The London Figaro

The London Figaro was a London periodical published during the Victorian era and associated with politics, literature, art, criticism, satire and entertainment reporting. It was established by the American-born journalist James Mortimer and issued its first number on 17 May 1870 from premises at 199 Strand. The publication began as a daily newspaper, a format that reflected Mortimer's ambition to compete in the crowded market for lively, topical London journalism. Its launch was supported by Napoleon III, but that backing became untenable after France's defeat in the Franco-Prussian War. The daily edition continued until 18 March 1871, after which the publication was reorganized as a general-interest weekly magazine. The weekly Figaro developed a distinctive editorial identity. It combined light and often satirical treatment of current affairs with literary material, caricature, musical commentary, theatrical coverage and social observation. Its readership expanded substantially in the mid-1870s, and for a period the magazine appeared twice each week. Features such as the “Smiff Papers” helped attract and retain readers, while the publication's drama criticism became its most enduring contribution. Critics Clement Scott and William Archer wrote under the pseudonym “Almaviva” or a related form, and Mortimer took considerable personal and professional risks to protect their identities. Their reviews were independent and sometimes sharply critical, provoking hostility from actors, theatre managers and promoters. The magazine also reflected the broad range of interests typical of nineteenth-century miscellanies. Contributors included journalists, humorists, caricaturists, literary writers and critics. It carried a chess column, first contributed by Johann Löwenthal from 1872 to 1876 and subsequently by Wilhelm Steinitz from 1876 to 1882. Other contributors included Ernest Bendall, Faustin Betbeder, Percy Betts, Ambrose Bierce, Edward Bradley, Aglen Dowty, John Baker Hopkins, Frank Marshall, Edwin Milliken, Edward Blanchard and Clement Scott. Several writers used pseudonyms, a common practice in Victorian journalism and particularly important for the paper's theatre criticism. The publication faced legal and financial difficulties. In 1879, James Mortimer was sued for libel by William Henry Weldon over a serial concerning Weldon's wife, Georgina Weldon, who alleged that she had been improperly confined under contemporary lunacy laws. Mortimer lost the case and received a prison sentence and a substantial fine. The litigation, together with other adverse circumstances and business decisions, weakened his position. In 1882 he sold the Figaro to a limited-liability company and appears to have devoted more attention to playwriting afterward. The magazine continued for roughly another fifteen years, but its readership declined by the end of the century. At a shareholders' extraordinary general meeting in December 1897, the company agreed to wind up the publication. The London Figaro is therefore remembered less as a surviving consumer brand than as a notable Victorian periodical whose independent theatrical criticism, satirical style and network of pseudonymous contributors gave it a distinctive place in nineteenth-century British journalism.

The London Figaro emerged in 1870 during a period of rapid expansion in British journalism. Its founder and publisher, James Mortimer, was an American journalist with French training who sought to establish a lively London paper with a broad cultural and political remit. The first issue appeared on 17 May 1870 from a small shop at 199 Strand. The title initially operated as a daily periodical and continued in that form until 18 March 1871. The original daily model was affected by international politics. The paper had been launched with backing from Napoleon III, but the financial support was withdrawn after the French defeat in the Franco-Prussian War. Rather than disappear, the publication changed its format and became a weekly general-interest magazine. The new form allowed it to combine news and commentary with literary pieces, satire, caricature, theatre reviews, musical criticism and other entertainment material. During the middle of the 1870s it became popular enough to appear twice weekly for several years. The Figaro's reputation rested particularly on its theatre writing. Mortimer attempted to protect the identities of his drama critics, notably Clement Scott and William Archer, who used the pseudonym “Almaviva” or a closely related form. Their reviews were regarded as unusually independent and could be severe toward performers, theatre proprietors and promoters. This editorial stance generated personal abuse directed at Mortimer, but it also helped distinguish the paper from less confrontational entertainment journalism. The periodical's contributors represented a wide range of Victorian literary and journalistic practice, including writers, humorists, caricaturists and critics. Ambrose Bierce contributed under the name “Passing Showman” and “Town Crier,” while other contributors also used pseudonyms. The publication covered more than drama. Its contents included political and literary discussion, art, satire, music and social commentary. It also carried a chess column. Johann Löwenthal contributed the column from 1872 to 1876, followed by Wilhelm Steinitz from 1876 to 1882. Features such as the “Smiff Papers,” associated with Aglen Dowty, were credited with helping extend circulation, while the drama reviews signed “Almaviva” were another important attraction. Legal controversy damaged the founder's position. In 1879, William Henry Weldon brought a libel action against Mortimer in connection with a serial about Georgina Weldon, who claimed she had been unjustly confined under the period's lunacy laws. Mortimer lost the action, was sentenced to three months in prison and received a heavy fine. The case formed part of a wider combination of misfortune and business difficulties. In 1882 Mortimer sold the periodical to a limited-liability company. Contemporary journalist Joseph Hatton later described the weekly edition as having achieved an enormous circulation and identified the paper's leader-writing, “Smiff Papers” and theatrical criticism as important elements of its success. The London Figaro continued publication for approximately fifteen more years after Mortimer's sale. By the late 1890s, however, it had lost much of its readership. At a shareholders' extraordinary general meeting in December 1897, the owners agreed to wind up the company and publication. The title's historical importance lies in its example of Victorian periodical entrepreneurship and in its influential, independent treatment of the theatre rather than in continued commercial survival.

1. 1897Winding-up approved

   Shareholders agreed in December to wind up the publication after a late-century decline in readership.

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2. 1882Mortimer sells the publication

   James Mortimer sold The London Figaro to a limited-liability company.

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3. 1879Libel case involving James Mortimer

   Mortimer lost a libel case brought by William Henry Weldon over a serial concerning Georgina Weldon and was imprisoned and fined.

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4. 1876Wilhelm Steinitz takes over chess column

   Wilhelm Steinitz succeeded Johann Löwenthal as the chess columnist, continuing in that role until 1882.

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5. 1875Period of growing popularity

   The weekly magazine became highly popular in the mid-1870s and was issued twice weekly for several years.

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6. 1872Johann Löwenthal begins chess column

   Johann Löwenthal began contributing the publication's chess column.

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7. 1871Daily format ends

   The daily edition continued until 18 March 1871, after which the title was reorganized as a weekly general-interest magazine following the loss of French financial backing.

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8. 1870First issue published

   James Mortimer published the first issue on 17 May 1870 from 199 Strand in London. The title began as a daily periodical.

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A lively Victorian general-interest periodical combining topical news, satire, literature, art, theatre criticism and other cultural coverage. Its strongest historical distinction was its independent and sometimes controversial drama criticism.

• The London Figaro daily editionDaily newspaper1870

  The original format of the title, published from its launch in May 1870 until 18 March 1871. It was intended as a lively daily periodical covering current affairs and cultural subjects, but its financial support disappeared after the French defeat in the Franco-Prussian War.

• The London Figaro weekly magazineGeneral-interest magazine1871

  The reorganized weekly form became the title's principal and most successful format. It combined politics, literature, art, satire, music, theatre and social commentary, and was issued twice weekly for part of the 1870s.

• Drama criticismCultural journalism

  The publication's drama criticism was its most enduringly remembered editorial feature. Clement Scott and William Archer wrote under the pseudonym Almaviva, and their independent reviews sometimes provoked hostility from actors and theatre promoters.

• Chess columnChess journalism1872

  The Figaro carried a chess column contributed by Johann Löwenthal from 1872 to 1876 and by Wilhelm Steinitz from 1876 to 1882.

• 1897Decision to wind up the publicationOther

  By the late 1890s, The London Figaro had lost much of its readership.

  What changed. Shareholders approved winding up the publication at an extraordinary general meeting in December 1897.

  Aftermath. The title ceased to operate as a Victorian periodical and became defunct.

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• 1882Sale to a limited-liability companyM&A

  Legal problems, financial pressure and other business difficulties weakened James Mortimer's position after the libel case.

  What changed. Mortimer sold The London Figaro to a limited-liability company.

  Aftermath. The publication continued for roughly fifteen more years, although its readership later declined.

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• 1871Change from daily newspaper to weekly magazineStrategy

  The title's original financial support was withdrawn after the French defeat in the Franco-Prussian War, undermining the daily newspaper model.

  What changed. Publication was reorganized as a weekly general-interest magazine after the daily edition ended on 18 March 1871.

  Aftermath. The weekly format became the publication's more successful form and helped it build substantial popularity during the 1870s.

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• 1879Weldon libel caseControversy

  William Henry Weldon sued James Mortimer over a serial published by The London Figaro concerning Weldon's wife, Georgina Weldon, and her allegations of unjust confinement under contemporary lunacy laws. Mortimer lost the case, received a three-month prison sentence and was ordered to pay a heavy fine.

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• 1897Shareholders approve winding up The London Figaro

  After readership declined during the late nineteenth century, a shareholders' extraordinary general meeting in December 1897 agreed to wind up the publication.

  Bankruptcy
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• 1882The publication is sold to a limited-liability company

  James Mortimer sold The London Figaro after legal and business difficulties. Contemporary commentary described the publication as having previously achieved substantial popularity, particularly in its weekly form.

  M&A
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1. The London Figaro