By the way, I hope you won't mind; I've got your portrait all over San Francisco for the lecture, enlarged from that carte de visite: H.Loudon Dodd, the Americo-Parisienne Sculptor.

Here's a proof of the small handbills; the posters are the same, only in red and blue, and the letters fourteen by one." I looked at the handbill, and my head turned.

What was the use of words?
why seek to explain to Pinkerton the knotted horrors of "Americo-Parisienne"?
He took an early occasion to point it out as "rather a good phrase; gives the two sides at a glance: I wanted the lecture written up to that." Even after we had reached San Francisco, and at the actual physical shock of my own effigy placarded on the streets I had broken forth in petulant words, he never comprehended in the least the ground of my aversion.
"If I had only known you disliked red lettering!" was as high as he could rise.

"You are perfectly right: a clear-cut black is preferable, and shows a great deal further.

The only thing that pains me is the portrait: I own I thought that a success.