The Strand Magazine, Vol. 27, February 1904, No. 159.

What Is a Good Advertisement? "'IT'S A JUDGMENT,' HE SAID. 'OH, 'ERE'S A THING TO 'APPEN TO A CHAP!'" "Send for the police," was the unfortunate criminal's only reply. "I'd rather you would—honest, I'd rather." "I daren't," said Jane; "and, besides, I've no one to send. I hate the police. I wish he'd never been born." "You've a feeling 'art, miss," said the burglar. "But them cats is really a little bit too thick." "Look here," said Jane. "I won't call the police. And I am quite a real little girl, though I talk older than the kind you have met before when you've been doing your burglings. And they are real cats—and they want real milk—and—didn't you say the cow was like somebody's Daisy that you used to know? Well, then, perhaps you know how to milk cows?" "Perhaps I does," was the burglar's cautious rejoinder. "Then," said Jane, "if you will only milk ours, you don't know how we shall always love you." The burglar replied that loving was all very well. "If those cats only had a good, long, wet, thirsty drink of milk," Jane went on, with eager persuasion, "they'll lie down and go to sleep as likely as not, and then the police won't come back. But if they go on mewing like this he will, and then I don't know what'll become of us or you either." This argument seemed to decide the criminal. Jane fetched the wash-bowl from the sink and he prepared to milk the cow. At this instant boots were heard on the stairs. "It's all up," said the man, desperately. "This 'ere's a plant. 'Ere's the police." He made as if to open the window and leap from it. "It's all right, I tell you," whispered Jane, in anguish. "I'll say you're a friend of mine, or the good clergyman called in, or my uncle, or anything —only do, do, do milk the cow. Oh, don't go—oh—oh, thank goodness, it's only the boys!" It was; and their entrance had awakened Anthea, who, with her brothers, now crowded through the doorway. The man looked about him as a rat looks round a trap. "This is a friend of mine," said Jane. "He's just called in, and he's going to milk the cow for us. Isn't it good and kind of him?" She winked at the others, and though they did not understand they played up loyally. "How do?" said Cyril. "Very glad to meet you. Don't let us interrupt the milking." The burglar began to milk the cow, and the others went to get things to put the milk in, for it was now spurting and foaming in the wash-bowl, and the cats had ceased from mewing and were crowding round the cow, with expressions of hope and anticipation on their whiskered faces. "We can't get rid of any more cats," said Cyril, as he and his sisters piled a tray high with saucers and soup-plates and platters and pie-dishes; "the police nearly got us as it was. Not the same one—a much stronger sort. He thought it really was a foundling orphan we'd got. If it hadn't been for me throwing the two bags of cat slap in his eye and hauling Robert over a railing, and lying like mice under a laurel bush—well, it's jolly lucky I'm a good shot, that's all. He pranced off when he'd got the cat-bags off his face—thought we'd bolted. And here we are." The gentle sameishness of the milk swishing into the hand-bowl seemed to have soothed the burglar very much. He went on milking in a sort of happy dream, while the children got a cup and ladled the warm milk out into the pie-dishes and plates, and platters and saucers, and set them down to the music of Persian purrs and lappings. "HE WENT ON MILKING IN A SORT OF HAPPY DREAM." "It makes me think of old times," said the burglar, smearing his ragged coat-cuff across his eyes; "about the apples in the orchard at home, and the rats at threshing time, and the rabbits and the ferrets, and how pretty it was seeing the pigs killed." Finding him in this softened mood, Jane said:— "I wish you'd tell us how you came to choose our house for your burglaring to-night. I'm awfully glad you did. You have been so kind. I don't know what we should have done without you," she added, hastily. "We all love you ever so. Do tell us." The others added their affectionate entreaties, and at last the burglar said:— "Well, it's my first job, and I didn't expect to be made so welcome, and that's the truth, young gents and ladies. And I don't know but what it won't be my last. For this 'ere cow, she reminds me of my father, and I know 'ow 'e'd 'ave 'ided me if I'd laid 'ands on a 'apenny as wasn't my own." "Look here," said Cyril, "these cats are very valuable—very, indeed. And we will give them all to you if only you will take them away." "I see they're a breedy lot," replied the burglar; "but I don't want no bother with the coppers. Did you come by them honest, now—straight?" "They are all our very own," said Anthea. "We wanted them; but the confidement——" "Consignment," whispered Cyril. "——was larger than we wanted, and they're an awful bother. If you got your barrow and some sacks or baskets we would be awfully pleased. My father says Persian cats are worth pounds and pounds each." "Well," said the burglar, and he was certainly moved by her remarks, "I see you're in a hole; I've got a pal—I'll fetch him along, and if he thinks they'd fetch anything above their skins, I don't mind doin' you a kindness." Then he went, and Cyril and Robert sent the girls to bed and sat up to wait for his return. It soon seemed absurd to await him in a state of wakefulness, but his stealthy tap on the window awoke them readily enough when he returned. And he did return, with the pal and the barrow and the sacks. The pal approved of the cats, now dormant in Persian repletion, and they were bundled into the sacks and taken away on the barrow, mewing indeed, but with mews too sleepy to attract public attention. "THEY WERE BUNDLED INTO THE SACKS." "I'm a fence, that's what I am," said the burglar, gloomily; "I never thought I'd come down to this and all acause er my kind 'art." Cyril knew that a fence is a receiver of stolen goods, and he replied, briskly:— "I give you my word the cats aren't stolen. What do you make the time?" "I ain't got the time on me," said the pal; "but it was just about chucking-out time as I come by the Bull and Gate. I shouldn't wonder if it was nigh upon one now." When the cats had been removed and the boys and the burglar had parted with warm expressions of friendship there remained only the cow. "She must stay all night," said Robert. "Cook'll have a fit when she sees her." "All night?" said Cyril. "Why, it's to-morrow morning if it's one. We can have another wish!" So the carpet was urged, in a hastily-written note, to remove the cow to wherever she belonged and to return to its proper place on the nursery floor. And the cow could not be got to move on to the carpet. So Robert got the clothes-line out of the back kitchen and tied one end very firmly to the cow's horns and the other end to a bunched-up corner of the carpet, and said, "Fire away!" And carpet and cow vanished together, and the boys went to bed tired out, and only too thankful that the evening at last was over. Next morning the carpet lay calmly in its place, but one corner was very badly torn. It was the corner that the cow had been tied on to. What Is a Good Advertisement? W hat is a good advertisement? The question was recently asked of the readers of Tit-Bits , who were desired to select the best twelve advertisements which appeared in this magazine during six months—the competitor selecting the greatest number of advertisements which corresponded to the choice of the majority being rewarded with a substantial prize. The grounds on which the competitors based their opinions were probably, consciously or unconsciously, very much alike in most instances. It is interesting to consider what these grounds were. We reproduce on this and following pages reduced facsimiles of the twelve winning advertisements, which will serve to illustrate the several points which go to make up a good advertisement. THIS ADVERTISEMENT SECURED THE FIRST PLACE ON THE VOTING LIST. THIS SECURED THE SECOND PLACE. We, as advertisers, are so convinced of the excellence of the "Tit-Bits" Great Competition as a method of gauging the public taste in advertisements, that we have decided to add Moreover, the question is of interest to a greater number of persons than may appear at first sight. To every advertiser, of course—that is, to every man who has anything to sell, from the big firms who spend colossal sums in making known the merits of their productions down to the smallest village tradesman who puts his "ad" into the local paper—the question of how to make the most efficient use of the means at his disposal is of the greatest moment. But the general public, who have no occasion to use advertisements for the purpose of business, have also a direct interest in the question, for the simple reason that striking advertisements are entertaining to read, while commonplace advertisements are dull. From the same point of view the proprietors of periodical publications are concerned, for it is clearly to their advantage to interest the readers of their advertisements rather than to bore them. An advertisement has three things to accomplish before it can be called good. First, it must attract attention; secondly, it must arouse interest; and thirdly, it must leave an impression on the brain—the message must have struck home. It may in some cases make you want a particular article, but in ninety-nine cases out of a hundred its seed lies dormant until the moment arrives for you to make your purchase; and then, if the advertisement has done its work as a good advertisement should do, your brain couples the article with a certain name, and that particular brand stands a very big chance of finding you a purchaser. THIRD. FOURTH. FIFTH. To catch the eye is the first essential of a good advertisement; the first sense to which it appeals is that of sight. The object of the skilful advertiser is to make the space he occupies—whether a page or a portion of a page—the most conspicuous in the publication. Turn for a moment to any page of advertisements you please, open and shut it quickly, and you will generally find that there is one advertisement which has immediately attracted your eye. Let two persons try at the same time, and on comparing notes it will generally be found that the same advertisement has been spotted by both. That one possesses the first essential of a good advertisement more conspicuously than its fellows. Try again, and this time run through the pages rapidly, so that every leaf of the journal falls quickly from your thumb. There are certain to be one or two pages which will stand out conspicuously and leave their impression on your eye beyond all the rest, and you will turn back to see what it is all about. SIXTH. SEVENTH. EIGHTH. The cunning advertiser has thus obtained his audience—it is now his aim to keep it, Here he has to introduce some connecting link to hold the attention until his message has been duly delivered. Where the original design has nothing particular about it to hold the attention, there is no better method than the insertion of some catch sentence, generally a question, which you are compelled to read, and, of course, to investigate further. It may be said that the language of a good advertisement should resemble that of a telegram—straight to the point; the information is to be given in the most concise, clear, and complete form possible, confined to the main feature or features of the article advertised, so as to convince the prospective buyer of the excellence of the goods in a short, logical manner, and to do this so that fact and not fiction is apparent to the reader. NINTH. In drawing up an advertisement there are many ways of incurring failure, and one very sure method is the abuse of one's rivals. An advertisement which is meant to be taken too seriously is rarely a success. Let the reader's eye catch any of the hackneyed phrases, "Beware of Imitations," "Thousands of Testimonials," "Is the Best," and such like, and it will immediately pass on to something else. Such well-worn and unconvincing statements excite in him no interest, but rather a feeling of distrust. TENTH. It has been said that a magazine advertisement has three things to accomplish before it can be called good, but in judging the quality of the complete article two more things should be added, of less importance, and really subdivisions of the striking home of the message. The points one might apportion for each feature might be as follows:— Points. 1. Power to attract attention 40 2. Power to hold attention 20 3. Prominence of the article advertised 20 4. Brevity of necessary information 10 5. Composition 10 And now, how do we stand in comparison with other nations in this matter of effective advertising? It is universally admitted that advertisement is the soul of business. How, then, does the business man of this country compare with the business man of America. Some of our great advertising firms certainly display no very marked inferiority, but as a rule it is unfortunately true that to glance through the announcements in an American magazine is to be brought face to face with the enormously superior ability in design of the American over the Englishman. Here you have, as it were, your finger on the pulse of a country's commerce; you can feel the vigorous beats, or the languid and anæmic current. And the main reason is just this: that the American never loses sight of the fact that the first three essentials in attracting and keeping attention are novelty, novelty, novelty. Their skill in attracting attention in new ways is always a matter of admiration. The question altogether is one of far more importance than it may seem on first consideration; it is hardly too much to say that the prosperity of a nation's trade depends upon its ability in attractive advertising. Advertisement is an art of its own, and if you are going to advertise to any considerable extent and do it yourself, either your business must suffer to allow you time to do your advertising well, or your advertising must suffer so that you may properly attend to your business. ELEVENTH. TWELFTH. Of course, it is the advertising that suffers. If you do it yourself, sooner or later it becomes a worry, and when a reminder arrives that your copy is due very likely your instructions will be to repeat the last, or possibly, if you have a minute or two to spare, you will sit down and grind out a lot of nonsense which no one cares to read. If you wish to make any genuine effort properly to employ the most important factor in commerce, get someone who understands the art to do it for you; engage a good man, and do not expect to get the same for five pounds as you would for ten pounds. Curiosities. Copyright, 1904, By George Newnes, Ltd. [ We shall be glad to receive Contributions to this section, and to pay for such as are accepted. ] "HUMAN NOTES." "I beg to send you a photograph of some little boys in this parish who were taking part in a Band of Hope entertainment. The item on the programme was called 'Human Notes,' and the little songsters, each taking the note he represented, sang a peal of bells and extracts from nursery rhymes. I thought the idea might be useful for other places. The framework is easily made and costs little, and was most heartily received wherever tried."—Miss Statham, River Vicarage, Dover. Photo. by Mr. Ray Sherman. HOW A SHOT BIRD REALLY FALLS. "Painters of sporting subjects have often portrayed, from memory necessarily, a bird in the act of being shot, either immediately before or after the event. Here, at last, is an actual photograph of a wild duck at the moment of receiving its coup de grâce . It was in a lonely, low-lying bay on the West Coast of Ireland. Ducks were homing in fair numbers overhead on their way to the large lakes lying inland, when, telling my photographic friend to get well behind me and snap away as fast as he could, I advanced a few paces and also merrily snapped away. Upon developing the series at home that night we found that between us our snaps had resulted in our obtaining the photograph here reproduced. It shows clearly that a duck—well shot—falls like a plumb to the earth, head foremost, and may serve to correct some of the imaginary pictures of similar incidents."—Mr. Dudley M. Stone, 8, Chichele Road, Cricklewood, N.W. A FLOATING CHAPEL. "I took this photograph during the recent heavy floods in Wales. A mission-room had been washed away during the night, and it was an uncommon sight seeing a party of men 'towing' the edifice back to a place of safety. It struck me as being a unique incident, so I forward it on to you."—Mrs. E. L. F. Mansergh, 59, Madeley Road, Ealing, W. HOUSE-MOVING EXTRAORDINARY. "This extraordinary photograph was taken a short time ago in Pittsburg, Pa., of a house which is being moved up a hill, the former site being bought by a railway company. It is a fifteen or twenty-roomed house, built of brick, the hill is one hundred and fifty feet high, and the cost of moving the house between £6,000 and £7,000."—Mr. D. Munro, 21, Sydney Road, West Ealing, W. A STONE INSIDE A TREE. This is a photograph of a piece of oak with a stone in the centre, two inches square, found by Mr. A. Steven, sawyer, St. Mary's Isle Estate, Kirkcudbright. The stone was situated three feet from the ground and three inches in from the bark. Nothing could be discerned of it from the outside.—The photo. is by Mr. A. Kello Henderson, chemist, Kirkcudbright. WILL READERS HELP? "Can anyone give a clue to this 'Curiosity'? It is a dark-green silk ribbon eight inches by one and a half inches, the accompanying letters, figures, and key being beautifully embroidered in silver thread. The dots between the upper letters are small metal discs secured by a tiny metal bead sewn on with yellow silk. The wards of the key are sewn in black silk. The embroidery is backed with canvas and interlined with seemingly soft paper. I found it some years ago in a parcel of doll's finery given to my little daughter by a friend who could throw no light upon it. This badge has been the cause of much guesswork, speculation, and earnest inquiry and search."—Mrs. Anne W. Newton, Ballybeg, Ballinglen, Rathdrum, Ireland. THE BITER BIT. "The fox in the photograph was discovered quite dead in this curious position on the morning of November 17th, 1903, by Mr. H. Sparling, dairyman, Tadcaster. The wooden erection is a poultry house, and the hole from which the fox is hanging is, when the door is shut for the night, the only possible means of entering or leaving the same. Reynard had evidently entered by this aperture, for inside were discovered three fowls he had killed. (These are shown at the foot of the photograph.) In leaving by the same means he stuck fast, the hole narrowing to quite a point at the bottom, and the more he struggled the faster he had got, till at last he could struggle no longer, and death intervened, probably from exhaustion."—Mr. John H. Hull, chemist, Tadcaster. A PRIMITIVE RAILWAY-STATION. "I send you a photo. taken by Mrs. Hind, of Stoke-on-Trent. The photo. shows a railway-station on the Eskdale and Ravenglass line, which consists of a flat-bottomed boat turned up on its side, with a seat inside for passengers. I think it likely this is the most primitive and unique station in the United Kingdom. I may add that the guard is also station-master, ticket-collector, and porter at the different stations along the line, of which there are six or seven."—Mr. M. Hind, Felsham Rectory, Bury St. Edmunds. THE PRANKS OF A CYCLONE. "This strangely-placed house is one of the pranks played by a cyclone that almost destroyed the little town of St. Charles, Minn., U.S.A., on October 6th, 1903. The building was carried from the hill, which may be seen in the left-hand corner of the photo., for the distance of half a mile. At the time the storm picked it up it was occupied by Mrs. Edward Drew and two children, who escaped uninjured. The house itself was practically undamaged, though left in the topsy-turvy condition shown here."—Mr. Geo. E. Luxton, 3,220, Third Avenue, Minn. THE DREAM-PAINTING AT CAVE DAVAAR. "Cave Davaar, or the Picture Cave, as it is sometimes called, near Campbelltown, Argyllshire, is noted as being the repository of a mural painting of the Crucifixion of our Lord. When the painting was first discovered its author and the manner of its creation were a mystery. Shortly, the story of the picture and its romance is as follows: Upon a smooth mural surface of the rock which forms the inner wall of the interior of the cave, and in a position adjusted to the light which penetrates the cavern, visitors see a life-size representation of Christ on the Cross, measuring seven feet from head to foot, the cross itself being fifteen feet in height. It appears that Mr. McKinnon, a native of Campbelltown, and now of Nantwich, was, it is believed, originally a ship's carpenter by trade, with a strong artistic taste, which was afterwards afforded proper training through the patronage and assistance of the Argyll family. One night, about twelve years ago, he had a dream. He saw, in his dream, on the inner wall of the Cave Davaar a vivid picture of the Crucifixion, and so strikingly real and soul-stirring was the vision that it continually haunted him in his waking hours. He could not rest, and, as he himself said, 'I took my brushes and materials and went to the cave. I found the smooth surface I had seen in my dream, and set to work and painted. I stopped in the cave for twenty-four hours until I had completed my task, and when I had finished I had painted just the picture I had seen in my dream.'"—Mr. S. J. Oakley, H.M.S. Northampton , Special Service. A TERRIBLE FALL. "I send you a snap-shot, taken by me, of a man falling ninety feet! The high-diver (forming part of a street carnival show) climbed up his ninety-foot ladder set up in the main street of Washington, N.C., half an hour before he was to make his daring leap into four feet of water. As he tested the ladder to see if all was in readiness one of the guy-ropes broke, and, to the horror of the crowd below, man and ladder came crashing down to the pavement. With rare presence of mind the athlete turned when he felt the ladder start and slid down for his life, thus lessening the fall by almost half. Strange to say he was not killed, but his legs were badly broken."—Miss Mary Brickell Hoyt, Candler Post Office, Buncombe Co., North Carolina. AN ENORMOUS ICICLE. We have published a great many photographs, at different times, of strange and beautiful effects wrought by frost, but the annexed is so striking and peculiar that we have no hesitation in adding it to the number. In the words of the sender: "My photograph is of an enormous icicle, or one might call it a land iceberg on a small scale. The ice was formed during a recent frost by the overflow of a spring which runs from a pipe about eighteen feet from the ground into the branches of a tree. In the full sunlight it was a very pretty and novel sight."—Mr. Chas. W. Chilton, 17, West Gate, Sleaford, Lines. WHEN IS A PLATE NOT A PLATE? "The accompanying photographs are of a kitchen dinner-plate, which, as I discovered by chance, consists of two distinct pieces held together merely by their peculiar conformation. There is enough spring in the outer piece to enable the parts to be separated, which has been repeatedly done; but when they are reunited the whole will easily pass for a slightly cracked plate. From the colour of the fracture it is evident that the plate was in use in its present condition for at least some weeks."—Mr. S. B. Whanker, 62, Acre Lane, Brixton, S.W. AN OYSTER IN THE KETTLE. "Here is the photo. of an oyster-shell which has been in a tea-kettle for seven years. When I put it in it weighed about one and a half ounces, and was not more than three thirty-seconds of an inch thick in any part. Now it is three-quarters of an inch thick and weighs eleven ounces. It had lain out in the garden for a long time and lost all the crust, which accounted for it being so thin at first. No one has ever been able to say what it is, although many have seen it in the glass case in the shop."—Mr. R. G. Foster, Post Office Drug Stores, High Street, Burford, Oxon. A GEOGRAPHICAL POST-CARD. "This curious post-card was delivered to me in Richmond thirty-eight hours after being posted in Lausanne. No other clue was given as to the intended destination than that afforded by the physical peculiarities of the 'map' itself—the address on the side of the card being written during transmission. The full address as shown on the 'map' is as follows, and is that of yours faithfully: 'To Edward H. W. Wingfield King, Esq., 5, Spring Terrace, Richmond-on-Thames, Angleterre.'" This is, perhaps, the most curious post-card of the many which we have published, and which does the Post Office the most credit. ELECTRIC LAMPS AND PLANT LIFE. "At the present time, when the effect upon the rainfall of the kingdom of multiplying electrical agencies is being discussed, it is interesting to note the results which follow upon the use of electric lamps in the public thoroughfares of our towns. There is to be seen at Southend-on-Sea a remarkable instance of the influence which the electric street lamps have upon the duration of leaves. In Cliff Town Parade those trees contiguous to the lamps were still well covered on December the 1st ult. on the side nearest the light, when the next tree, only a few yards distant, was entirely denuded of leaves. Our photograph gives the first tree in the parade with a good show of leaves on its front half, but the back of the same tree, which has been shaded from the lamp, has entirely shed its leaves. The next few trees are also quite bare of leaves, and looking down the row one sees that only those trees opposite the lamps bear any sign of verdure."—Mr. W. J. Cooper, 162, Stanstead Road, Forest Mill, S.E. Transcriber notes: Fixed various punctuation. P.149. 'phesaant' changed to 'pheasant'. *** END OF THE PROJECT GUTENBERG EBOOK THE STRAND MAGAZINE, VOL. 27, FEBRUARY 1904, NO. 159. *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law 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. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. 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