gazed with wondering admiration. A bugle-player or a band of music always accompanied the great Gosling, and, of course, helped to attract the public attention to his establishment. At the turning of every street-corner your eyes rested upon “Gosling’s Blacking.” From every show-window gilded placards discoursed eloquently of the merits of “Gosling’s Blacking.” The newspapers teemed with poems written in its praise, and showers of pictorial handbills, illustrated almanacs, and tinseled souvenirs, all lauding the virtues of “Gosling’s Blacking,” smothered you at every point.
The celebrated originator of delineations, “Jim Crow Rice,” made his first appearance at Hamblin’s Bowery Theatre at about this time. The crowds which thronged there were so great that hundreds from the audience were frequently admitted upon the stage. In one of his scenes, Rice introduced a negro boot-blacking establishment. Gosling was too “wide awake” to let such an opportunity pass unimproved, and Rice was paid for singing an original black Gosling ditty, while a score of placards bearing the inscription, “Use Gosling’s Blacking,” were suspended at different points in this negro boot polishing hall. Everybody tried “Gosling’s Blacking;” and as it was a really good article, his sales in city and country soon became immense; Gosling made a fortune in seven years, and retired but, as with thousands before him, it was “easy come easy go.” He engaged in a lead-mining speculation, and it was generally understood that his fortune was, in a great measure, lost as rapidly as it was made.
