CHAPTER VII.

Revival of Wood-engraving by Thomas Bewick--The _Observer_ started,

1791--The _Times_ an Illustrated Paper--Illustrations of News in the

_Observer_--St. Helena and Napoleon Bonaparte--Abraham Thornton and

the 'Assize of Battle'--Mr. William Clement and Illustrated

Journalism--The Cato Street Conspiracy--Trial of Queen Caroline--The

House of Commons in 1821--Coronation of George IV.--Royal Visits to

Ireland and Scotland--Murder of Mr. Weare--Illustrations of the Murder

in the _Morning Chronicle_, the _Observer_, and the

_Englishman_--_Bell's Life in London_--Prize-Fight at Warwick--Liston

as 'Paul Pry'--'Gallery of Comicalities,' &c.--_Pierce Egan's Life in

London_--Death of the Duke of York--Death of Mr. Canning--Opening of

Hammersmith Bridge, 1827--Mr. Gurney's Steam Coach--The Thames

Tunnel--The Murder in the Red Barn--The Siamese Twins--Death of George

IV.--Opening of New London Bridge, 1831--Coronation of William IV. and

Queen Adelaide--Fieschi's Infernal Machine--Funeral of William

IV.--Queen Victoria's First Visit to the City--Coronation and Marriage

of the Queen--Christening of the Prince of Wales--_The Weekly

Chronicle_--The Greenacre Murder--Mr. Cocking and his Parachute--The

Courtney Riots at Canterbury--Burning of the Tower of London,

1841--_The Sunday Times_--Burning of the Houses of Parliament,

1834--_The Champion_--_The Weekly Herald_--_The Magnet_--Removing the

Body of Napoleon I.--_The Penny Magazine_--Charles Knight--Humorous

Journalism of the Victorian Era.

There appears to have been little or nothing done in the way of

illustrated journalism during the remaining years of the eighteenth

century. It was during this period that Thomas Bewick revived the almost

extinct art of wood-engraving, and about the time he brought out the

first of his illustrated natural history books a weekly newspaper was

started in London which afterwards became the pioneer of modern

illustrated journalism. This was the _Observer_, the first number of

which came out on Sunday, Dec. 4th, 1791. It is the oldest of our

existing weekly newspapers, and is one of the rare instances of a

Sunday paper becoming established.[1] Many years had to elapse before

wood-engraving began to be used as a means of popular illustration; but

when some of Bewick's numerous pupils began to diffuse the fruits of

their master's teaching the _Observer_ was the first newspaper that

availed itself of the restored art. Before this, however, there were

symptoms of the reawakening of a dormant idea. In looking back to the

early years of the present century it is curious and interesting to

notice that the _Times_ was occasionally an illustrated paper. The

battle of Trafalgar and the death of Nelson stirred the national heart

to such a degree that the _Times_ of that day was induced to introduce

into its pages engravings of Nelson's coffin and funeral car, when the

hero's remains were carried to St. Paul's. In the number for Jan. 10th,

1806, there is an account of the State funeral, which is illustrated

with the above-named woodcuts. They are very rudely executed, and

plainly show that the influence of Bewick's labours had not yet

penetrated into the region of journalism. Annexed is a copy of what the

_Times_ of 1806 presented to the public in response to the intense

interest felt by the whole of the British nation about Nelson's death

and funeral. It is a noteworthy example of renewed effort in the

direction of illustrated news at a time when insufficient means of

production clogged the spirit of enterprise. Like the _Swedish

Intelligencer_ of 1632, the _Times_ did not hesitate to point out its

shortcomings in the following notice at the foot of the engraving:--'The

only difference in the appearance of the Funeral Car from the engraving

is, that, contrary to what was at first intended, neither the pall nor

coronet appeared on the coffin. The first was thrown in the stern of the

Car, in order to give the public a complete view of the coffin; and

the coronet was carried in a mourning-coach. We had not time to make the

alteration.'

[Illustration: NELSON'S FUNERAL CAR. FROM THE 'TIMES,' JAN. 10, 1806.]

To the above engraving the following description was appended:--'The

Car, modelled at the ends in imitation of the hull of the Victory. Its

head towards the horses, was ornamented with a figure of Fame. The stern

carved and painted in the naval style, with the word "Victory" in yellow

raised letters on the lanthorn over the poop. The coffin placed on the

quarterdeck with its head towards the stern, with the English Jack

pendent over the poop lowered half-staff. There was an awning over the

whole, consisting of an elegant canopy supported by four pillars, in the

form of palm-trees, as we have already mentioned, and partly covered

with black velvet. The corners and sides were decorated with black

ostrich feathers, and festooned with black velvet, richly fringed,

immediately above which, in the front, was inscribed in gold the word

"Nile" at one end; on one side the following motto, "Hoste devicto,

requievit;" behind was the word "Trafalgar;" and on the other side the

motto "Palmam qui meruit ferat," as in the engraving. The carriage was

drawn by six led horses, in elegant furniture.'

In 1817 the _Times_ also illustrated the projects of Robert Owen, who

laboured long and ardently to promote the doctrines of Socialism. In the

number for Aug. 9th, 1817, there is a large woodcut called Robert Owen's

agricultural and manufacturing villages of Unity and Mutual Cooperation.

In those days a page of the _Times_ was not so valuable as it is now, or

probably the enthusiastic Socialist would not have found it so easy to

enlist that journal in helping to propagate his doctrines. In 1834 Owen

made in London another attempt to put in practice the principles he had

so long advocated. He died in 1858, aged ninety.

I have mentioned that the _Observer_ was the first newspaper that

availed itself of the revived art of wood-engraving; but it had

previously essayed the then difficult task of illustrating the news of

the day by the more costly means of engraving on copper. The island of

St. Helena having been selected as the place of residence of Napoleon

Bonaparte, the _Observer_ of Oct. 29th, 1815, published a large

copperplate view of the island, with a descriptive account. The plate is

printed on the same page with the letterpress, so that there must have

been two printings to produce this specimen of illustrated news. Three

years later the _Observer_ produced another copperplate example of news

illustration, also printed on the letterpress page. This was a portrait

of Abraham Thornton, whose remarkable case attracted much public

attention. He was tried for the murder of a young woman, Mary Ashford,

with whom he was known to be acquainted, and in whose company he was

seen shortly before her death. He was, however, acquitted, the jury

probably believing it to be a case of suicide. The brother of the girl

then appealed, and Thornton claimed his right to defend himself by wager

of battle. This claim was allowed, after long arguments before the

judges. It was found, much to the surprise of the general public, that

by the law of England a man in an appeal of murder might demand the

combat, thereby to make proof of his guilt or innocence. In the present

case the girl's brother refused the challenge, and Thornton escaped.

This was the last appeal to the 'Assize of Battle' in this country; and

the attention of the Legislature being drawn to the obsolete statute, it

was repealed by 59 Geo. III., 1819. It was during the progress of the

arguments in this case, and while the public interest was very great,

that the _Observer_ published the portrait of the accused.

After this the _Observer_ became remarkable for its illustrations of

news. Mr. William Clement, the proprietor, was a man who early saw the

attractiveness of illustrated journalism. I am not aware when he first

became associated with the _Observer_; but under his management frequent

illustrations of news were given in that paper. In 1820 _Bell's Life in

London_ was started, and very soon Mr. Clement became the proprietor of

that paper also. In 1821 he purchased the _Morning Chronicle_, which,

however, turned out a bad speculation. Having invested a very large sum

of money in the latter paper, Mr. Clement spared no effort to make it

profitable, and the _Observer_ was neglected. It suffered in

consequence, and fell in circulation. Frequently the illustrations of

news that were printed in the _Observer_ were published the day

previously in the _Chronicle_. They were also occasionally printed in

_Bell's Life_ and the _Englishman_, a fourth paper belonging to Mr.

Clement. All four papers were carried on together; but it is the

_Observer_ that stands out as the prominent representative of

illustrated journalism at this period. Other journals came into

existence which took up the idea of illustrating the news of the day;

among them the _Sunday Times_, started by Daniel Whittle Harvey in 1822,

when he was member for Colchester. Another paper which for a time

rivalled, if it did not excel, the _Observer_ in the frequency of its

news illustrations was the _Weekly Chronicle_. It flourished a few years

before the birth of the _Illustrated London News_, but has long been

extinct. Mr. Clement sold the _Morning Chronicle_ in 1834, and soon

restored the _Observer_ to its old position. The _Morning Chronicle_

started in 1769 and expired in 1864. The _Englishman_ has long been

defunct, but I am not acquainted with the date of its disappearance.

There was a paper called the _Englishman_ in 1714, and the name was

again revived by the late Dr. Kenealy.

The _Observer_ and _Bell's Life_ were both published at the same office

for many years, but their companionship was terminated in 1877, when

they left the office in the Strand where they had so long lived amicably

together, the great sporting journal migrating to Catherine Street, and

the _Observer_ seeking a new home in the Strand further west.

One or two other newspapers occasionally published engravings during the

few years immediately preceding the _Illustrated London News_, and of

them I will speak in the proper place. The most prominent, however,

were the _Observer_, _Bell's Life in London_, and the _Weekly

Chronicle_, and to these three I propose first to direct attention as

being the main supporters of the pictorial spirit until it culminated in

the _Illustrated London News_. It was during the ten years preceding

1842 that the founder of that journal noticed the growing inclination of

the people for illustrated news, and it was chiefly in the pages of the

_Observer_ and the _Weekly Chronicle_ that he thought he saw the growth

of a hitherto uncultivated germ.

In 1820 all England was startled by the discovery of a mysterious plot

of some political desperadoes who planned the assassination of the

Ministers of the Crown and the overthrow of the Government. This came to

be known as the Cato Street Conspiracy, the place of meeting of the

conspirators being in Cato Street, Marylebone. The extravagance of the

Prince Regent, the high price of bread, and the heavy taxation, had

brought about a feeling of discontent among the lower orders which,

unhappily, was greatly increased by the Spa Fields riots, and the

collision between the soldiers and the people in Lancashire, at what was

called the massacre of Peterloo. Thistlewood, the leader of the

conspirators, had already been tried for treasonable practices, but

acquitted. He had also been in trouble for his connexion with the Spa

Fields riots. The sanguinary plan of the conspirators was to murder the

Cabinet Ministers while they were all assembled at dinner at Lord

Harrowby's house in Grosvenor Square. They were to seize certain pieces

of cannon, take the Bank of England, destroy the telegraph to Woolwich,

set fire to different parts of London, and then establish a provisional

government at the Mansion House, sending emissaries to the outports to

prevent the escape of obnoxious persons. They reckoned on large numbers

of the discontented joining them as soon as they had destroyed the

tyrants and oppressors of the people, as they termed the Ministers. They

had provided pikes, pistols, sabres, knives, blunderbusses, and

hand-grenades; and one of the gang, a butcher, had furnished himself

with a heavy butcher's knife, to cut off the heads of 'Castlereagh and

the rest as he came at them.' Adams, one of their number, turned

informer, and the conspirators were surprised by the police at their

meeting-place in Cato Street. After a conflict in which one of the

police-officers was killed, several of the gang were secured, and others

were taken soon afterwards. Thistlewood, the leader, escaped in the

first rush, but was captured next day.

The place where the seizure was made is described as a hayloft over a

deserted stable with a step-ladder leading from the stable to the loft

above, with two apertures in the floor of the loft, opening on the racks

in the stable below; opening from the loft were two small inner rooms.

On the evening of the 23rd of February, 1820, the conspirators were

assembled in this stable, where they were arming themselves for the

bloody work they had planned, when the police, aided by a party of the

Coldstream Guards under Lieut. Fitzclarence, broke in upon them.

Police-officers Ruthven, Ellice, and Smithers, were the first to mount

the ladder, and enter the loft.

'There were about five-and-twenty men in the room, eating bread and

cheese, and drinking porter, or selecting arms from a long carpenter's

bench which stood close by the wall. Just at that juncture, Thistlewood,

hearing a noise, and some one calling, "Hallo! Show a light!" took a

candle, and looked down the stairs to see who was coming, and, on seeing

that there was a surprise, he put the candle back on the bench, seized a

sword, and with three or four others retreated stealthily to the further

of the inner rooms--the one that had a window looking out into Cato

Street. At that moment one of the men seized below called out to warn

his comrades, "Look out there above!"

'At the same time, two of the constables, at first almost unnoticed,

appeared at the top of the ladder, and presenting their pistols, said,

"Hallo, is anybody in the room? Here's a pretty nest of you!"

'Then another of the patrol cried, "We are officers; seize their arms."

'And a third, "Gentlemen, we have got a warrant to apprehend you all,

and as such we hope you will go peaceably."

'Just then Smithers, distrusting further parley, and believing, in his

staunch way, in promptitude, before the conspirators could discover the

scantiness of the assailing numbers, or could muster courage to use

their arms, cried, "Let me come forward," and pushed towards the door of

the inner room, where Thistlewood stood thrusting with a very long

sword. The leader of the conspirators instantly rushed forward, and

struck Smithers through his right side. The constable threw up his

hands, his head fell back, he staggered against Ruthven, cried, "O my

God, I am done!" and fell dead near the opening of the stairs. Ellice

held up his staff at Thistlewood, and threatened to fire with the pistol

in his right hand, unless he instantly surrendered. The lights were

immediately dashed out, and a voice cried in the darkness, "Kill the

---- at once! Throw them down-stairs! Kill them!"

'Then there were twenty or thirty pistol-shots fired, and a tremendous

headlong rush was made at the stairs, driving the Bow Street men

backwards; the conspirators leaping down into the manger through the

holes in the floor, or by the window, others firing at the officers on

the stairs, or up through the manger, all making for the archway in John

Street.'[2]

It would appear the conspirators were closely watched for some time

before they were arrested. Indeed, it was suspected that Government

emissaries were employed to foment the conspiracy in order that a

terrible example might be made for the benefit of the disaffected.

However this may have been, the plot excited the most intense interest

among all classes. Thistlewood and the other prisoners were tried at the

Old Bailey, April 17th, 1820, and found guilty of high treason. Six

were transported for life, the other five, including Thistlewood, were

hung on May 1st, and their heads severed from their bodies--the

quartering, the usual doom of traitors, having been graciously forgiven.

[Illustration: A. Door to the cart-house. B. Door by which the officers

entered. C. Stable window. D. Loft-door.

STABLE WHERE THE CATO STREET CONSPIRATORS MET. FROM THE 'OBSERVER,'

MARCH 5TH, 1820.]

The _Observer_ for March 5th, 1820, published some illustrations of the

Cato Street Conspiracy. One is an exterior view of the stable in Cato

Street where the conspirators met, which is copied on the opposite page.

[Illustration: SECTION OF GRENADE PREPARED BY THE CATO STREET

CONSPIRATORS.

FROM THE 'OBSERVER,' MARCH 5TH, 1820.

A. Cylindrical tin Box containing gunpowder.

B. Pitched tow.

C. Bullets, old nails, Spikes, &c.

D. Tin Tube a Fuze filled with damp powder.]

There was also an interior view of the hayloft, together with sections

of some of the grenades, daggers, &c., large quantities of which were

found in the loft.

These cuts, which are roughly done, were reprinted in the _Observer_ for

March 12th, and two new ones were added, 'Interior view of the Hayloft

at the moment when Smithers received his Death Wound,' and a view of the

interior of the stable. They are all interesting as examples of

illustrated news at a time when the means of producing such things were

extremely limited.

[Illustration: DAGGER PREPARED BY THE CATO STREET CONSPIRATORS. FROM THE

'OBSERVER,' MARCH 5TH, 1820.

A. Dagger made out of a bayonet to use singly or on top of a pike

handle.

B. Dagger with hole in the middle to receive dagger A. when screwed on,

to be used right and left.

C. Section of the transverse dagger B.]

Mr. Clement, the proprietor of the _Observer_, gave a remarkable proof

of his enterprising spirit when the Cato Street conspirators were tried.

At that time newspapers were prohibited under a penalty of 500_l._ from

publishing reports of cases in the courts of law before they were

concluded. Mr. Clement, seeing the universal interest excited by the

trial, determined to publish a report without waiting for the verdict.

He accordingly sent reporters to the court, and published the whole in

the _Observer_ before the verdict was given. This was a contempt of

court for which he expected to have to pay, and, though the penalty was

duly inflicted, it was never exacted. The _eclat_ attending this

proceeding was of immense value to the _Observer_, and the sale of that

number was so great that the proprietor could easily have paid the

penalty of 500_l._, and he would still have been a gainer.[3]

The Prince of Wales (afterwards George IV.), whose unhappy marriage with

Caroline of Brunswick produced so much scandal and excitement in this

country, had long been separated from his wife, who was residing abroad

at the time her husband became King. Her Majesty announced her intention

of returning to England; and though the King's Ministers endeavoured to

dissuade her from her purpose, she persisted in her resolution, and on

June 6th, 1820, she landed at Dover. Her journey through London was one

long triumph, thousands of people escorting her to her temporary

residence, and giving her the warmest possible welcome, for they looked

upon her as an ill-used and persecuted woman. The question of omitting

her name from the Liturgy had been debated in Parliament, and afterwards

a 'Bill of Pains and Penalties' was brought in, which was in effect

placing the Queen upon her trial. Contemporary newspapers show what

intense excitement filled the public mind upon this subject, and how the

nation ranged itself on the side of the King or Queen--by far the

greater number being for the latter. Nothing was talked of but the

'Queen's trial,' and the wrongs and indignities that had been heaped

upon the head of an innocent woman.

On Aug. 16th, the married ladies of the metropolis presented Her Majesty

with an address, and three days after the trial commenced, the defence

being conducted by Mr. Brougham and Mr. Denman. When the Queen attended

the House of Lords large crowds accompanied her through the streets, and

manifested by their cries their sympathy for her cause. The Bill of

Pains and Penalties was carried on a second reading by a majority of

twenty-eight, but it sank on the third reading to a majority of nine,

and was finally abandoned owing to the threatening attitude of the

populace. Great rejoicings ensued, London was illuminated for three

nights, and on Nov. 29th the Queen went in state to St. Paul's. On this

occasion William Hone, who had distinguished himself as one of the

Queen's champions, displayed a transparency at his house on Ludgate

Hill, which was painted by George Cruikshank, and is engraved in Hone's

collected pamphlets.

The _Observer_, having to some extent laid itself out for 'illustrated

news,' the occasion of so much interest and excitement as the Queen's

trial was not likely to pass unnoticed. Accordingly, we find in the

number for Sept. 17th, 1820, a large woodcut, entitled, 'A Faithful

Representation of the Interior of the House of Lords as prepared for the

Trial of Her Most Gracious Majesty Queen Caroline.' This was published

at the time the excitement was at the highest, and no doubt the eager

public properly appreciated the enterprise of the conductors of the

paper.

In 1821 the House of Commons contained many notable politicians and

eminent men who afterwards became leaders and champions among the ranks

of Whig and Tory. Amongst the most prominent were Canning, Brougham,

Peel, and Palmerston. The question of Reform was becoming more and more

pressing, and the House of Commons as then constituted was tottering to

its fall. The conductors of the _Observer_, ever on the look-out for

what would interest their readers, published on Jan. 21st, 1821, two

views of the interior of the House of Commons, one looking towards the

Speaker's Chair, the other looking from it. In one the House is empty,

but in the other most of the leading politicians of the day are

introduced. The figures, however, are on too small a scale to be

likenesses of the persons intended, but the reader is assisted by

references showing the places occupied by the most prominent members of

the House.

The national excitement about Queen Caroline's trial was dying out when

the first gentleman in Europe prepared for his coronation. On this

occasion the _Observer_ gave the lieges appropriate pictures of the

august ceremony. The best draughtsmen and engravers on wood, then very

few in number, were employed to prepare views of Westminster Abbey and

Westminster Hall during the coronation ceremony and the banquet which

followed. The _Observer_ of July 22nd, 1821, contains four engravings,

which, considering the limited artistic means at command, are by no

means discreditable to the management of the paper. On this occasion a

double number was published, the price of which was fourteen pence, and

the publisher evidently thought it was very cheap. He announced that he

would keep the number on sale for ten days after publication, so that no

one might be disappointed in getting a copy. All these engravings of the

coronation of George IV. were done on what was then considered a large

scale, though none of them exceed a half-page of the present illustrated

newspapers, and were finished as regards light and shade, according to

the best ability of the artist.

The coronation number of the _Observer_ produced a great sensation, and

it had a very large sale. Nothing like it had ever been done before, and

the public eagerly paid the double price for the sake of the engravings.

Fourpence was paid for stamp duty on each sheet, amounting on the whole

to 2000_l._ paid to Government for stamp duty, exclusive of paper duty.

The number consisted of two sheets, each of which had a sale of 60,000

copies. This was a very good stroke of business, and Mr. Clement had

fair reason to congratulate himself on his successful enterprise. It

prompted him to further efforts; but, unfortunately, he had not the

wisdom to confine his energies to one channel, and what he gained by one

speculation he lost by another. It was at this time he purchased the

_Morning Chronicle_ for 42,000_l._; but, as I have before stated, this

turned out a disastrous investment, and also injured for a time the

otherwise successful _Observer_.

Soon after his coronation George IV. visited Ireland, and while on his

way received the melancholy intelligence of the death of his consort,

the unfortunate Queen Caroline, which, however, did not prevent His

Majesty from continuing his journey. The _Observer_ of Sept. 2nd, 1821,

published 'A correct View of his Majesty King George the Fourth landing

from the _Lightening_ Steam Packet, Capt. Skinner, on the Pier of the

Harbour of Howth, on Sunday, the Twelvth of August, 1821.' In describing

this event the _Observer_ spoke of it as the opening of a new era for

Ireland, and of the highest importance both in an historical and

political point of view.

In the following year the King went to Scotland; but, though the

_Observer_ published long and elaborate descriptions of His Majesty's

visit, the occasion was not deemed worthy of illustration. The

opportunity, however, must have been far richer than the visit to

Ireland in affording subjects for sketches. It would have been curious

to see what a contemporary 'special artist' would have made of Sir

Walter Scott; and posterity would have been glad to have had handed down

to it the 'varra effigies' of George IV. and Alderman Curtis in the

kilt!

In 1823 the city of Cadiz, in Spain, was invested by the French, who

took possession of the place on Oct. 3rd in that year. The _Observer_,

in its issue of Oct. 5th, printed a plan and view of Cadiz, the plan

first appearing in the _Morning Chronicle_ of the day before. The view

of Cadiz is well engraved, in the manner of that day, by W. Hughes. The

plan is also well done, and very complete.

Towards the end of 1823 a murder, unparalleled in the history of crime,

excited immense public interest, and the _Observer_ at once took up the

case, and described and illustrated it with a particularity and

minuteness of detail that must have satisfied the most ardent

sensationalist. The incidents of this remarkable crime have been long

forgotten; but I will give an outline of the story in connexion with the

engravings published on the occasion by the _Observer_.

Mr. William Weare was an attorney in Lyon's Inn, who added to his legal

practice the business of a bill-discounter, and enlivened the dulness of

both pursuits by indulging occasionally in the excitement of gambling.

He counted amongst his friends one Mr. John Thurtell, a notorious

betting-man; and it was to keep an appointment with this friend that he

left his chambers in Lyon's Inn on Friday, Oct. 24th, 1823. The two

friends had agreed to go on a short shooting excursion to a lonely

cottage on the St. Albans road, about fourteen miles from London.

Thurtell was respectably connected, but had an evil reputation, he and

his brother being then in hiding to avoid a charge of arson. Two other

men were concerned in the murder, Hunt, a public singer, of doubtful

character, and Probert, a spirit merchant, a fraudulent bankrupt, who

lived at the cottage to which Thurtell and his friend were going. In the

gambling transactions between Thurtell and Weare the former conceived

himself to have been cheated of 300_l._, and in revenge he determined to

murder Weare, and by robbing him recoup himself as far as possible for

his losses. The crime was coolly premeditated, and Hunt appears to have

been an accessory before the fact, having arranged to meet Thurtell on

the road, and to assist in despatching the victim. For this purpose the

shooting excursion to Probert's cottage was planned, but, owing to a

mistake of Hunt's, he did not join Thurtell as agreed, and the latter

committed the murder alone.

Thurtell and Weare were seen driving in a gig towards Edgeware about

five o'clock in the evening on Oct. 24th, and they afterwards called at

the 'White Hart,' Edgeware, for refreshment. After they were gone

Probert and Hunt, also driving in a gig, called at the same inn, where

they had some brandy and water, and afterwards drove away.

Gill's Hill Cottage, the place where Probert lived, was about two miles

from Elstree, and was approached by a narrow road called Gill's Hill

Lane. Some country people passing in the neighbourhood of this lane

about eight o'clock in the evening heard a shot fired and deep groans as

if some one was injured. They also heard voices and the wheels of a cart

or gig moving. Near nine o'clock Thurtell arrived at the cottage

_alone_, and giving the horse and gig to the servant, went out to meet

Probert and Hunt, with whom he soon afterwards returned.

Hunt being a stranger, was formally introduced to Mrs. Probert and a

Miss Noyes who was staying at the house. The whole party supped

together, and spent the evening in jollity. Hunt sang several songs, and

Thurtell produced a gold hunting-watch which afterwards proved to be

Weare's, and, taking off the chain, offered it to Probert for his wife,

but he declining it, Thurtell put it round the lady's neck himself. It

was after midnight before the ladies retired, and the sleeping

accommodation being limited it was arranged that Thurtell should sleep

on some chairs and Hunt was to occupy the sofa. A drawing of the sofa

forms one of the illustrations in the _Observer_, and proves how

thoroughly every circumstance of the horrid tale was followed up and

exhibited to the public. All this time the body of the murdered Weare

was lying behind a hedge in the lane.

Mrs. Probert's suspicions had been aroused by several strange

circumstances. A vague and horrid alarm took possession of her, and when

she retired to bed she stole to the head of the stairs and listened to

the talk that was going on below in the parlour. She heard her husband

and his two visitors apparently dividing money, burning papers, and

making mysterious plans to conceal something dreadful that had been

done. Then the parlour door was opened, and the frightened woman stole

back to her room. She heard two of the men go to the stable and bring

out the horse. Afterwards, hearing a noise in the garden, she looked out

of the window, and it being a moonlight night, she saw a man dragging

something large and heavy along the garden walk towards the fishpond.

Then followed a hollow sound as if something had been thrown into the

pond.

That night, when Probert went to bed, he found his wife sitting up and

crying. She questioned him about the mysterious sounds she had heard,

but he told her that he and his companions had only been out trying to

net some game. In the morning she renewed her inquiries, but he only

replied, 'Don't torment me; you make my life miserable.' He seemed in

low spirits, and went moping round the garden and about the pond. Going

into the kitchen Mrs. Probert observed the gig cushion drying at the

kitchen fire, although there had been no rain the night before, and the

cook was surprised to see in the stable a wet, ripped-up sack hanging on

a nail.

[Illustration: THE COUCH ON WHICH HUNT SLEPT AT GILL'S HILL COTTAGE.

FROM THE 'OBSERVER,' NOV. 10, 1823.]

Early on Saturday morning two labouring men were busy in Gill's Hill

Lane repairing the road, when two gentlemen passed them on foot. At the

bend of the lane they stooped down and appeared to be looking for

something among the dead leaves and brambles. Coming back they had some

conversation with the road-menders, and afterwards passed on up the lane

towards the cottage. A short time afterwards one of the labourers found

at the spot where the gentlemen had been looking an open penknife

covered with blood, and a little further on a pistol with hair sticking

to it, and also bloody. These articles the man gave to his master the

same morning when he came round to inspect their work. About noon they

saw the two gentlemen from Probert's drive away in a gig. They both

looked hard at the spot where the knife and pistol had been found, but

said nothing.

Mr. Nicholls, the road surveyor, to whom the knife and pistol had been

handed by the man who found them, went to the magistrates at Watford and

told how and where the articles had been found. The magistrates at once

sent information to Bow Street, and two of their number immediately went

to Gill's Hill Lane, where they discovered spots and gouts of blood on

the bank and under the leaves, and there was a gap in the hedge where a

body seemed to have been dragged through. The field was also much

trampled. They at once came to the conclusion that a murder had been

committed, and took instant measures to trace the guilty parties. The

police seized Probert and Thomas Thurtell at Gill's Hill, and searched

the house and premises. John Thurtell was apprehended at the 'Coach and

Horses,' in Conduit Street. Marks of blood were found on different

articles of clothing belonging to him. At Hunt's lodgings various

articles belonging to Weare had been found. Weare being missing it was

suspected he had met with foul play at the hands of these men. A

billiard-table keeper in Spring Gardens proved that Mr. Weare had called

upon him about three o'clock on Friday, October 24th, and told him he

was then on his way to join Thurtell in the Edgeware Road, as they were

going down to Hertfordshire for a few days' shooting. Thurtell, on being

questioned, admitted he knew Mr. Weare, but said he had not seen him for

eight days.

It appeared by the disclosures afterwards made by Thurtell's two

confederates that Thurtell had shot Weare while they were riding in the

gig down Gill's Hill Lane, leading to the cottage where Probert lived.

Weare jumped out of the gig, crying he would pay Thurtell all he owed

him if he would only spare his life. Thurtell jumped out of the gig and

ran after him. He got Weare down and cut his throat with a penknife, and

then struck him on the head with a pistol. He then dragged the body

through the hedge and left it there. The same night Thurtell and Hunt

went out from Probert's cottage to bring the body away, but they found

it too heavy. Probert and Thurtell then went and brought the body on the

horse, and put it in the fishpond with stones in the sack to keep it

down. They afterwards removed the body from the fishpond and sunk it in

a deep pond by the side of the Elstree road.

The cold-blooded indifference of the perpetrators of this atrocious

crime was most extraordinary. The murder was committed on Friday night,

and on Saturday Thurtell and Hunt returned to London and dined with

Thomas Thurtell and Mr. Noyes, Probert's brother-in-law, at the 'Coach

and Horses,' in Conduit Street. They were very jovial, and next day

(Sunday) the whole party met again at Proberts' house in Gill's Hill

Lane, when the afternoon was spent in playing at cards. On Sunday night

Thurtell and Hunt went to dig a grave to bury the body, but the dogs

were barking, and they were afraid some one was about. On Monday, while

Hunt engaged Mrs. Probert in conversation, Thurtell and Probert got the

body out of the fishpond, and cut off the clothes. Then they all three

carried it to the garden-gate and put it into the gig. A grave half dug

was found in Probert's garden, but the soil was hard, and it is supposed

that Thurtell and Hunt were afraid of the noise pickaxes would make.

Hunt, to save his own neck from the halter, confessed that he knew where

the body was, and went with four men in a hackney coach to a bridge on

the Elstree Road, near which was a deep pond by the side of the road. In

this pond the body of Weare was found tied in a sack, with stones to

keep it down.

[Illustration: POND IN WHICH THE BODY OF MR. WEARE WAS FOUND. FROM THE

'OBSERVER,' NOV. 10, 1823.]

Thurtell, Probert, and Hunt were tried at Hertford on January 6, 1824.

Probert was admitted King's evidence, and so escaped for that time, but

he was afterwards hung at the Old Bailey for horse-stealing. Thurtell

and Hunt were condemned to death, but only Thurtell was hung, Hunt being

reprieved on the morning of execution, and transported for life. In

those days prize-fighting was in much favour, and a great fight was

coming off between Spring and Langham, two noted pugilists. To show the

ruffianly and impenitent character of Thurtell, it is related that he

said, a few hours before his execution, 'It is perhaps wrong in my

situation; but I own I should like to read Pierce Egan's account of the

great fight yesterday.'

Some of the incidents of the trial were appalling, others ludicrous. The

production of the weapon with which the murder was committed, stained

and rusted with blood, made every one shudder except the prisoners. The

oft-quoted reason for a man being respectable 'because he kept a horse

and shay' occurred during this trial; and when Probert's cook was asked

whether the supper at Gill's Hill Cottage was postponed, she answered,

'No; it was pork.'[4]

The murder of Mr. Weare was committed on October 24, and discovered a

few days afterwards. On November 10 the _Observer_ published five

illustrations of the murder:--1. Probert's cottage and garden. 2. The

scene of the murder in Gill's Hill Lane. 3. The pond in which the body

of Weare was found. 4. Front view (from the road) of Probert's cottage.

5. The parlour and the couch on which Hunt slept. On December 7 the

_Observer_ published a view of the interior of the Crown Court at

Hertford at the moment the prisoners were brought up to plead; and,

having found that the public had eagerly purchased the illustrations

already issued, the editor announced the publication of two sheets with

additional engravings on the occasion of the trial:--'The Trials of the

prisoners at Hertford having been put off till Tuesday, Jan. 6, the

publication of the intended Supplement of this Journal, containing the

plates illustrative of the facts to be disclosed in the evidence, has

been deferred till Sunday, January 11, on which day Two Sheets instead

of one will be published. Booksellers, Postmasters, &c., are requested

to give their orders through their respective Agents in London, as no

papers whatever are on any occasion forwarded through the Publisher.'

Accordingly, at the appointed time two sheets came out, containing the

cuts already enumerated together with three fresh ones, the latter being

the stable-yard of Probert's cottage with the murderers conveying the

body by the light of a lantern to the stable; a front view of the

cottage, showing the murderers dragging the body to the pond; and a

ground-plan of the country round the scene of the murder. The conductors

of the Journal appear to have had some misgivings as to the good taste

of their proceedings, but were unable to resist the temptation of a

large and profitable sale. The engravings are thus introduced to the

reader:--'The unparalleled interest which has been created in the public

mind by the mysterious circumstances attending the death of Mr. Weare

has induced us, with a view to the gratification of our readers, to use

every exertion in our power, not only to give a faithful and copious

Report of the Trial of the persons charged with this most foul and

atrocious deed, but, with the assistance of competent Artists, to obtain

such Plates as appear to us best calculated to illustrate the detail of

circumstances disclosed in the evidence before the jury. We are aware

that by some these illustrations will be condemned as inconsistent with

good taste; and we are ready to acknowledge that on all occasions their

adoption would be extremely injudicious. In a case, however, where the

feelings and the curiosity of the public have been so much excited, and

where so singular and ardent an avidity has been displayed to obtain

every possible light upon a subject so interesting, we trust that those

who may entertain, perhaps, a well-founded objection to our plan, will,

for a moment, grant us their indulgence, and permit us to meet the

wishes of persons who may not be so fastidious as themselves. The

strongest argument which we can adduce in favour of the continued

pursuit of this plan--is the fact, that of three of the plates which we

now feel it necessary to republish, many thousand impressions have been

already sold, and yet the number, though high, has been insufficient to

supply the continued demand. The necessity imposed on us, however, for

breaking up our formes, forced us to refer the recent applicants to the

present publication, which will be found to contain the most minute and

correct particulars of everything connected with this extraordinary

affair.'

Then follows a long and minute description of all the plates, when it is

stated, 'For the sake of effect the artist has given all the views as

they would appear in daylight; but, with the exception of Plate II.

(finding the body of Weare in the pond), the scenes ought to have been

represented as at night.' Some of the engravings illustrating the murder

of Mr. Weare appeared in the _Morning Chronicle_ the day before their

publication in the _Observer_, and they were also published

simultaneously in the _Englishman_, which appears to have been in

substance another edition of the _Observer_ without the advertisements.

The name of W. Hughes is attached to them as the engraver.

The _Observer_ was loudly condemned for publishing the Weare and

Thurtell illustrations, and it did not for some time bring out any more

engravings; but this was probably owing more to the commercial

depression prevailing at the time than to the strictures that had been

passed upon newspaper morality.

About this time _Bell's Life_ came into Mr. Clement's hands, and

henceforth it shared, with the _Morning Chronicle_ and the _Englishman_,

in the illustrations prepared for the _Observer_. It had, however, a

distinct series of illustrations of its own, which was continued for

several years. But before describing them I must refer to one or two

characteristic engravings which appeared in _Bell's Life_ in its early

days. On November 28, 1824, the first large woodcut was published,

representing a prize-fight on a raised stage, and entitled the 'Tip Top

Milling at Warwick.' According to the account accompanying the

engraving, this prize-fight was a most brutal exhibition, without any

display of what boxers call 'science'--a mere exchange of hard blows,

ending in one of the combatants being carried insensible from the stage.

The coming fight was made known far and wide, so that when the day

arrived vehicles from all parts of the country brought hundreds of

spectators to the scene. The fight took place, openly and without fear

of interruption, on the race-course at Warwick, the grand stand being

crammed with spectators, and a ring of waggons, on which clustered

crowds of eager gazers, surrounded the stage. This is all shown in the

engraving in _Bell's Life_; and the different objects in the background,

such as the church, the keep of Warwick Castle, the cemetery, &c., are

pointed out by figures of reference with the most conscientious care.

There is a very long account of the battle, couched in language only

understood by members of the 'fancy.'

In 1825 the town was being amused by Liston, as 'Paul Pry,' then a

recent creation of the stage. On November 8 in that year _Bell's Life_

published a woodcut representing the comedian in that character, which I

have copied as an early example of the illustrations of the great

sporting journal.

[Illustration: LISTON AS PAUL PRY. FROM 'BELL'S LIFE,' 1825.]

In 1827 _Bell's Life_ commenced a series of caricature sketches by

Cruikshank, Seymour, and Kenny Meadows, entitled a 'Gallery of

Comicalities.' This continued at intervals, along with other sketches

entitled 'Phizogs of the Tradesmen of London' (half-lengths of Butchers,

Cobblers, &c., commencing in 1832); 'Kitchen Stuff, or Cads of the

Aristocracy' (heads of gentlemen's servants); 'Portraits down the Road'

(heads of characters seen on a stage-coach journey, such as the

Landlady, the Commercial Traveller, the Chambermaid, &c.); 'The Sporting

Album' (sketches from life, commencing 1834). These caricature subjects

were continued to the end of the year 1840. The greater number are much

too coarse, cynical, and vulgar for the taste of the present day.

Sometimes a series of sketches extended through several consecutive

weeks, such as 'The Pugilist's Progress' and 'The Drunkard's Progress,'

both by Seymour. 'The Drunkard's Progress,' which appeared in 1829,

consisted of twelve scenes, and embodied the same idea that was many

years afterwards more fully developed by George Cruikshank in his series

of large plates entitled 'The Bottle.' Now and then appeared a sporting

subject by Harvey, such as Coursing, Hunting, Bull-Baiting, &c. In the

number for February 8, 1829, appeared a curious woodcut representing a

view in the Isle of Anglesea, which was said to have excited the

attention and surprise of passing travellers from its presenting an

excellent profile of the Marquis of Anglesea, who was then very

popular. In 1831 portraits of Young Dutch Sam and Ned Neal, the famous

pugilists, were published; and in 1838 the initials of John Leech began

to appear to some of the cuts. Portraits of prize-fighters, race-horses,

representations of racing-cups, &c., were given at intervals until 1851,

when the last illustration, a monument to Tom Cribb, appeared.

[Illustration: THE MAN WOT LOST THE FIGHT.

THE MAN WOT WON THE FIGHT.

FROM 'BELL'S LIFE,' 1831.]

As further examples of the illustrations in _Bell's Life_, I copy two,

which were published in 1831.

About 1825 there was another sporting paper in existence, conducted by

the celebrated author of 'Tom and Jerry.' It was called _Pierce Egan's

Life in London_, and, like _Bell's Life_, had its sporting and other

columns decorated with little woodcut headings, and sometimes published

an engraving of a racing-cup.

At the beginning of 1827 the _Observer_ resumed its illustrations of

news, and on the death of the Duke of York published a long memoir of

his Royal Highness, accompanied by an equestrian portrait of the Duke,

'taken during his last visit to Newmarket.' In the number for January 21

are engravings of the remains of his Royal Highness lying in state in

St. James's Palace, and a view of the interior of the Royal Mausoleum at

Windsor. The above were engraved by Slader, and were published

simultaneously in the _Englishman_ and _Bell's Life_.

The number published on Aug. 13, 1827, contains a large portrait of Mr.

Canning, then just deceased. This portrait has the names of Jackson and

Smith attached to it as the engravers. In the number for Sept. 30 there

is a 'correct view of the Suspension Bridge, Hammersmith, to be opened

to the public on Saturday, Oct. 6, 1827.' This is engraved by Slader,

and appears also in _Bell's Life_ the same week. The following week the

_Observer_ published a large plan showing the alterations proposed in

St. James's Park in connexion with the building of Buckingham Palace;

and on Nov. 18 appeared a plan of the port of Navarino, accompanying an

account of the naval battle at that place. In December was published a

view of 'Mr. Gurney's new Steam-Carriage, as it appeared in the Regent's

Park on Thursday, Dec. 6, 1827,' and later in the same month a

representation of Mr. D. Gordon's new steam-coach. Both these engravings

are curious and interesting, as showing the attempts that were made

fifty years ago to apply steam to the propulsion of carriages on common

roads.

[Illustration: HIS ROYAL HIGHNESS THE DUKE OF YORK, TAKEN DURING HIS

LAST VISIT TO NEWMARKET. FROM THE 'OBSERVER,' JAN. 8, 1827.]

Mr. Gurney was a medical man, but gave up his practice and devoted

himself to scientific studies, and particularly to the construction of

locomotive engines for turnpike travelling. He had seen Trevithick's

engine, and when a youth had frequently met Trevithick himself. He had

thus become imbued with a conviction of the practicability of making a

steam-carriage that would travel on common roads. Other inventors

succeeded in doing the same thing, but Mr. Gurney attained the greatest

amount of success. With his steam-carriage he made a journey from London

to Bath on July 28, 1829, performing the return journey at fourteen

miles an hour, or the eighty-four miles in nine hours and twenty

minutes, stoppages for fuel and water included. In 1831 he established a

regular steam conveyance between Gloucester and Cheltenham, a distance

of about nine miles. The steam-carriages commenced plying on Feb. 21,

1831, and continued running four times a-day for four months, with

tolerable regularity and without accident. The project, however,

received such determined opposition from coach proprietors and turnpike

trusts that it was abandoned. The tolls exacted were so heavy that at

one gate they amounted to eight guineas. Mr. Gurney is said to have

expended 36,000_l._ on his enterprise, but without any permanent

beneficial result. His inventive genius, however, contributed to

develope the high speed of the locomotive and the subsequent success of

railways. He died Feb. 28, 1875, aged eighty-two years.

[Illustration: MR. GURNEY'S NEW STEAM-CARRIAGE AS IT APPEARED IN THE

REGENT'S PARK ON THURSDAY, DEC. 6, 1827. FROM THE 'OBSERVER,' DEC. 9,

1827.]

Mr. Gordon took out a patent for a steam-coach in 1822, and constructed

two different machines. One had its wheels surrounded by cogs, or

projecting teeth. This engine was to be placed within a large rolling

drum, about nine feet in diameter and five feet wide, the inside of

which should be fitted with circular rack-rails fitting the wheels of

the steam-engine. Thus the motion of the engine would cause the drum to

roll forward, on the same principle that a squirrel causes a cylindrical

cage to revolve; and the rolling of the drum was to move a carriage

connected with it. The other machine had two long propellers or legs,

intended to obviate the supposed tendency of wheels to slip when

ascending a slope.

The Thames Tunnel, which was begun in 1825 by Mr. Brunel, was on more

than one occasion threatened with destruction by irruptions of water. On

Jan. 12, 1828, six workmen perished by a sudden rush of water into the

workings, and on the 20th the _Observer_ published an engraving

representing the catastrophe. On the 9th of June appeared 'A correct

view of Ascot Heath Race Course, taken by an eminent artist on Thursday

last.' This 'eminent artist' was William Harvey, and the cut bears the

names of Jackson and Smith as the engravers. A sheet containing a

selection of comic sketches from _Bell's Life_ was issued with the

_Observer_ of July 20, 1828, accompanied by a statement that the

sketches (twenty-seven in number) cost one hundred and forty-two pounds,

drawing and engraving. This sounds very trivial when contrasted with the

large sums now paid by illustrated newspapers.

In 1827 another exciting murder was committed, and the _Observer_,

undeterred by former censures, published a portrait of the criminal and

a view of the scene of his crime, but did not on this occasion deal with

the case in the elaborate way in which the murder of Mr. Weare was

treated. The story of the Red Barn is well known to provincial playgoers

in the Eastern Counties, where it still sometimes figures in theatrical

programmes on Saturday nights. William Corder was a farmer's son

residing not far from Ipswich. He had for some time carried on an

intrigue with a country girl named Maria Marten, whom he at last enticed

into a barn not far from her father's cottage, and there murdered her,

and buried her body under the floor of the barn. After this he continued

to visit her father's cottage, and by various falsehoods accounted for

the girl's continued absence. Months went by, and Corder wrote several

letters to the girl's parents, in which he told plausible stories about

her being at the seaside with relatives of his own. The girl's mother,

however, had had her suspicions aroused by several circumstances, and at

length she dreamed three times that her daughter had been murdered and

her body hid under the floor in the Red Barn. The woman's mind was so

worked upon by the recurrence of this dream that she induced her husband

to search under the floor of the barn, and there, sure enough, the

murdered body of the girl was found. In the meantime Corder had

advertised for a wife in the _Morning Herald_ in the following

terms:--'A private gentleman, aged twenty-four, entirely independent,

whose disposition is not to be exceeded, has lately lost chief of his

family by the hand of Providence, which has occasioned discord among the

remainder, under circumstances the most disagreeable to relate. To any

female of respectability, who would study for domestic comfort, and is

willing to confide her future happiness to one in every way qualified to

render the marriage state desirable, as the advertiser is in affluence.

Many happy marriages have taken place through means similar to this now

resorted to. It is hoped no one will answer this through impertinent

curiosity; but should this meet the eye of any agreeable lady, who feels

desirous of meeting with a sociable, tender, kind, and sympathising

companion, they will find this advertisement worthy of notice. Honour

and secrecy may be relied on. As some little security against idle

application, it is requisite that letters may be addressed, post-paid,

A. Z., care of Mr. Foster, stationer, 68 Leadenhall Street, with real

name and address, which will meet with most respectful attention.'

[Illustration: WILLIAM CORDER. FROM THE 'OBSERVER,' AUG. 10, 1823.]

Through this advertisement Corder became acquainted with a lady who kept

the Grove House Academy at Ealing, near London. They were married, and

he went to reside with his wife at Grove House, where he was arrested

one morning in the spring of 1828. Various circumstances pointed to him

as the murderer of Maria Marten, and he was tried for the crime at Bury

St. Edmunds on Aug. 6, 1828. The crowd was so great that the counsel and

officers of the court had to fight their way to their places. Corder

appeared at the bar dressed in a new suit of black, and with his hair

combed over his forehead. He wore a pair of blue French spectacles,

through which he eyed the witnesses smilingly. Being called on for his

defence, he read a statement which amounted to charging Maria Marten

with having committed suicide. He said that in consequence of a quarrel

they had in the Red Barn she shot herself with one of two pistols which

he had with him:--'The instant the mischief happened, I thought to have

made it public; but this would have added to the suspicion, and I then

resolved to conceal her death. I then buried her in the best way I

could. I tried to conceal the fact as well as I could, giving sometimes

one reason for her absence, and sometimes another.' He was found guilty

and sentenced to death, and the night before his execution he made the

following confession:--'I acknowledge being guilty of the death of poor

Maria Marten, by shooting her with a pistol. The particulars are as

follows: When we left her father's house, we began quarrelling about the

burial of the child, she apprehending that the place wherein it was

deposited would be found out. The quarrel continued for about three

quarters of an hour upon this and about other subjects. A scuffle

ensued, and during the scuffle, and at the time I think that she had

hold of me, I took the pistol from the side pocket of my

shooting-coat.... I have been guilty of great idleness, and at times led

a dissolute life, but I hope through the mercy of God to be

forgiven.--W. CORDER.'

This murder excited great and marked interest, not only in Suffolk, but

through the whole country. On Aug. 10, 1828, the day before the

execution, the _Observer_ published a portrait of Corder and a view of

the Red Barn, which are here copied. The excitement showed itself in the

streets, where puppet shows represented the scene of the crime, and

Methodist preachers held forth in the fields near the barn to thousands

of attentive listeners. The Red Barn itself was nearly pulled to pieces

by curiosity seekers.

[Illustration: THE RED BARN. FROM THE 'OBSERVER,' AUG. 10, 1828.]

On the Monday of the execution all the workmen in Bury struck work in

order to see the murderer hanged, and persons came from long distances

for the same purpose. One man was pestered by every one he met on his

return by inquiries whether Corder had really been hung that morning.

This was repeated so often that he became quite weary of the constantly

recurring question, 'Is Corder executed?' In the evening, in order to

get rid of the gloomy feelings created by what he had witnessed, he went

to the theatre, where he arrived somewhat late. The play ('Macbeth') had

advanced to the fourth scene of the first act as he seated himself in

the pit. The newcomer, who was better acquainted with the details of the

murder in the Red Barn than with the plays of Shakespeare, was not a

little astonished when King Duncan entered, and, fixing his eye upon

him, repeated what he thought was the same question that had been so

often addressed to him that day, 'Is execution done on Cawdor?'

[Illustration: THE SIAMESE TWINS. FROM THE 'OBSERVER,' NOVEMBER 22,

1829.]

The _Observer_ continued its illustration of events as they occurred,

sharing the engravings with _Bell's Life_ and the _Englishman_. St.

Katharine's Docks were opened on Oct. 25th, 1828, and on the following

day the _Observer_ published a bird's eye view of the docks, showing the

ceremonies attending the opening. In January, 1829, appeared two views

of Buckingham Palace, then building for George IV.; and in August a cut

of the 'Post-Office Accelerator,' a carriage for conveying London

postmen to their several districts. A portrait of Rowton, the winner of

the Great St. Leger for 1829, was given in September. This year the

lovers of wonderful shows were attracted to an exhibition in London of

two Siamese youths who were united together by a short cartilaginous

band at the pit of the stomach, but with no other connexion existing

between them. They were perfectly straight and well made, and walked

with a gait like other people; being perfect in all their parts, and

having all their functions distinct. Their names were Chang and Eng; and

they were first discovered on the banks of the Siam river, fishing, by

Mr. Hunter, an American, by whom they were taken to New York, where they

were exhibited, and were afterwards brought to England. They were

supposed to be about eighteen years old when they were exhibited in

London in 1829. The _Observer_ of November 22, 1829, published a long

account of the Siamese Twins, with a woodcut representing them as they

were exhibited to the public.

After having been exhibited for several years in London and the

provinces, the Siamese twins went to America, where they settled on a

farm, and married sisters. In the year 1869 they returned to London, and

were as elderly men again exhibited; but they soon went back to America,

where in a few years they died, both together. A similar exhibition was

made in London about 1868 of twin girls, named Millie-Christine, or the

'Two-headed Nightingale,' and it was probably the appearance of these

two 'black birds' that suggested the idea of the Siamese twins appearing

again in public.

In June, 1830, George the Fourth died, and the _Observer_ published

several engravings connected with the event. On June 24th appeared a

portrait of 'His Majesty George the Fourth as he last appeared in his

Pony Phaeton in Windsor Park;' and on July 18 three illustrations of the

lying-in-state and the funeral were published.

'The King is dead! Long live the King!' So said the citizens of London

when they invited William IV. and Queen Adelaide to a banquet at

Guildhall on the following November 9; and on the 1st, eight days before

the entertainment came off, the _Observer_ duly supplied the public with

'A correct view of the grand civic entertainment,' as it was to be. On

Aug. 1, 1831, new London Bridge was opened by the King and Queen, and

two engravings illustrative of the event were published in the

_Observer_, the _Morning Chronicle_, _Bell's Life_, and the

_Englishman_. One of them is interesting, as it shows the relative

positions of the old and the new bridge. The view was taken from the

tower of St. Saviour's Church, Southwark, looking towards Fish Street

Hill.

[Illustration: HIS MAJESTY GEORGE IV., AS HE LAST APPEARED IN HIS PONY

PHAETON IN WINDSOR PARK. FROM THE 'OBSERVER,' JUNE 29, 1830.]

The _Observer_ of Sept. 11, 1831, contained four illustrations of the

coronation of King William IV. and Queen Adelaide, together with long

and elaborate descriptions. There was another paper in existence at this

time called the _United Kingdom_, which also illustrated the coronation.

This was the period of the great Reform agitation, when the newspapers

were absorbed in political excitement; and after this the _Observer_ for

a time ceased to give any illustrations.

On July 28, 1835, a diabolical attempt was made in Paris to shoot

Louis-Philippe, king of the French. The assassin, whose name was

Fieschi, constructed an infernal machine, consisting of twenty-five

barrels, charged with various kinds of missiles, and lighted

simultaneously by a train of gunpowder. The machine was fired from a

window as the King rode along the lines of the National Guard, on the

Boulevard du Temple, accompanied by his three sons and suite. The King

and his sons escaped, but Marshal Mortier was shot dead and many

officers were dangerously wounded. Amongst the spectators upwards of

forty persons were killed or injured. In its number for August 9, 1835,

the _Observer_ gave a sketch of the attempted assassination, a portrait

of the criminal, and a representation of the infernal machine.

The actual infernal machine, with a waxen effigy of Fieschi, formed for

many years a prominent attraction at Madame Tussaud's Exhibition.

The reign of William IV. was a short one, and soon the _Observer_ had to

illustrate his funeral, as it had done that of his predecessor. The

number for July 3, 1837, contained three engravings of the royal

obsequies, and ere long the brief rule of the Sailor King was forgotten

in the dawning glories of the Victorian era. The epoch of railways was

opening. The Greenwich Railway was the first railway out of London, and

the next was the North-Western, or the London and Birmingham as it was

then called. On July 24, 1837, the _Observer_ published a large

woodcut of the 'Grand entrance to the London and Birmingham Railway at

Euston Square.' Mr. Hardwick's massive structure was then in progress,

and formed the entrance to the first of the great London railway

stations--vast buildings, some of which have swallowed up whole streets,

and contributed greatly to alter the appearance of London in their

vicinity.

[Illustration: GERARD, _ALIAS_ FIESCHI, AND THE INFERNAL MACHINE. FROM

THE 'OBSERVER,' AUGUST 9, 1835.]

On July 24, 1837, a balloon ascended from Vauxhall with a parachute

attached, in which was Mr. Cocking, who in descending was killed. The

_Observer_ published illustrations of this event, which excited great

interest at the time. Other papers illustrated Mr. Cocking's death,

which I will recount more at length when I come to treat of the _Weekly

Chronicle_, which contained more illustrations of the event than any

other paper. A large engraving appeared in the _Observer_ for August 20,

1837, representing the Waterloo shield, given by Lord George Bentinck,

and run for at Goodwood Races, 1837.

When Her Majesty Queen Victoria paid her first visit to the City of

London after her accession, the _Observer_ came out with larger

engravings than it had ever before produced. Two large views of the

interior of Guildhall were given, together with a panoramic sketch of

the royal and civic procession, and a portrait of the youthful Queen,

'surrounded by a beautiful Emblematic Design, in which innocence and

strength are happily portrayed by the playfulness of the Doves and the

fearless defiance of the Lion.' Such was the flowery language of the

_Observer_ in those days.

The _Observer_ of July 2, 1838, was a double number, price tenpence, and

contained several illustrations of the coronation of Queen Victoria,

which were also printed in _Bell's Life_. I have copied one of them, not

because it is particularly good, but simply to mark an important

historical event, which ought to have some record in an account of

illustrated journalism.

[Illustration: THE CORONATION OF QUEEN VICTORIA. FROM THE 'OBSERVER,'

JULY 2, 1838.]

On the occasion of Her Majesty's marriage, the _Observer_ published a

wedding number, containing several engravings, which were introduced to

the reader thus:--'Little in the way of explanation is necessary to

render the sketches in the opposite page, with which we have illustrated

our account of the splendid ceremonials of Her Majesty's Nuptials on

Monday last, intelligible. Our readers will no doubt make due allowance

for any imperfections which may be discovered, when they reflect on the

fact that the whole of the labours of the artists and the engravers have

been accomplished in less than a week, and this under circumstances of

difficulty, in obtaining admission to the scenes to be sketched, almost

insurmountable. We should not be doing justice to our engraver were we

not to state that it is to Mr. Orrin Smith we owe the consummation of

our desire to gratify our patrons.'

On October 30, 1841, a fire occurred in the Tower of London, when the

Armoury and 280,000 stand of arms were destroyed. On November 7 the

_Observer_ published three illustrations of this great fire. On November

14 it presented its subscribers with a large emblematic engraving on the

occasion of the birth of the Prince of Wales. In the following January,

when the Prince of Wales was christened, it published a large page

engraving designed by W. B. Scott, and engraved by Smith and Linton,

containing the ceremony of christening in St. George's Chapel, the

banquet in St. George's Hall, illustrations of the history of the

Princes of Wales from the presentation of the first Prince of Wales to

the Welsh, to the religious instruction of Edward VI. by Archbishop

Cranmer, including the battle of Cressy with the feats of the Black

Prince, and the subsequent pageantry attending the introduction of the

King of France as a prisoner into London over London Bridge; following

this is the dismissal of Falstaff and his profligate companions by Henry

V., with views of Windsor, &c. From this time until 1847 the _Observer_

published no more engravings. In the interval the _Illustrated London

News_ commenced its career. On July 12, 1847, the _Observer_ published

the last of its illustrations. This was on the installation of Prince

Albert as Chancellor of the University of Cambridge. The engravings have

the name of W. J. Linton attached to them, and are on a larger scale,

and are better done than anything hitherto appearing in the same paper.

The _Weekly Chronicle_, the first number of which was published

September 18, 1836, started with the idea of illustrating the news of

the day as one of its principal features. The price was threepence, and

with it was incorporated the _Weekly Times_. In the first number the

public were 'requested to be on their guard against the substitution of

any other paper.' This probably had reference to some threatened

rivalship, for exactly a year later appeared _Holt's Weekly Chronicle_,

a paper which also gave illustrations of current events. It published

engravings connected with the rebellion in Canada, and also illustrated

the burning of the Royal Exchange in 1838. It appears to have had only a

brief existence. The first number of the _Weekly Chronicle_ contained an

engraving of 'the new grand Balloon which ascended from Vauxhall Gardens

with nine persons on Friday, September 9th, engraved by W. C. Walker,

from a drawing made by a gentleman who ascended expressly for this

paper.' Number 2 contained a page of comic sketches, apparently by

Seymour, and with the number for October 30, 1836, was presented gratis

an almanack containing a view of the new Houses of Parliament, not quite

as the design was eventually carried out. Very early in its career the

_Weekly Chronicle_ selected the criminal records as favourite subjects

for illustration. Perhaps some memory of the profits realised by the

_Observer_ on the occasion of the Weare murder induced the conductors to

cultivate this class of news. Certainly nothing more repulsive ever

figured in the pages of an illustrated newspaper than some of the

woodcuts published by the _Weekly Chronicle_.

Towards the end of 1836 another attempt was made on the life of the King

of the French, and on January 8, 1837, the _Weekly Chronicle_ published

a portrait of the criminal. A month or two later the public were

enlightened as to the personal appearance of another murderer, one

Pegsworth, who had his portrait taken in Newgate on the morning of his

execution. The annals of crime were varied by the exploits of war, and a

view of the heights of Amelzagame illustrated the career of the Spanish

Legion under the command of General Evans. In the spring of 1837

occurred the Greenacre murder, and the _Weekly Chronicle_ at once went

into the case with an evident determination to do full justice to its

sensational merits. From the first examination of the murderer before

the magistrates to his final exit in the Old Bailey the artists of the

paper were on the alert, pencil in hand. It is a painful fact that the

numbers of the _Weekly Chronicle_ containing the illustrations of the

Greenacre murder had a very large sale. The details of the crime are too

shocking to recapitulate, but I will give a list of the woodcuts

published in connexion with it.

April 2, 1837.--A sketch of Greenacre taken while under examination at

the police-office. Head of the murdered woman as preserved in spirits at

Paddington Workhouse.

April 9.--Greenacre taking notes at his examination before the

magistrates at Marylebone Police Office. Exterior of Greenacre's house

in Carpenter's Buildings, Windmill Lane, Camberwell. View of Pineapple

Gate, Edgware Road, where the body was found. Matthew Hale, lock-keeper,

who found the head. Rear of Greenacre's house. A back room looking into

the garden. Portraits of Mrs. Gale and child taken while under

examination at Marylebone Police Office. Room where the horrible

mutilation was committed. Osierbed in Cold Harbour Lane, where the legs

were found.

April 16.--Trial of Greenacre.

April 23.--Chapel in Newgate, sketched during the preaching of the

condemned sermon to Greenacre.

April 30.--Greenacre in condemned cell.

[Illustration: CHAPEL IN NEWGATE: THE CONDEMNED SERMON. FROM THE 'WEEKLY

CHRONICLE,' APRIL 23, 1837.

1. Sheriffs' Pew.

2. Governor's Pew.

3. Condemned Pew.]

On May 7 the _Weekly Chronicle_ wound up this series of illustrations by

publishing a large cut, which it entitled, 'A scene in the Old Bailey,

immediately before the execution, engraved expressly for the _Weekly

Chronicle_ by a distinguished artist.' According to an announcement in

the paper itself, the sale of the _Weekly Chronicle_ during the

publication of these engravings was 130,000.

[Illustration: THE CONDEMNED CELL, NEWGATE. FROM THE 'WEEKLY CHRONICLE,'

APRIL 30, 1837.]

On May 14, 1837, the _Weekly Chronicle_ published portraits of Sir

Francis Burdett and Mr. Leader, the former of a superhuman length, with

a shocking bad hat. In the following number, as if the public had not

been sufficiently supplied with horrors, there was printed 'a sketch of

Eliza Davis as she lay on the mattress after the murder.' This was known

as the Frederick Street murder, and was remarkable from the

circumstances, and from the fact that the murderer was never

discovered. This paper now commenced 'The Pictorial Gallery,

illustrating every object of interest and curiosity in Art, Science,

Literature, and Amusement. (To be continued weekly.)' In this series

were published a view of the Euston Railway Station, a portrait of

Madame Taglioni, a sketch of a novel mode of propelling balloons,

representations of the Bedouin Arabs, the City of London School, the

Adelaide Gallery, the Hippodrome at Bayswater, proclamation of Queen

Victoria at Temple Bar, portraits of the Queen, the late King, the Earl

of Durham, and the Duchess of Kent. Then followed a view of the Royal

Mausoleum at Windsor, and several illustrations of Mr. Cocking's fatal

descent in a parachute.

Mr. Cocking was an enthusiast in aerostation--he was, in fact, balloon

mad, and had spent years in inventing a parachute which he believed to

be perfectly safe, and in which he ascended from Vauxhall Gardens on

July 24, 1837, attached to Mr. Green's Royal Nassau balloon. The

experiment was widely advertised, and when the day and hour arrived the

poor enthusiast faithfully appeared, and ascended in his fatal machine

for more than a mile. He then himself liberated the parachute from the

balloon. For a few seconds he descended steadily; the parachute then

collapsed, broke, turned over, and shot straight down to the earth a

hopeless ruin. Poor Cocking was still in the basket of the parachute

when he reached the earth, but was quite insensible, and in ten minutes

he was dead. The parachute fell at Lee; and it is recorded that not only

was the machine itself carried away piecemeal, but the dead man's purse

was stolen from his pocket, his watch, his snuff-box, his eye-glass were

taken, even the cap was stolen from his head, the shoes were pulled from

his feet, the buttons from his dress. Such statements seem incredible,

and for the credit of human nature one could wish they were false; but

they have been seriously made, and never contradicted.

[Illustration: MR. COCKING IN HIS PARACHUTE AT THE MOMENT OF ASCENSION.

FROM THE 'WEEKLY CHRONICLE,' JULY 30, 1837.]

The _Weekly Chronicle_ published several illustrations of this event.

They represent Mr. Cocking in the car of the parachute at the moment

of ascension; the Nassau balloon as it appeared from the Royal Gardens,

Vauxhall; the parachute in its various stages in its descent; and Mr.

Cocking as he lay for the inspection of the jury in the room at the

Tiger's Head, at Lee. The first of these I have copied.

This rash adventure was wound up by the opening of a subscription list

for the benefit of Cocking's widow, which was headed by the Queen with

50_l._ The Gas Company that had supplied the gas for the disaster gave

30_l._, and the proprietors of Vauxhall gave the gardens for a benefit.

Thus the friends who ought to have restrained the vanity of the

enthusiast and the speculators who led him on to his fate did their best

in the way of atonement; but it was clearly a case where the civil power

ought to have interposed to prevent the fatal catastrophe.

The _Chronicle_ varied its illustrations of events by an occasional

portrait of a public man, such as Mr. T. Wakley, Mr. Roebuck, Lord John

Russell, and Daniel Whittle Harvey. The Queen's first visit to the City,

and her Majesty delivering her speech to her first Parliament, furnished

subjects for large woodcuts. Early in the year 1838 the Royal Exchange

was burnt, and this historical event was made the subject of an

engraving in the number for January 14, 1838.

This year the _Weekly Chronicle_ also published several engravings

illustrative of the rebellion in Canada, including a portrait of

Papineau, the insurgent leader, and views of Quebec and Montreal. The

murder of Eliza Grimwood in the Waterloo Road furnished another

opportunity for sensational sketches, and in the same number that

contained them (June 10, 1838) appeared three illustrations of the

Courtney Riots at Canterbury.

In 1833 an eccentric person, calling himself Sir William Courtney,

appeared at Canterbury and attracted much attention by his half-crazed

appearance and his frequent harangues on the grievances of the poor. He

presented himself as a candidate to represent the city of Canterbury in

Parliament, but this ambition was frustrated by his being tried and

found guilty of perjury, an offence he had committed on behalf of some

smugglers on the Kentish coast. He was sentenced to imprisonment and

transportation; but, being proved insane, the sentence was commuted, and

he was confined in a lunatic asylum. Here he remained four years, and

was then liberated under the belief that he was restored to a rational

state. He was, however, madder than ever, having while in confinement

brooded over his supposed wrongs and the sufferings of the oppressed

poor until he fancied himself a prophet and a deliverer sent from

heaven. With the cunning of madness he counterfeited sanity, and thus

was able to resume what he considered his prophetic mission. He

harangued about the new poor law, promised cheap bread to all who would

follow him, and on May 29, 1838, he gathered together a band of about

twenty men, with whom he marched from one place to another, proclaiming

that he would make May 29 more memorable than it had ever been in

connexion with the restoration of Charles II. This went on for a day or

two, when a farmer, named Curtis, having his field-work stopped by the

leading away of his men, went to a magistrate and obtained a warrant to

apprehend them. In an attempt to execute this warrant a constable was

killed by Courtney, who now broke into a rhapsody of exultation,

declared that a second Gideon was come to slay the ungodly, and that all

should perish who opposed the prophet. With outstretched sword he cried,

'I am the only Saviour of you all. You need not fear, for I will bring

you through all.' The excitement had now become so general, and the

menaces of Courtney and his armed party so alarming, that the

magistrates resolved on the instant capture of this dangerous maniac and

his ignorant followers. They came up with the rioters at a place called

the Osier Bed, where Courtney's men threatened the magistrates and

constables with bludgeons and fire-arms. After firing his pistol at one

of the party who attempted to arrest him, Courtney and his men broke

away to Bossenden Wood, and the magistrates, seeing no other resource,

sent at once for a detachment of the 45th Regiment from Canterbury

Barracks. Courtney had now proclaimed to his followers that he was no

other than Jesus Christ returned to earth, and that they were safer with

him than if they were in their beds; therefore they must resist the

soldiers, and they were sure of victory. In the meantime a hundred men

of the 45th Regiment, headed by Lieutenant Bennett, surrounded Bossenden

Wood. Accompanied by the civil magistrates, they advanced to close round

the rioters, when Courtney fired at the young Lieutenant commanding the

party, and shot him dead. The next minute the prophet himself was slain

by a soldier, who covered him with his musket as he fired at Lieutenant

Bennett. Then ensued a hand-to-hand fight, which resulted in the death

of seven of the rioters and one constable, besides several persons

seriously wounded.

The illustrations of these riots in the _Weekly Chronicle_ of June 10,

1838, consist of the following:--

1. 'Courtney with his troops leaving Bossenden Farm.'

2. 'The death of Lieutenant Bennett. Courtney in the act of exhorting

his men to advance.'

3. 'Interior of the Red Lion stables, with the bodies as they were laid

out after the conflict.'

Courtney, whose real name was John Thom, was undoubtedly mad. He never

could have found followers, except amongst the most degraded and

ignorant; and it is hoped he did better service to his countrymen than

he ever dreamt of by drawing attention to the dreadful evils arising

from the want of education among the rural population. Most of his

followers could neither read nor write, and were so totally unacquainted

with the simplest truths of Christianity that they believed him when he

asserted that he was Gideon, Samson, and Jesus Christ all in one, and

that he had descended from heaven to redress the wrongs of the poor, but

more especially to reduce the price of bread!

[Illustration: THE DREADFUL RIOT AND LOSS OF LIFE AT BOSSENDEN WOOD,

EAST KENT. FROM THE 'WEEKLY CHRONICLE,' JUNE 10, 1838.

1. Courtney.

2. Lieutenant Bennett.

3. Sergeant Langley making a thrust at Courtney with a bayonet, and

was knocked down with a bludgeon.

4. Six Magistrates.

5. Soldier who stepped forward and shot Courtney.

6. Major Armstrong.

7. Detachment of the 45th Regiment loading.

8. Lieutenant Bennett's detachment.

9. The man Wills, who knocked down Sergeant Langley.

10. Courtney's flag.

11. J. N. Knatchbull firing at Courtney.]

The _Weekly Chronicle_ illustrated the coronation of Queen Victoria by a

view of 'The interior of the Abbey at the moment of Her Majesty

assuming the Crown,' and a full-page engraving of the Coronation

Procession. Two pages of engravings were given on the occasion of the

Queen's marriage; and on November 1, 1841, a large 'view of the Tower of

London as it appeared on fire on the morning of Sunday, the 31st ult.,

from a drawing by a distinguished artist.' On January 29, 1842, the same

paper illustrated the christening of the Prince of Wales, with its

attendant ceremonies and festivities; and later in the same year were

published the last of its illustrations, relating to the employment of

women and children in coal-mines.

[Illustration: INTERIOR OF THE HOUSE OF LORDS, LOOKING FROM THE ENTRANCE

TO THE SPOT LATELY OCCUPIED BY THE THRONE. FROM THE 'SUNDAY TIMES,' NOV.

2, 1834.]

The _Observer_, _Bell's Life_, and the _Weekly Chronicle_, which during

more than twenty years had been the chief representatives of pictorial

journalism, gradually abandoned the practice of giving illustrations

after the _Illustrated London News_ was established. Two or three other

newspapers occasionally published engravings, but they were very few,

and appeared at long intervals. The _Sunday Times_ illustrated the trial

of Thurtell for the murder of Mr. Weare, and on Nov. 2, 1834, it

published several engravings of the destruction of the Houses of

Parliament, two of which, representing the ruins, are of sufficient

interest to introduce here.

[Illustration: RUINS OF THE HOUSE OF COMMONS. FROM THE 'SUNDAY TIMES,'

NOV. 2, 1834.]

The _Champion_ of Nov. 13, 1836, has an engraving of the interior of a

cotton-factory; and the _Weekly Herald_ in the same year issued two

engravings illustrating the story of Wat Tyler:--'1. Workshop scene; Wat

Tyler knocking the Tyrant Tax-gatherer's brains out;' the principal

characters equipped in boots, buckles, and belts, in true theatrical

style 2. 'Smithfield scene; the assassin Walworth treacherously

murdering the brave but too-confiding Wat Tyler.' The same paper also

issued this year a view of St. Peter's, Rome. The _Magnet_, a paper

started in 1837, illustrated the proclamation of Queen Victoria, William

IV. lying in state, the Canadian rebellion, burning of the Royal

Exchange, coronation of Queen Victoria, and on Jan. 4, 1841, the removal

of the remains of Napoleon I. from St. Helena. There are two engravings

of this interesting historical event. The first is entitled, 'A correct

view, taken on the spot, of the interior of the tent at St. Helena,

after the disinterment of the body of Napoleon, at the instant of the

removal of the lid from the coffin; the remains of the Emperor appearing

(as one of the spectators remarked) as if he were asleep.' I have copied

the second cut, which represents the embarkation of the body, and is one

of the last examples of pictorial journalism before the birth of the

_Illustrated London News_.

Before concluding this part of my subject it is fitting that I should

include the _Penny Magazine_ amongst the pictorial journals which

immediately preceded the establishment of a regular illustrated

newspaper. The _Penny Magazine_, though not a newspaper, was intended to

supplant the cheap and pernicious contraband newspapers that then

existed in large numbers. It was the most successful experiment that

England had then seen of the art of illustration in combination with the

steam press, and was the best attempt that had been made in a cheap form

to elevate the public taste.

[Illustration: THE REMOVAL AND DELIVERY OF THE REMAINS OF THE EMPEROR

NAPOLEON BY THE GOVERNOR OF ST. HELENA TO THE PRINCE DE JOINVILLE, ON

THE 16TH DAY OF OCTOBER, 1840. FROM THE 'MAGNET,' JAN. 11, 1841.]

Mr. Charles Knight, who thus, in the _Penny Magazine_, led the way in

combining literature with art in a popular form, was a staunch advocate

of education, and he never ceased in his endeavours to improve the

condition of the masses. He said, 'the poor man must be made a

thinking man--a man capable of intellectual pleasures; he must be

purified in his tastes, and elevated in his understanding; he must be

taught to comprehend the real dignity of all useful employments; he must

learn to look upon the distinctions of society without envy or

servility; he must respect them, for they are open to him as well as to

others; but he must respect himself more. The best enjoyments of our

nature might be common to him and the most favoured by fortune. Let him

be taught how to appreciate them. Diminish the attractions of his

sensual enjoyments by extending the range of his mental pleasures.'[5]

With such convictions, Mr. Knight, in 1827, joined the Society for the

Diffusion of Useful Knowledge, a new educational movement then just

started by the Reform Party. He brought out, under its auspices, a great

number of useful works, most of which were profusely illustrated. In

1832 Mr. Knight resided in the Vale of Health on Hampstead Heath. One of

his neighbours was Mr. M. D. Hill, an active member of the Society for

the Diffusion of Useful Knowledge. It was a time of great political

excitement, and the town was flooded with unstamped weekly publications,

which in some degree came under the character of contraband newspapers,

and were nearly all dangerous in principle and coarse in language. Mr.

Knight and Mr. Hill often walked to town together, and their

conversation naturally turned to a subject in which they both felt a

special interest--the means of improving the condition of the people by

the diffusion of cheap literature, and so counteracting the dangerous

and offensive publications which then abounded. One morning in early

spring their talk was of this kind, when Mr. Hill exclaimed, 'Let us see

what something cheap and good can accomplish! Let us have a Penny

Magazine!' Mr. Knight immediately adopted the suggestion, which was

cordially approved by the Lord Chancellor Brougham; and on March 31,

1832, appeared the first number of 'the _Penny Magazine_ of the Society

for the Diffusion of Useful Knowledge.' It was necessary to avoid making

the new periodical anything like a newspaper lest it should become

liable to stamp duty, and at first very little expense was incurred for

illustrations, most of the engravings in the early numbers being

reprinted from other works of the Society. It was not till six months

had elapsed that Mr. Knight ventured into the wide field of

illustration, and made the public familiar with great works of art, such

as the 'Laocoon,' the 'Apollo Belvedere,' the 'Dying Gladiator,' the

'Cartoons,' &c. The best pictures of the old masters were intermingled

with scenes at home and abroad, with places of renown and illustrious

men of all nations and of every age.

The success of the _Penny Magazine_ was a surprise to the publisher and

an astonishment to most persons. At the end of 1832 it had reached a

sale of 200,000 in weekly numbers and monthly parts, and it soon

produced a revolution in popular art throughout the world. Stereotype

casts of its best cuts were supplied for the illustration of

publications of a similar character which appeared in Germany, France,

Holland, Livonia, Bohemia, Italy, Ionian Islands, Sweden, Norway,

Spanish America, and the Brazils. The entire work was also reprinted in

the United States from plates sent from this country.[6]

It continued its prosperous career for nine years, when a new series was

commenced, with considerable improvements in engraving and printing.

Five volumes of the new series were published, but the sale declined,

owing to the commencement of illustrated newspapers, and the _Penny

Magazine_ in its old form came to an end in 1845, three years after the

commencement of the _Illustrated London News_.[7] _Knight's Penny

Magazine_, a smaller miscellany, commencing in January, 1846, kept up

the old name for six months longer, and then it ceased to exist. In

announcing its discontinuance, Mr. Knight thus closes this interesting

chapter of literary history:--'The present series of the _Penny

Magazine_ is closed, after an experience of only six months. The editor

has no reason to complain of the want of public encouragement, for the

sale of this series has exceeded that of its predecessor in 1845. But

the sale, such as it is, is scarcely remunerative; and there are

indications that it may decline rather than increase. This is a hint

which cannot be mistaken. It shall not be said of his humble efforts to

continue, upon an equality with the best of his contemporaries, a

publication which once had a decided pre-eminence, that

"Superfluous lags the veteran on the stage."

He leaves this portion of popular literature to be cultivated by those

whose new energy may be worth more than his old experience. The _Penny

Magazine_ shall begin and end with him. It shall not pass into other

hands.'

Mr. Knight attributed the falling off in the sale of the _Penny

Magazine_ to the extended sale of newspapers and the application of

wood-engravings to their illustration; and in his _Passages of a Working

Life_ he relates how he first heard of the journal that was destined to

succeed the _Penny Magazine_ in the field of popular art:--'In 1842,

having occasion to be in attendance at the Central Criminal Court, my

curiosity was excited by an unusual spectacle--that of an artist, seated

amongst the civic dignitaries on the bench, diligently employed in

sketching two Lascars, on their trial for a capital offence. What was

there so remarkable in the case, in the persons, or even in the costume

of the accused, that they should be made the subject of a picture? The

mystery was soon explained to me. The _Illustrated London News_ had been

announced for publication on the Saturday of the week in which I saw the

wretched foreigners standing at the bar. I knew something about hurrying

on wood-engravers for the _Penny Magazine_, but a newspaper was an

essentially different affair. How, I thought, could artists and

journalists so work concurrently that the news and the appropriate

illustrations should both be fresh? How could such things be managed

with any approach to fidelity of representation unless all the essential

characteristics of a newspaper were sacrificed in the attempt to render

it pictorial? I fancied that this rash experiment would be a failure. It

proved to be such a success as could only be ensured by resolute and

persevering struggles against natural difficulties.'

Charles Knight was born at Windsor in 1791. The son of a bookseller, he

very early became connected with the press. At the age of twenty-one he

conducted the _Windsor and Eton Express_, and a few years later he

became the editor of the _Guardian_, a London weekly paper. He

afterwards started a monthly magazine called the _Etonian_, and amongst

his contributors were Macaulay, Praed, and other clever young men who

had been educated at Eton, some of whom supported him in a later

venture, _Knight's Quarterly Magazine_. In the midst of his varied

duties as author and publisher he never lost sight of the great question

of popular education, and heartily joined in the movement for repealing

the taxes on knowledge. He gave expression to his views in _The

Struggles of a Book against Excessive Taxation_ and _The Case of the

Authors as regards the Paper Duty_. He paid the enormous sum of

16,500_l._ for paper duty on the _Penny Cyclopedia_ alone, and on the

same work he expended 40,000_l._ for literature and engravings. When

this great and useful work was completed Mr. Knight was entertained at a

public dinner presided over by Lord Brougham, when the leading men in

literature and art united to do him honour. The _Penny Cyclopedia_ was

not a commercial success, solely because of the paper duty.

Of the numerous illustrated works published by Mr. Knight, the

_Pictorial Bible_ was the most successful in a pecuniary sense, and he

considered the _Arabian Nights_ the most beautiful as regards

illustrations. He was so ardent a promoter of illustrative art, that he

invented a press for printing in colours, from which issued many

coloured engravings for his various works, such as _Old England_, the

_Farmer's Library_, &c.

Mr. Knight died at Addlestone, Surrey, March 9, 1873, and was buried in

his native town of Windsor. A marble bust of him was placed by public

subscription in the Council Chamber of that town, and two scholarships,

bearing his name, were founded in the school of the Stationers' Company.

It was well said of Charles Knight on the occasion of unveiling his bust

at Windsor, that he set out in life with the desire to make knowledge a

common possession instead of an exclusive privilege. He laboured for the

good of his fellow-men rather than for the rewards of fame or fortune,

and no man was more worthy of honour for his public services and his

private virtues. The last time I saw him was at the grave of an old

friend of his and mine; and as I recall the remembrance of his grey hair

tossed in the wintry wind, I adopt in all seriousness what Douglas

Jerrold said in jest, that two words would suffice for his

epitaph--'good Knight.'

It is curious that the printing-press, which has worked such mighty

changes, should have reproduced in another form the ancient jester who

stood in cap and bells behind his master's chair, and the merry-andrew

who made the rustics laugh upon the village green. The numerous

satirical and humorous publications of the Victorian era represent a

distinct kind of illustrated journalism, through which runs an amusing

commentary on passing events, combined with a vein of satire always

good-humoured and often instructive. At the head of this array of wit

and wisdom stands _Punch_, who, however, was preceded by _Figaro in

London_, conducted by Mr. Gilbert A'Beckett, afterwards one of _Punch's_

strongest supporters. Mr. A'Beckett faithfully acted up to his motto:--

'Satire should, like a polished razor keen,

Wound with a touch that's hardly felt or seen;'

but the constitution of _Figaro_ was not strong, and he died young.

While the _Penny Magazine_ was yet in vigorous life, and the

_Illustrated London News_ was as yet unborn, there used to be a weekly

gathering of authors, actors, and artists, at a tavern in Wych Street,

Strand, where the late Mr. Mark Lemon presided as the genial host. This

company of merry men were mostly on the sunny side of life, and disposed

to look upon the world and the world's cares with a laughing eye. They

were ever ready to go out of their way for the sake of a joke, and a

pun, good or bad, was pleasant to them. In this congenial atmosphere

_Punch_ germinated, and in July, 1841, that shrewd observer and

good-humoured satirist appeared. Mr. _Punch_, like some other great men,

had a hard struggle in his early days; but prosperous times came, and he

now combines in his own person the dignity of age with the vivacity of

youth. _Puck_, _Diogenes_, and numerous other imitators of _Punch_,

attempted to obtain a share of public favour, but most of them died

after a brief existence. The best of these that survive are _Fun_ and

_Judy_, which, with the _Hornet_, _Vanity Fair_, _Figaro_ (a revival of

the name), _Moonshine_, _Funny Folks_, and others, continue their weekly

budgets with a smartness and vigour not unworthy of their great

prototype.

FOOTNOTES:

[1] There was another Sunday paper in existence about this time, the

_Sunday Reformer and Universal Register_. In the number for Dec.

29th, 1793, there is a copperplate portrait of Robert Lowth, D.D.,

Lord Bishop of London, then recently deceased.

[2] 'Old Stories Retold,' in _All the Year Round_.

[3] Grant's _Newspaper Press_.

[4] 'Old Stories Retold,' in _All the Year Round_.

[5] _Passages of a Working Life._

[6] At this time there was another illustrated weekly magazine in

existence--the _Mirror_, which began about 1822. The engravings it

contained were chiefly of a topographical character.

[7] The _Saturday Magazine_ was started in imitation of the _Penny

Magazine_, and, like its prototype, had a considerable popularity for

some years.