The publication of this skit drew from a
wrathful professional an indignant letter, in which he declared that
insomuch as he was the one and only exponent of the equilibristic
art who could balance a lighted lamp upon his head, the picture
which illustrated this piece of "business" _must_ be intended as a
portrait of himself, though he considered it very badly done, and
a libellous production. From one point of view, it was surprising
that the impression of the "Lion Comique," as seen by Frank Reynolds,
elicited no similar response from the gentlemen of the boards, for
indisputably the picture was a portrait, and a perfect one, of each
individually and of all combined. On second thoughts, however, and
upon consideration of the drawing in question (which many readers
will remember), it is, perhaps, not so very surprising that no
claim to identity with it was forthcoming!
Other drawings in the same series, depicting other examples of
the strange freaks of humanity by whom the British public delights
to be entertained, afford good examples of the innate humour of
Frank Reynolds' art. There is often little that is actually comic
in the situations depicted, yet each is instinct with humour. It
is the triumph of Reynolds' comic art that he can snare, on the
wing as it were, humour that is too elusive and nimble for one
of slower perception and heavier hand.
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