.jpg"> -<img src="images/i_098_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span></p> - -<div class="ills"><a name="ill_XLIII" id="ill_XLIII"></a> -<div class="caption"><p class="c">XLIII.</p> - -<p class="c">EL CONFLICTO DE LUZ Y FUERZA</p> - -<p>(The Light and Power Conflict)</p> - -<p>Who gave you that, brother?</p> - -<p>Luz, (Light) my wife.</p> - -<p>What energy she used!</p> - -<p>Naturally, seeing she has lots of motive power. (fuerza motriz.)</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p> - -<div class="figcenter"> -<a href="images/i_100_lg.jpg"> -<img src="images/i_100_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p> - -<div class="ills"><a name="ill_XLIV" id="ill_XLIV"></a> -<div class="caption"><p class="c">XLIV.</p> - -<p class="c">THE OFFICIAL TIME.</p> - -<p>Widow: He died at four in the morning, official time, without making a -will; he didn’t have time to do so....</p> - -<p>... God’s will be done; but if he had died at four o’clock astronomical -time, everything would have been all right!</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> - -<div class="figcenter"> -<a href="images/i_102_lg.jpg"> -<img src="images/i_102_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p> - -<div class="ills"><a name="ill_XLV" id="ill_XLV"></a> -<div class="caption"><p class="c">XLV.</p> - -<p class="c">OFFICIAL TIME.</p> - -<p>“I’m awfully sorry to tell you, old man, but on Saturday, at 11 o’clock -at night, I saw your wife with another man.”</p> - -<p>“You lie, you idiot!”</p> - -<p>“Man!—You insult me!”</p> - -<p>“It was twelve o’clock. Don’t you know that we are an hour in advance?”</p> - -<p>“You’re quite right—pardon me.<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_104_lg.jpg"> -<img src="images/i_104_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p> - -<div class="ills"><a name="ill_XLVI" id="ill_XLVI"></a> -<div class="caption"><p class="c">XLVI.</p> - -<p class="c">THE WATER CRISIS.</p> - -<p>“Have you noticed that black shirts are fashionable?”</p> - -<p>“Certaintly—it is the triumph of Fascismo.”</p> - -<p>“Rubbish!—it’s on account of excess of dirt and want of water.<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/i_106_lg.jpg"> -<img src="images/i_106_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p> - -<div class="ills"><a name="ill_XLVII" id="ill_XLVII"></a> -<div class="caption"><p class="c">XLVII.</p> - -<p class="c">OUR RESTAURANTS.</p> - -<p>Diner: Imbecile!—the fish you gave me a week ago was better.</p> - -<p>Waiter: You are the imbecile—because I can prove to you it’s the -same!</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p> - -<div class="figcenter"> -<a href="images/i_108_lg.jpg"> -<img src="images/i_108_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p> - -<div class="ills"><a name="ill_XLVIII" id="ill_XLVIII"></a> -<div class="caption"><p class="c">XLVIII.</p> - -<p class="c">1st kiddie: My parents bought me new shoes and a little brother in -Paris.</p> - -<p>2nd kiddie: Oh well, mine didn’t bring me shoes because they bought me -twins.</p></div> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p> - -<div class="figcenter"> -<a href="images/i_110_lg.jpg"> -<img src="images/i_110_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p> - -<div class="ills"><a name="ill_XLIX" id="ill_XLIX"></a> -<div class="caption"><p class="c">XLIX.</p> - -<p class="c">SAFETY AT NIGHT.</p> - -<p>The Young Fellow: My wife has just given birth to twins—at four o’clock -in the morning.</p> - -<p>The Old Boy: Well, that’s very commendable caution. Few people care to -arrive alone in Mexico at that hour.</p></div> -</div> - -<p class="figright"> -<a href="images/i_112-a_lg.jpg"> -<img src="images/i_112-a_sml.jpg" alt="[Image unavailable.]" /></a> -</p> - -<div class="ills"><a name="ill_L" id="ill_L"></a> -<div class="caption"><p class="c">L.</p> - -<p class="c">THE HENPECKED ONE.</p> - -<p>Lunch time, and my wife so jealous! What the deuce am I to do to justify -my late arrival?</p></div> -</div> - -<div class="figleft"> -<a href="images/i_112-b_lg.jpg"> -<img src="images/i_112-b_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span></p> - -<p class="pgnum"><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p> - -<div class="ills"><a name="ill_LI" id="ill_LI"></a> -<div class="caption"><p class="c">LI.</p> - -<p class="c">BETWEEN MILK VENDORS.</p> - -<p>“How many liters of milk does your cow give, Don Pancho?”</p> - -<p>“About eight liters, Doña Julia.”</p> - -<p>“And how many do you sell?”</p> - -<p>“Oh, not more than twenty.”</p></div> -</div> - -<div class="figright"> -<a href="images/i_114-a_lg.jpg"> -<img src="images/i_114-a_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<div class="ills"><a name="ill_LII" id="ill_LII"></a> -<div class="caption"><p class="c">LII.</p> - -<p>“So you’ve finished crying at last!”</p> - -<p>The Kid: “No!” (sniffling)—“I’m only resting a little.”</p></div> -</div> - -<div class="figleft"> -<a href="images/i_114-b_lg.jpg"> -<img src="images/i_114-b_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p> - -<p class="pgnum"><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p> - -<div class="ills"><a name="ill_LIII" id="ill_LIII"></a> -<div class="caption"><p class="c">LIII.</p> - -<p class="c">IRONY.</p> - -<p>He: After you Madame!</p></div> -</div> - -<div class="figright"> -<a href="images/i_116-a_lg.jpg"> -<img src="images/i_116-a_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<div class="ills"><a name="ill_LIV" id="ill_LIV"></a> -<div class="caption"><p class="c">LIV.</p> - -<p class="c">FAMILY DISPUTES.</p> - -<p>He: And so you are capable of saying I am two-faced!</p> - -<p>She: Heavens, no! The one you have is enough!</p></div> -</div> - -<div class="figleft"> -<a href="images/i_116-b_lg.jpg"> -<img src="images/i_116-b_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p> - -<p class="pgnum"><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p> - -<div class="ills"><a name="ill_LV" id="ill_LV"></a> -<div class="caption"><p class="c">LV.</p> - -<p>The Padre:—(Teaching his pupil the ten commandments) The fifth—‘Thou -shalt not kill.’</p> - -<p>The Pupil: Not even when I have “fuero,” father?</p> - -<p>(“Fuero” is a privilege granted to Congressmen and others which exempts -them from arrest for crimes committed when holding office.)</p></div> -</div> - -<div class="figright"> -<a href="images/i_118-a_lg.jpg"> -<img src="images/i_118-a_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<div class="ills"><a name="ill_LVI" id="ill_LVI"></a> -<div class="caption"><p class="c">LVI.</p> - -<p class="c">FATHERS OF THE COUNTRY.</p> - -<p>“To think I have so many and am so neglected!”</p> - -<p>(Congressmen in Mexico are called “Fathers of the Country.”)</p></div> -</div> - -<div class="figleft"> -<a href="images/i_118-b_lg.jpg"> -<img src="images/i_118-b_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p> - -<p class="pgnum"><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p> - -<div class="ills"><a name="ill_LVII" id="ill_LVII"></a> -<div class="caption"><p class="c">LVII.</p> - -<p class="c">THE FAUX PAS.</p> - -<p>“What do you think of my wife’s voice?”</p> - -<p>“Excuse me, that woman’s making such a noise I can’t hear a word!—What -were you saying?”</p></div> -</div> - -<div class="figright"> -<a href="images/i_120-a_lg.jpg"> -<img src="images/i_120-a_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<div class="ills"><a name="ill_LVIII" id="ill_LVIII"></a> -<div class="caption"><p class="c">LVIII.</p> - -<p>“Why don’t you marry Rose?”</p> - -<p>“Nothing doing, old man. She’s bitterly opposed to divorce.”</p> -</div></div> - -<div class="figleft"> -<a href="images/i_120-b_lg.jpg"> -<img src="images/i_120-b_sml.jpg" alt="[Image unavailable.]" /></a> -</div> - -<p class="pgnum"><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Ernesto Garcia Cabral, by -George Robert Graham (G. R. G.) 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