To Elisha Bliss, Jr.
12 April 1869 • Elmira, N.Y.
(MS: CU-MARK, UCCL 00281)

Elmira, April 12, 1869.

Friend Bliss—

I think St Mark & the others, “by the Old Masters” are the very funniest pictures I ever saw. I cut them out of the proof to send to Mrs. Fairbanks of Cleveland who always pleaded that the Old Masters might be spared from a blackguarding. I think all the engravings are handsome & attractive. I did “copper” that fountain, but since it looks like the one you got in Paris (Ky.) yourself, I haven’t another word to say. You see I thought it looked like a lot [ or of ] niggers & horses adrift in a freshet—but I don’t say a word, now, Bliss. I guess it will look well when it is neatly printed.1

Your idea about the “Echo” diagram is correct—glad it is to be engraved. ‸What is become of the beautiful view of Spires (Milan Cathedral)?‸

Over

How is the name business?

[ The E Crusade of the Innocents ]—Or, Pil. Prog. &c.

The Innocents Abroad—Or, &cc

The Exodus of the Innocents—Or &c2

I’m pushing the proofs. Hereafter, they will return to you by the very next mail after reception.3

Yrs

Mark.

[letter docketed] [and] Mark Twain | April 12/69

Explanatory Notes | Textual Commentary

Editorial Signs

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1 Clemens had “coppered” (questioned) the illustration of a fountain at Versailles in the proofs for chapter 16 (page 154) of The Innocents Abroad, which he probably returned on 5 April (see 10? Apr 69 to Bliss, n. 1). It was based on a contemporary photograph of the fountain of Apollo, “with a group of the sungod in his chariot, environed with tritons, nymphs, and dolphins” (Baedeker, 286; Hirst, 217–18, 220). Within a day of sending Clemens the proofs for chapters 18–22, Bliss must have sent him proofs for chapters 23–27, together with his response to the query about the fountain illustration. Judging by Clemens’s reply, Bliss admitted that he too had been skeptical of this illustration, but explained, perhaps facetiously, that he had allayed his concern by comparing it with an imitation of the original fountain in Paris, Kentucky (no confirmation has been found that such an imitation existed). The problem that Clemens had perceived may have been in part the result of the process of pulling proof: since the illustration was of a fountain at night, it was easy to make the ink impression too dark.

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2 The “Echo” diagram was the drawing of Clemens’s notebook in chapter 19 (page 197), which evidently had not been included in the proofs, but was still “to be engraved.” The “Spires” of the cathedral at Milan eventually appeared in chapter 18 (facing page 172). Clemens’s question here shows that he had seen an artist’s proof of the engraving while still in Hartford. Bliss responded, and also commented on “the name business,” in the following letter (CU-MARK):

UCLC31664

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3 It is likely that Clemens returned proofs of chapters 18–22 (pages 171–227) with this letter. He may already have had the next batch of proofs in hand, but he did not return them for another three days (see the next letter).

Description of Texts and Provenance

Source text(s):

MS, Mark Twain Papers, The Bancroft Library, University of California, Berkeley (CU-MARK).

Previous publication: L3, 192–94; MTMF, 90, brief excerpt; Davis 1951, with omission; MTLP, 18–19; McBride, 365, brief paraphrase.

Provenance:see Mendoza Collection, p. 587.

Emendations and textual notes:

or of • orf

The E Crusade of the Innocents • [underscored before deletion of ‘The’]