Transcriber's Note.
There are thirty plates, located at the end of the text, that depict
individuals described in it. They have been moved to follow the text
that describes them. They are annotated "London Published as the Act
directs [date] by J. T. Smith No. 4 Chandos St Covent Garden."
Inconsistencies in hyphenation and spelling have been retained.
Italics are indicated by _underscores_. Small capitals have been
replaced by full capitals and a superscript by ordinary font.
[Illustration: ST MARTIN
_The Patron Saint of the Beggars. From a rare print in the possession of
Thos. Lloyd, Esq._]
LIVES OF FAMOUS
LONDON BEGGARS,
WITH
FORTY PORTRAITS OF THE MOST REMARKABLE.
DRAWN FROM LIFE BY
JOHN THOMAS SMITH.
[Illustration: Publisher's Mark]
LONDON:
DIPROSE AND BATEMAN, SHEFFIELD STREET,
LINCOLN'S INN FIELDS.
PREFACE.
_Mr Granger, at the close of his Biographical History of England, says,
"I shall conclude this volume with observing, that Lord Bacon has
somewhere remarked, that biography has been confined within too narrow
limits; as if the lives of great personages only deserved the notice of
the inquisitive part of mankind. I have, perhaps, in the foregoing
strictures extended the sphere of it too far. I began with Monarchs, and
have ended with Ballad-Singers, Chimney-Sweepers, and Beggars. But they
that fill the highest and the lowest classes of human life, seem, in
many respects, to be more nearly allied than even themselves imagine. A
skilful anatomist would find little or no difference, in dissecting the
body of a king and that of the meanest of his subjects; and a judicious
philosopher would discover a surprising conformity, in discussing the
nature and qualities of their minds."_
Beggary, of late, particularly for the last six years, had become so
dreadful in London, that the more active interference of the legislature
was deemed absolutely necessary; indeed, the deceptions of the idle and
sturdy were so various, cunning, and extensive, that it was in most
instances extremely difficult to discover the real object of charity
from the impostor.
Concluding, therefore, from the reduction of the metropolitan beggars,
that several curious characters would disappear by being either
compelled to industry, or to partake of the liberal parochial rates
provided for them in their respective workhouses, it occurred to the
author of the present publication, that likenesses of the most
remarkable of them, with a few particulars of their habits, would not be
unamusing to those to whom they have been a pest for several years.
In order to convince his readers that he does not stand alone as a
delineator of mendicants, he begs leave to observe, that several of the
very first-rate artists have studied from them.
Michael Angelo Buonarotti often drew from beggars; and report says, that
in the early part of his life, when he had not the means of paying them
in money, he would make an additional sketch, and, presenting it to the
party, desire him to take it to some particular person, who would
purchase it. Fuseli, in his life of Michael Angelo, says that "a beggar
rose from his hand the patriarch of poverty." The same artist, in one of
his lectures, delivered at the Royal Academy, also observes, that
"Michael Angelo ennobled his beggars into Patriarchs and Prophets, in
the ceiling of the Sistini Chapel."
Annibal Caracci frequently drew subjects in low life. His "Cries of
Bologna," etched by Giuseppe Maria Mitelli, pub. 1660, in folio, are
evidently from real characters. It will also be recollected, that some
of the finest productions of Murillo, Jan Miel, and Drogsloot, are
beggars. Callot's twenty-four beggars are evidently from nature; and
among Rembrandt's etchings are to be found twenty-three plates of this
description.
Sir Joshua Reynolds frequently painted from beggars, and from these
people have originated some of his finest pictures, particularly his
"Mercury as a Pickpocket," and "Cupid as a Link-boy." His Count Ugolino,
was painted from a pavier, soon after he had left St George's Hospital
from a severe fever. Mr West painted the portrait of a beggar, on the
day when he became a hundred years old; and considered him as a
pensioner for several years afterwards. The same person was used also as
a model by Copley, Opie, &c. Who can forget the lovely countenance of
Gainsborough's Shepherd's Boy, that has once seen Earlom's excellent
engraving from it? He was a lad well known as a beggar to those who
walked St James's Street thirty years ago. The model for the celebrated
picture of the Woodman, by the same artist, is now living in the
Borough, at the venerable age of 107.
Mr Nollekens, in 1778, when modelling the bust of Dr Johnson, who then
wore a wig, called in a beggar to sit for the hair. The same artist was
not equally fortunate in the locks of another great character, for on
his application to a beggar for the like purpose, the fellow declined to
sit, with an observation that three half-crowns were not sufficient for
the trouble.
The late Mr Nathaniel Hone, in the year 1850, painted the portrait of
James Turner, a common beggar, who valued his time at a shilling an
hour. Captain Baillie has made an etching of this picture.
That truly spirited painter, Mr Ward, made similar overtures to a lame
sailor, who thought fit to reject them and prefer his begging occupation.
One of the many fine things produced by Flaxman, is a figure of a blind
sailor, Jack Stuart, mentioned in page 19 of this work. The artist has
introduced him in a beautiful monument, erected in Campsal Church, to
the memory of Misses Yarborough.
Beggars have not only been useful to artists as models, but serviceable
to them in other instances. Francis Perrier, who was born of poor
parents, when a boy entered into the service of a blind beggar, for the
express purpose of getting from France to Rome to pursue his studies in
that city; and Old Scheemaker, the sculptor, Nollekens's master,
absolutely begged his way from Flanders to Rome for the same purpose.
Though the biographical part of this publication exhibits some curious
customs of the London beggars which have fallen within the author's
observations, and though it may in some instances be deemed original,
yet he confesses that he has adopted the usual craft of the common
vender, who invariably puts the best sample into the mouth of the sack.
Such, he needs not state the truly interesting Introduction to be; it
was written and presented to him by his honoured and valuable friend,
FRANCIS DOUCE, Esq.