







THE PICTORIAL PRESS.


[Illustration: HEADING OF 'THE JACOBITE'S JOURNAL,' 1747.

(_Supposed to be Drawn by Hogarth._)

(_See page 197._)]

  THE
  PICTORIAL PRESS
  ITS ORIGIN AND PROGRESS.


  [Illustration]


  BY

  MASON JACKSON.

  With One Hundred and Fifty Illustrations.


  LONDON:
  HURST AND BLACKETT. PUBLISHERS.

  13 GREAT MARLBOROUGH STREET.
  1885.


  _All Rights reserved._




NOTE.


Some of the chapters of this book in a condensed form were published a
few years ago in the _Illustrated London News_, and my acknowledgments
are due to the proprietors of that journal for permission to reprint
such of the woodcuts as accompanied the text in that form. I have also
to thank them for their courtesy in allowing me to use several other
engravings from the _Illustrated London News_, including some from the
early numbers, which must now be reckoned among the curiosities of the
Pictorial Press.

  M. J.




CONTENTS.


                                                                    PAGE
  CHAPTER I.                                                           1

  The Pictorial Taste Universal--The Early 'News-books'--Development
  of the Newspaper Press--General use of Newspapers--Establishment
  of Illustrated Journals--Wandering Ballad-Singers the First
  Newsvendors--The _English Mercurie_ of 1588--The Abolition of the
  Star Chamber and its Effect on the Press.

  CHAPTER II.                                                          8

  Illustrated Broadsides--Sir Francis Drake's Operations against the
  Spaniards--Papers of News in the Reign of James I.--The first
  Periodical Newspaper published in England--Illustrated Tracts
  relating to Storms and Floods--Remarkable Murders favourite
  subjects with the early Newswriters--Murder of the Rev. Mr.
  Storre--Murder in Cornwall--Apparition of Three Skeletons--Visions
  in the Air--Attempt on the Life of the Duke of Buckingham--Fall of
  Meteors at Bawlkin Green, Berkshire--The _Swedish
  Intelligencer_--Passage of the River Leck by Gustavus
  Adolphus--The Sallee Rovers--The _Weekly News_ of 1638, an
  Illustrated Paper--The Irish Rebellion of 1641--The Plague in
  London--Murder on board an English Ship--The Earl of
  Strafford--His Execution on Tower Hill--Archbishop Laud--A
  Burlesque Play about him--Attack by the Mob on Lambeth
  Palace--Caricature of the Devil offering Laud a Cardinal's Hat.

  CHAPTER III.                                                        63

  Ben Jonson's Ridicule of the Early Newspapers--Fondness of the Old
  News-Writers for the Marvellous--The Smithfield Ghost--The
  Wonderful Whale--The Newbury Witch--Satirical Tracts and
  Caricatures at the Commencement of the Civil War--Religion Tossed
  in a Blanket--Caricatures of the Pope and the Bishops--Pluralists
  and Patentees--Taylor, the Water Poet--_Mercurius
  Aulicus_--Activity of the Pamphleteers--Welshmen
  Satirised--Satires on Prince Rupert--On the King and Queen--The
  Ladies' Parliament--Illustrated Tracts relating to Social and
  Political Subjects--Sir Kenelm Digby's Duel--The King entertained
  by the City of London, 1641--Executions in 1641--The Liquor
  Traffic and Sunday Closing in 1641--Abuses of the Ecclesiastical
  Courts--Ritualism and Nunneries in 1641--Truths enforced by
  Lieing--Stage Players and the Plague in 1641--Bartholomew Fair in
  1641--Destruction of Charing Cross and Cheapside Cross--Strange
  Apparition--Method of enforcing their Views adopted by the Puritan
  Pamphleteers--Parodies of Roundhead Sermons--Matthew Hopkins the
  Witch-finder--The _Welsh Post_ of 1643--William Lilly the
  Astrologer--Three Suns seen in London on the King's Birthday.

  CHAPTER IV.                                                        108

  The Civil War--Flying Sheets of News--Disturbance at
  Kingston-on-Thames--Plot against London--Riotous Proceedings at
  York, and Conspiracy in Edinburgh--The House of Commons--The Royal
  Standard raised at Nottingham--Battle of Edgehill--Prince
  Rupert--The Lord Mayor of London--_Mercurius Civicus_--The
  _Scottish Dove_--The _Flying Post_--The _Kingdomes Weekly
  Post_--Cruelties of the Cavaliers--The 'Levellers'--The King's
  Escape from Oxford--Funeral of the Earl of Essex--The Great Seal
  Broken--Fairfax--Cromwell--Sea Fight in the Channel--The Prince of
  Wales's Squadron--Mutiny at Norwich--Siege of
  Colchester--Execution of Sir Charles Lucas--The King at
  Carisbrooke Castle--Execution of the King--Confession of Richard
  Brandon.

  CHAPTER V.                                                         153

  Decrease of Newspapers after the Civil War--_Mercurius
  Democritus_--The _Faithful Post_--The _Politique Post_--Broadsides
  for the People--The Hollow Tree at Hampstead--Prodigious Monster
  taken in Spain--The Restoration--Trial of the Regicides--Execution
  of the Regicides--Licenser of the Press appointed--Popular Taste
  for the Supernatural--Apparition in the Air in Holland--Revival of
  _Mercurius Civicus_--Murder of Archbishop Sharpe--The _Loyal
  Protestant_--Frost Fair on the Thames--Monmouth's Rebellion--The
  Bloody Assizes--Funeral of Queen Mary, Consort of William
  III.--Increase of Newspapers after the Revolution.

  CHAPTER VI                                                         180

  Constant Attempts at Illustrated News--Increase of
  Caricatures--The _Postman_, 1704--Fiery Apparition in the Air,
  seen in London--Caricature against the Jacobites--The South-Sea
  Bubble--Eclipse of the Sun, 1724--The _Grub Street Journal_ an
  Illustrated Paper--The _Daily Post_--Admiral Vernon's Attack on
  Porto Bello--The _Penny London Post_--Henry Fielding and the
  _Jacobite's Journal_--_Owen's Weekly Chronicle_--_Lloyd's Evening
  Post_, and the Trial of Lord Byron for the Murder of Mr.
  Chaworth--The _St. James's Chronicle_--Illustrated Account of a
  Strange Wild Beast seen in France--The _Gentleman's Journal_ of
  Anthony Motteux--The _Gentleman's Magazine_ of Edward Cave--The
  _London Magazine_--The _Scot's Magazine_.

  CHAPTER VII                                                        219

  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.

  CHAPTER VIII                                                       284

  The _Illustrated London News_--The Early Numbers--The Burning of
  Hamburg--Facetious Advertisements--Bal Masque at Buckingham
  Palace--Attempted Assassination of the Queen--The Queen's First
  Trip by Railway--First Royal Visit to Scotland--Political
  Portraits--R. Cobden--Lord John Russell--Benjamin Disraeli--The
  French Revolution, 1848--The Great Exhibition, 1851--The Crimean
  War--Coloured Pictures--Christmas Numbers--Herbert Ingram--The
  _Pictorial Times_--Other Illustrated Journals.

  CHAPTER IX                                                         315

  How an Illustrated Newspaper is
  Produced--Wood-Engraving--Boxwood--Blocks for Illustrated
  Newspapers--Rapid Sketching--Drawing on the Block--Method of
  Dividing the Block for Engraving--Electrotyping--Development of
  the Printing Machine--Printing Woodcuts--Machinery for Folding
  Newspapers--Special Artists--Their Dangers and Difficulties--Their
  Adventures in War and Peace.

  CHAPTER X                                                          355

  Artists who have assisted in founding the Pictorial Press--Sir
  John Gilbert, R.A., G. H. Thomas, and others--Wood-Engraving and
  its Connexion with the Pictorial Press--Other Methods of producing
  Illustrations--Wood-Engraving in England before and after Bewick's
  time--Its wide Diffusion owing to the kindred Art of Printing--The
  resources of the Art developed by Pictorial
  Newspapers--Conclusion. Newspapers a Necessity of Civilised
  Life--The _Acta Diurna_ of the Romans--Early Newspapers in Venice,
  Germany, and the Low Countries--List of Illustrated Newspapers
  published Abroad.




THE PICTORIAL PRESS: ITS ORIGIN AND PROGRESS.

CHAPTER I.

  The Pictorial Taste Universal--The Early 'News-books'--Development of
  the Newspaper Press--General use of Newspapers--Establishment of
  Illustrated Journals--Wandering Ballad Singers the First
  Newsvendors--The _English Mercurie_ of 1588--The Abolition of the Star
  Chamber and its Effect on the Press.


The inherent love of pictorial representation in all races of men and in
every age is manifest by the frequent attempts made to depict natural
objects, under the most unfavourable circumstances and with the
slenderest means. The rude drawing scratched on the smooth bone of an
animal by the cave-dweller of pre-historic times, the painted rocks of
the Mexican forests, and the cave-paintings of the Bushmen, are all
evidences of this deeply-rooted passion. The child of civilised life
looks with delight on his picture-book long before he can make out the
letters of the alphabet, and the untutored Esquimaux treasures up the
stray number of an illustrated newspaper left in his hut by the crew of
some whaling ship, though he cannot understand one word of the printed
page. But the pictures speak a universal language, which requires no
teaching to comprehend.

When the printing-press came into use this love of pictures had a wide
field for development. Some of the first books printed in England were
illustrated with woodcuts, and many of the tracts, or 'News-books,'
which preceded regular newspapers, were adorned with rude engravings. It
mattered not how graphic was the pen, its work was deemed incomplete
without the aid of the pencil. It often happened that the pen was none
the better for the fellowship, but the public taste was not fastidious,
and the work sufficed for the occasion. In tracing the origin and
progress of pictorial journalism we shall find in 'the abstracts and
brief chronicles of the time' many curious illustrations of contemporary
history. The subject is not without interest now that the illustrated
newspaper has become a prominent feature in the journalism of every
country.

The development of the newspaper press and its unrestricted use as the
exponent of public opinion is one of the most interesting signs of
modern progress. When we consider the liberty of thought and action that
prevails in our own day, it is difficult to believe that our forefathers
were liable to the pillory and other degrading punishments when they
ventured to publish their opinions without first obtaining the sanction
of the ruling powers. We are accustomed to the daily exercise of the
right which cost Prynne his ears and brought fines and imprisonment on
Defoe. Newspapers have become almost as necessary to our daily life as
bread itself. The mind demands its breakfast as well as the body; and to
many a busy man the loss of his morning paper would be as great a
deprivation as the want of his usual matutinal meal.

In London, and in all our great centres of population, the newspaper has
become the unfailing accompaniment of the City man's journey to
business. At the railway stations journals of every kind tempt the
loitering passenger, while the illustrated papers appeal to him in a
language of their own. Whether in the railway carriage, the omnibus, or
the steam-boat, the newspaper is eagerly conned, and its contents form
the food of conversation. Most of these newspapers are cast aside at the
end of the twenty minutes' or half hour's journey; and then, at second
hand, they amuse the leisure moments of the railway porter, or, better
still, they are collected together, and perhaps serve to solace the sick
poor during many lingering hours in hospitals and refuges. Day by day
the demand is made, and the supply is ready. The printing-machine never
sleeps and is never tired. Its voice is one of the voices of the
night--most unmusical, yet with a mysterious meaning. The daily
newspaper, so potent in diffusing the light of knowledge, is itself the
offspring of darkness. The busy brains and active fingers which create
it turn night into day in the execution of their quickly recurring
tasks, and with unflagging energy they labour on, that the slumbering
world may be properly amused and instructed when it wakes.

The intelligent foreigner who happens to reach our southern coast on a
Monday morning in summer or autumn, and travels to London by one of the
early trains, is astonished, when the train stops, to see most of the
gentlemen rush from the carriages and surround a small boy, whom they
appear to hustle and threaten with violent gesticulations. The boy
appears to buy off the hostility of his assailants by dealing out to
each a paper, which he takes from a large bundle under his arm, and with
which the appeased passenger returns to his carriage. Cries of '_Times!_
_Daily News!_ _Telegraph!_ _Standard!_--Here, give us one--anything!'
reach the ears of the wondering stranger, who beholds the boy at length
take refuge in an empty railway carriage on the opposite side of the
platform, and from that place of vantage he continues to deal out the
mysterious papers. After a time the intelligent foreigner learns that
these are the London papers of that morning, which are sent out to meet
the trains, and are eagerly bought by the gentlemen who have been
spending from Saturday to Monday at the seaside, and, having fasted from
all newspapers during that time, they are now of course famishing for
news. Such is their eagerness that politics are thrown to the winds. The
Conservative will put up with a Liberal newspaper rather than have none
at all; and he whose ill luck or inertness has left him without the
coveted sheet is glad to borrow of his neighbour, that he may not be
walking in the darkness of ignorance when he arrives at his place of
business. As the train moves off, the intelligent foreigner, if he
thrusts his head out of the carriage window, may behold in the distance
the newsboy pensively counting his gains and endeavouring to make his
receipts tally with the number of papers that have vanished.

One of the most remarkable phases of newspaper history has been the
establishment of illustrated journals. Though this idea, in an immature
form, is as old as the newspaper itself, yet it was never fully
developed till the late Mr. Herbert Ingram brought out the _Illustrated
London News_ in 1842. Since that time the removal of the newspaper stamp
and the repeal of the paper duty have imparted a freedom and a vigour to
newspaper enterprise previously unknown. Journals of all kinds have
sprung into existence, and cheapness has become the rule. Penny and even
halfpenny papers compete with the leading journals in activity and
enterprise. No expense is spared in obtaining the earliest and most
authentic intelligence. Correspondents are sent to every part of the
world where any information is to be gleaned, and the presence of the
newspaper 'Special' is now expected at every great event. Each class has
its organ, and 'he who runs may read.'

When we consider the immense amount of printed matter that is published
every day by the newspapers, we cannot but wonder at the public
appetite. And this appetite is fed from one year to another upon a diet
that is only varied when there occurs a war, a revolution, an unusually
disastrous shipwreck, or a murder of uncommon atrocity. Then the
monotony of ordinary life gives place to the temporary excitement. There
is a run upon the newspapers, which are as susceptible as barometers,
and rise or fall according to the state of public feeling. The
calamities of nations and the misfortunes of individuals are sources of
profit and prosperity to the newspaper.

It was a happy idea to gather together the principal events of the week,
to illustrate them with authentic pictures, and place them before the
public in the form of a pictorial newspaper. Considering the great cost
of production, and the restrictions under which newspapers lay at that
time, to say nothing of the difficulty of bringing out news with
appropriate illustrations, so that both should be fresh, the
_Illustrated London News_ was a bold undertaking. Like most things that
are successful, it soon had many imitators, and there are now few large
cities in the civilised world that have not their illustrated
newspapers.

But the full development of illustrated journalism was immediately
preceded by many significant symptoms. Several of the then existing
newspapers, on the occurrence of any unusual or interesting event,
introduced into their pages rough woodcut illustrations. A great fire--a
remarkable murder--a fatal balloon ascent--these were the subjects
seized upon at the moment to satisfy the public craving for illustrated
news. All this seems to have been the working of an impulse or instinct
which existed even before the days of newspapers; for, as I shall
presently show, attempts were made to illustrate the news of the hour in
tracts or 'News-books' before the beginning of regular newspapers in
England. The idea of illustrated journalism may be traced from the
earliest years of the seventeenth century to 1842, the date of the first
number of the _Illustrated London News_. The art of wood-engraving had
fallen very low in the seventeenth century, and the illustrations to be
found in early newspapers are mostly of a very rude description; but
they show the existence of a germ which eventually grew into full and
flourishing life.

The English newspaper, like many other great inventions, was a thing of
gradual growth. The news that was sung or recited by wandering
ballad-singers at the village cross, or in the court-yard of the
squire's mansion, and the written newsletter furnished to the wealthy
aristocracy, were the precursors of the early news-books and the
periodical sheets of news. As the art of printing extended, many of the
productions of the press assumed the character of news to attract
readers. Sermons, satires, and travels, were all put forward under the
name of _news_, and sometimes a single grain of truth was deemed
sufficient to leaven a whole bushel of fiction. Most of these
publications were small tracts, and published at irregular intervals.
Some of them were adorned with engravings on the title-pages, which show
that even at this early period the authors or printers of these papers
were imbued with the pictorial spirit. The idea of illustrating current
events had already taken root, and we find examples of it long before
the establishment of regular newspapers.

The earliest form of the newspaper is known to have come into existence
during times of war and tumult, and it was for a long time believed that
the first English newspaper was brought forth under similar
circumstances. But when the _English Mercurie_ of 1588 was proved to be
a forgery, the enthusiast in newspaper history received a heavy blow and
sad discouragement. It seemed so highly probable, when this country was
threatened with the descent of the Spanish Armada, that something like a
newspaper might have sprung into existence, that people were only too
ready to adopt the imposture. When the whole nation was greatly excited
and anxious to learn something about the reality of their danger,
nothing was more natural than for the sagacious minister of Queen
Elizabeth to appeal to the people through the printing-press, and by its
means endeavour to calm the public mind by circulating printed sheets of
intelligence, 'for the contradiction of false reports.' But we were
compelled to admit that Lord Burleigh had missed his opportunity, and
neglected to use the most powerful means for exciting the patriotism or
allaying the fears of his countrymen. The author of this remarkable
imposition showed great skill and acuteness in constructing his false
newspaper, and fixing the date of its supposed publication. The forgery
has been attributed to Lord Hardwick; but what were his motives it is
difficult to understand. Unlike Chatterton and Ireland, he never
brought his imposture before the world, and if he intended it merely for
an antiquarian _jeu-d'esprit_ he had the enjoyment of the joke entirely
to himself.

The abolition of the Star Chamber, in 1641, was an important event for
the press of this country. The so-called newspapers then began to print
English news and discuss home affairs, no longer dreading the fines,
imprisonments, and mutilations, that had been so liberally dispensed by
that obnoxious tribunal. There was not, however, any considerable
increase in the number of newspapers till the Civil War reached its
height. During that remarkable contest many hundreds of tracts and
newspapers were published, some of them numbered consecutively and
published at regular intervals; but the great majority bore no
continuous title, and treated of one subject only. During the reigns of
Charles II. and James II. the press was more or less under a censorship,
from which it was not emancipated till the seventh year of William III.
Lord Macaulay dates the commencement of English newspapers from this
period, when a great many new journals made their appearance. They
included political news amongst their contents; and they more nearly
resembled in character, but not in appearance, what we now understand by
a newspaper than anything that had preceded them. This press revival was
not accompanied by any corresponding activity in the direction of
pictorial illustration. Art of every kind was in a low condition in
England at this time. Even if the art of popular illustration had been
better understood, the means of production were exceedingly limited.
Newspapers multiplied greatly, but illustrated journalism had to
struggle with difficulties, and its existence was only made known by the
occasional appearance of a rough woodcut or an indifferent
copper-plate.




CHAPTER II.

  Illustrated Broadsides--Sir Francis Drake's Operations against the
  Spaniards--Papers of News in the Reign of James I.--The first
  Periodical Newspaper published in England--Illustrated Tracts relating
  to Storms and Floods--Remarkable Murders favourite subjects with the
  early Newswriters--Murder of the Rev. Mr. Storre--Murder in
  Cornwall--Apparition of Three Skeletons--Visions in the Air--Attempt
  on the Life of the Duke of Buckingham--Fall of Meteors at Bawlkin
  Green, Berkshire--The _Swedish Intelligencer_--Passage of the River
  Leck by Gustavus Adolphus--The Sallee Rovers--The _Weekly News_ of
  1638, an Illustrated Paper--The Irish Rebellion of 1641--The Plague in
  London--Murder on board an English Ship--The Earl of Strafford--His
  Execution on Tower Hill--Archbishop Laud--A Burlesque Play about
  him--Attack by the Mob on Lambeth Palace--Caricature of the Devil
  offering Laud a Cardinal's Hat.


[Illustration: THE VALIANT EXPLOITS OF SIR FRANCIS DRAKE, 1587.]

Before, and for a long time after, the general use of newspapers,
illustrated broadsides were published relating to particular events, or
satirising the vices and follies of the period. In a broadside adorned
with a woodcut representing Death and Time, and entitled, _The Doleful
Dance, and Song of Death_, allusion is made to the 'Fatal Assizes' of
Oxford, when three hundred persons, including the High Sheriff, died of
a distemper, which was supposed to have originated among the prisoners.
A sheet of a later date refers to the Spanish Armada and the Gunpowder
Plot; while a third, entitled, _Tittle-Tattle_, &c., satirises the
gossiping habits of the fair sex, and contains many illustrations of
manners, costume, and character. Such were the publications that did
duty for newspapers in the days of Queen Elizabeth, whose subjects,
however, were not left wholly without information as to passing events.
In 1587 there was published an illustrated tract giving an account of
the doings of Sir Francis Drake, who was employed by Queen Elizabeth to
harass the Spaniards in their harbours, and hinder them in their
preparations for invading England. These operations, which Drake himself
described as 'singeing the King of Spain's beard,' delayed the sailing
of the Armada, and gave Elizabeth time to prepare for defence. The tract
referred to is entitled, '_The true and perfect Newes of the worthy and
valiant exploytes performed and done by that valiant Knight Syr Frauncis
Drake; Not only at Sancto Domingo, and Carthagena, but also nowe at
Cales, and upon the Coast of Spayne, 1587_. _Printed at London, by J.
Charlewood, for Thomas Hackett._' There is an account, in verse, written
by one Thomas Greepe, of the doings of Sir Francis Drake and other sea
captains. The author tells his reader, 'Here hast thou, gentle Reader,
set forth unto thee the most worthy and valiant exploytes and
enterpryses, lately atchieved and done by that valiant Knight Syr
Frauncis Drake & others not pend in lofty verse, nor curiously handled,
but playnly and truly, so that it may be well understood of the
Reader.' There is no attempt made to illustrate the events related in
the tract, but on the title-page there is a woodcut of a ship in full
sail, which was perhaps intended to represent the admiral's own vessel.
I have reproduced it on a reduced scale, as an early specimen of marine
draughtsmanship.

Thomas Greepe commences his poem with the following rhapsody:--

  'Triumph, O England, and rejoice,
    And prayse thy God incessantly
  For this thy Queene, that pearle of choyce,
    Which God doth blesse with victory!
        In countryes strange, both farre and neere,
        All raging foes her force doth feare.

  Yee worthy wights that doo delighte
    To heare of Novels strange and rare,
  What valors, woone by a famous knight,
    May please you marke I shall declare.
        Such rare exploytes performde and done
        As none the like hath ever woone.'

He gives a list of the ships under Drake's command:--

  'Twenty-five ships were then preparde,
    Fifteene Pinnaces, brave and fine,
  Well furnished for his safe garde,
    Preventing foes that would him tyne.
        With Masters good and Marriners rare
        As ever tooke charge, I dare compare.

       *       *       *       *       *

  The _Bonaventure_, a ship royall,
    Cheefe Admirall then of the fleete,
  Sir Frauncis Drake, cheefe Generall,
    As by desertes he was most meete.
        Most worthy Captaynes of hand and heart
        In this boon voyage then tooke hys part.

  The _Primrose_ next, Vice-Admirall,
    Appoynted by thyre best device,
  Captayne Frobisher, Vice-Generall--
    A valiant Captayne, ware and wyse.
        Captayne Carelell they did ordayne
        Lieftenant-Generall on the mayne.'

The poem thus winds up:--

  'God save our Queene of merry England,
    His sacred word long to maintaine;
  Her Graces Navie and royall bande,
    Through his good Grace, may long remaine.
        Lord blesse her counsell, and keepe them aye
        With all true subjects night and day.
                  Finis, quoth Thomas Greepe.'

This curious poem is supplemented by a letter, written by Sir Francis
Drake, 'To the right reverende, godly, learned Father, my very good
friend, M. John Fox, preacher of the word of God.' This was John Fox,
the Martyrologist, who died in 1587. The letter proceeds: 'Mister Fox,
whereas we have had of late such happy successe against the Spanyardes,
I do assure myselfe that you have faithfully remembered us in your good
prayers, and therefore I have not forgotten, breefly to make you
partaker thereof. The 19. of Aprill we arrived within the road of
Calles, where we found very many shipping, but amongst the rest 32 of
exceeding burden, lade and to be laden with provision, and prepared to
furnish the King's Navie, intended with all speede against England, the
which when we had boorded, and also furnished our severall ships with
provision as we thought sufficient, wee burnt; and although by the space
of two dayes and two nights that we continued there, we were still
endangered, both with thundering shott from the towne, and assailed with
the roaring Cannons of twelve galleys; yet we suncke two of them, and
one great Argosey, and still avoyded them with very small hurt, and so
at our departure we brought away foure ships of provision, to the great
terror of our enemies, and honour to ourselves, as it may appeare by a
most curteous Letter written unto me with a Flagge of truce by Duke
Petro, Generall of the Galleys. But whereas it is most certayne that the
king doth not onely make speedy preparation in Spayne, but likewise
expected a very great Fleete from the Straytes, and divers other places,
that should joyne with his forces to invade England; we purpose to sette
apart all feare of danger, and by Gods furtherance to proceed by all the
good means we can devise to prevent their coming; wherefore I shall
desire you to continue faithfull in remembrance of us in your prayers
that our purpose may take that good effect, as God may be glorified, his
Church, our Queene and country, preserved, and these enemies of the
trueth utterly vanquished, that we may have continuall peace in Israel.
Fro aboord her Majesties good ship the _Elizabeth Bonaventure_.

'Your loving freende, and faythfull Sonne in Christ Jesus,

  'FRAUNCIS DRAKE.'

In the reign of James I. papers of news began to be published, but they
only appeared occasionally, and were chiefly devoted to foreign
intelligence. In 1619 we have 'Newes out of Holland,' followed by others
in 1620, 1621, and 1622. These occasional tracts were afterwards
converted into a regular weekly publication, entitled the '_Weekly
News_,' printed by J. D. for Nichs. Bourne and T. Archer. This was the
first periodical newspaper published in England. But long before this
many illustrated tracts and pamphlets were published relating to events
of recent occurrence. In one dated 1607 occurs the earliest instance I
have met with of an attempt to illustrate the news of the day. It is
entitled '_Wofull Newes from Wales, or the lamentable loss of divers
Villages and Parishes (by a strange and wonderful Floud) within the
Countye of Monmouth in Wales: which happened in January last past, 1607,
whereby a great number of his Majesties subjects inhabiting in these
parts are utterly undone_.' The writer of this news-book describes the
flood, and then, taking it for his text, preaches a sermon upon it. It
is printed in Old English, and is plentifully interspersed with pious
exhortations and scriptural references. It has on the title a woodcut, a
fac-simile of which is given on the next page.

This interesting little tract has a preface, in which the author
explains the difficulty he felt in producing it in the short time that
was allowed him for the purpose:--'Reader, when these newes were
brought, and an importunitie used to me that I would give the same
forme, and bestow an exhortation on them, I was unwilling, both in
regard of that short space (of lesse than one day which was limited to
undertake the matter) and also in respect of the usual unfaithfulness of
men ordinarily in reporting of such accidents as these bee; whereby it
often falleth out that the relation of them reapeth much discredit. But
when I could not have these just excuses taken, I began and finished
this businesse, as the shorte space wold permit me.'

The old story of the child washed away in a cradle, so often related as
having occurred in great floods, and which Mr. Millais has immortalised
in one of his pictures, is here told probably for the first
time:--'Another little childe is affirmed to have bene cast upon land in
a Cradle, in which was nothing but a Catte, the which was discerned, as
it came floating to the shore, to leape still from one side of the
Cradle unto the other, even as if she had been appointed steersman to
preserve the small barke from the waves' furie.'

[Illustration: GREAT FLOOD IN MONMOUTHSHIRE, 1607.]

Another tract of the same date is illustrated with a woodcut similar to
the one here copied, but it has in addition several more figures,
including a cradle with a child in it floating on the water. This tract
is entitled '_A true report of certaine wonderful overflowings of waters
now lately in Summersetshire, Norfolk, and other places in England,
destroying many thousands of men, women, and children, overthrowing and
bearing downe whole townes and villages, and drowning infinite numbers
of sheepe and other cattle_.' It is written in the same sermonising
style, beginning by calling men to repent, and to take warning from
these signs of God's anger. Then follows the narrative. The inundation
was caused by an irruption of the sea, and many incidents are related of
the flood. Here the cradle story is again told:--'An infant likewise was
found swimming in a cradle, some mile or two fro' ye place where it was
known to be kept, and so was preserved; for the cradle was not of
wicker, as ours are here, but of strong, thicke bordes, closely joynted
together, and that saved the infant's life.' This narrative of the
Somersetshire flood was reprinted in another tract with '_An Addition of
other and more strange Accidents happening by these Flouds, and brought
to light since the first publishing of this Booke_.' This second edition
is illustrated with the identical woodcut that is used in the tract
relating the floods in Wales. The two tracts recounting the
Somersetshire floods were 'printed at London by W. I. for Edward White,
and are to be sold at the signe of the Gunne, at the North doore of
Paules.' That describing the flood in Wales was 'printed for W. W., and
are to be sold in Paules Church-yarde at the sign of the Grey-hound.' In
those days printers frequently combined the functions of engraver and
printer; and as regards the tracts under notice, we must conclude that
the printer supplied each of his customers with the same woodcut, or
that the booksellers of the time were in the habit of lending their
woodcuts to each other.

Storms, floods, and burnings were favourite themes with the early
newswriters, and several illustrated tracts exist describing such
calamities. They are more or less interspersed with pious exhortations,
but the narrative is rarely allowed to flag, and every incident is
minutely described. There is '_Woeful newes from the West parts of
England of the burning of Tiverton_,' 1612; and a small quarto pamphlet
of 1613, printed in old English, affords another good example of this
kind of news. It is entitled--it will be observed how fond the old
newswriters were of alliterative titles--'_The Wonders of this windie
winter, by terrible stormes and tempests, to be losse of lives and
goods of many thousands of men, women, and children. The like by Sea and
Land hath not been seene nor heard of in this age of the world. London.
Printed by G. Eld for John Wright, and are to be sold at his Shop neere
Christ-Church dore._ 1613.' On the title-page is a woodcut, a copy of
which is annexed.

[Illustration: GREAT STORM, 1613.]

The tract opens very much in the manner of a sermon, and declares the
dreadful occurrences related are intended to 'move sinful mankind to
repentance and newnesse of life.' It then goes on to describe 'that
within these three fore-passed months of October, November, and
December, the devouring gulfes of the Sea hath swallowed up above two
hundred saile of ships, as well of our own Country as of neighbouring
Nations, with great store of passengers, seafaring men, and owners of
the same, adventuring their dear lives in the managing of the aforesaid
ships, with all their goods, and merchandizes, making for our country
all lost; yea, all, I say, in these three fore-passed months, hath been
lost and drenched in the deep vaults of this watery world, a thing both
lamentable and fearfull, that in so short a time, nay, in a small part
of the yeare, even in an instant, so many heavy mischances should
happen, and so many worthy vessels of adventure miscarrie, which had bin
sufficient (if goodspeed had prevailed) to have inricht a whole Citie
and bettered a kingdome; but such is the will of God, and such is His
just indignation against us.

'By certification from men of good accompt and calling, it is reported
and knowne for truth, that in the month of October last, a fleete of
fourteene sayle of ships making from Newcastle towards London, laden
with sea-coale and other commodities of those parts, had their passage,
by the tyranny of the windes, most untimely stopt, and violently caste
into the ocean's wombe, in which ships were perished to the number of a
hundred and forty seafaring men, besides other passengers, both of men
and women, which at that time made their watery graves in the deepe sea.
This first strooke feare into the hearts of people, which hath been
since seconded with many calamities, which lieth heavy upon the heart of
the reporter.' The writer then goes on to relate that between 'Dover and
Calice there hath been found floating upon the waters in one weeke of
fowle weather above seven hundred drowned persons of divers nations, as
of English, Dutch, French, and Spanish, with parts and parcels of many
splitted ships.' Further details are given at great length, and in
rather a wordy manner. For instance, the writer describes the great
number of women who are made widows by the disasters at sea, 'besides
fatherlesse children and children fatherlesse.' Several examples are
related of the force of the wind. 'A man and his wife riding over
Maidenhead Bridge upon one horse, by the fierceness of the wind, were
blowne beside, and there drowned both horse and all. God be merciful
unto us and preserve us from all such like mischances. The like mishap
befell in November last unto two Yorkshire men, as it is verified by
some gentlemen of the Inns of Court and Chancery, which knew the
parties, the one of them a tanner, named Francis Browne, the other a
clothier, called Richard Smith, both dwelling in a towne neere Wakefield
side called Thorby; which two countriemen falling out upon small
occassions wilfully purposed to come up to London, and their put their
causes of themselves to the Lawes tryall; yet notwithstanding came they
up together, where in riding over a bridge about Bedfordshire, and
conferring of their inward grudges, they were blowne both beside into
the river, where, by the fierceness of the windes, they were most
lamentably drowned, both horse and men; and thus by sodaine death ended
their malice, to the fear and amazement of all such as well could
witness their envious proceedings. These and such like accidents may be
fearful examples for the world to behold, especially for rich men,
shewing to them the certaintie of life and goods subject to the chances
of death and fortune, according to the saying of a worthy philosopher,

  "Full little thinks the man at morning sun
   What hap to him befalls ere day be done."'

A great many other instances are related of the fury of the tempests,
all of which the writer feels certain 'have been laid upon us for our
sinnes;' and winds up with a pious exhortation to take warning.

[Illustration: FLOODS AND TEMPESTS, 1613.]

Another tract of the same character and date, also printed in black
letter, has a larger and more elaborate woodcut on the title-page,
representing sinking ships, the shore strewed with dead bodies, and on
the outside of a church tower the devil is seen throwing down the broken
steeple. The following is the address to the reader:--'Reader, I do here
present unto thee and to thy understanding (if thou hast any) some part
of the lamentable losses and unrecoverable mischances that have
happened by occassion of these late blustering stormes of winde, and an
innumerable deal of rayne, the which a great many thousands have too
true cause to beleeve, because they are sharers in the misfortunes that
this outragious weather hath caused. Now, if thou hast sustained no loss
thyselfe, perhaps thou wilt not beleeve these things to be true that I
have written; but if thou wilt or doest beleeve, then pray to God that
it will please Him to give them patience that are loosers, and humilitie
that are winners, and give God thanks that he hath so blessed thee that
thou hast no share in these mishaps. But if thou wilt not beleeve, goe
and looke, or else remaine still in thy unbeliefe.' A copy of the
woodcut is given on the preceding page.

Another pamphlet, of 1613, has the annexed woodcut, and is entitled
'_Lamentable Newes, shewing the Wonderful Deliverance of Maister Edmond
Pet, Sayler, and Maister of a Ship, dwelling in Seething-lane, in
London, neere Barking Church; with other strange things lately hapned
concerning those great windes and tempestuous weather, both at Sea and
Lande_. _Imprinted at London by T. C., for William Barley, dwelling over
against Cree Church, neere Algate._ 1613.' It describes the wreck of a
Newcastle ship on the east coast, and how 'Maister Pet,' after being
exposed to the winds and waves for forty-eight hours, was rescued by a
Dutch man-of-war, he being the only survivor from his ship. It will be
seen the woodcut represents two seamen lowering what appears to be an
arm-chair into the sea. This was probably the artist's notion of the
safest and most comfortable way to rescue shipwrecked persons. The same
tract relates other occurrences during the stormy weather, such as 'A
man neere Bedford, being thaching a house, was blowne off and kild;
trees blown up by the rootes, houses and chimnies quite blown downe,'
&c. 'All which is for our sinnes.'

[Illustration: RESCUE OF EDMUND PET, MARINER, 1613.]

Remarkable murders were even more favourite subjects with the early
news-writers than storms and floods, a partiality that has continued
down to our own time. A tract of 1613 is devoted to the details of
'Three Bloodie Murders,' but it is mainly taken up with an account of
the murder of the Rev. William Storre, of Market Rasen, Lincolnshire.
The full title runs thus:--'_Three Bloodie Murders. The first committed
by Francis Cartwright upon William Storre, M. Arts Minister and Preacher
at Market Rasen in the countie of Lincolne. The second committed by
Elizabeth James on the body of her Mayde, in the Parish of Egham in
Surrie: who was condemned for the same fact at Sainte Margaret hill in
Southwark, the 2 of July 1613, and lieth in the White Lion till her
deliverie; discovered by a dombe Mayde and her Dogge. The third
committed upon a stranger very lately near Highgate foure mile from
London, very strangely found out by a Dogge. Also the 2 of July 1613._'

The circumstances relating to the murder of the Rev. William Storre are
given at great length and with much minuteness:--'Not long since, there
happened some controversey between the Lords and the rest of the
inhabitants of Market Raisin in the Countie of Lincolne concerning the
Commons and Libertie in the Towne Fields; and the matter being mooted by
one of them in the Church immediately after evening prayer on a Sabaoth
day, divers hot intemperate speeches passed among them; whereupon their
Minister, whose name was Mr. Storre, much disliking so indiscreete a
course, wished them to have respect both to the time and place where
they were: And further advised, seeing the cause in hand concerned a
multitude, (amongst whom, some of the least government would always be
the readiest to speake) that they would therefore make choice of two or
three of the fittest and most substantial men, to answere and undertake
for all the rest. This motion seemed to please them well, and therefore
they intreated him, that he would first, as a man indifferent speake
what he thought concerning the cause. But he not wishing to intermeddle
in that matter, twice or thrice denied their request; and the rather,
for that there was present one Francis Cartwright, a young man of an
unbridled humour, the only Sonne and Heire to one of the same Lordes of
the Towne, betwixt whom and himselfe, there was growne no small
unkindnesse. Yet in the end being pressed thereunto by their
importunities with the consent of both the parties he delivered his
opinion, useing therein such discretion and reasons to confirme the same
that they could not directly except against him. Notwithstanding, seeing
him incline more to the right of the Freeholders and the rest of the
Commons than to favour their intended purpose, they seemed to dislike
his speaches, and to cavill at the same.

'Young Cartwright standing by, not able any longer to contain himselfe
tooke occassion hereupon to breake forthe abruptly into these wordes:
The Priest deserveth a good Fee, he speaketh so like a Lawyer. Maister
Storre having often aforetime had experience of his hotte stomacke and
hastinesse as well towards others as himselfe, thought it best to reply
little against him for that present.' The Rev. Mr. Storre's forbearance
was of no avail, for next day young Cartwright took occasion to renew
the quarrel, and in the public market-place 'proclaymed that Storre was
a scurvie, lowsie, paltrie Priest; that whoever sayd he was his friend
or spake in his cause, was a Rogue and a Rascall, that he would (but for
the Law) cut his Throat, tear out his Heart, and hang his Quarters on
the May-pole.' These sanguinary threats caused Mr. Storre to seek the
protection of the Magistrates; and he afterwards preached a sermon
containing words which young Cartwright thought were purposely directed
against him, so that he 'more and more thirsted for revenge.'

'About a week after, he espied Mr. Storre walking about eight of the
clocke in the morning alone, by the south side of the Towne in his
cloake, went to a cutler's shop, and tooke out of the same a short
sword, formerly provided and made very sharpe for that purpose, and
presently overtooke him.' The young man attacked the clergyman, and the
pamphlet gives a minute account of the dreadful wounds he inflicted
upon him until 'A Mayde coming that way by occassion of businesse,
cried out, whereupon he fledde.'

The clergyman died of the frightful wounds he received, and the murderer
was taken and carried before a justice, 'where, either for lacke of
their due information of the truth, or by the corrupt and favourable
affection of the magistrate, or both, there was a very slender bayle
taken, and the malefactor by this flight sent away.' Cartwright's
friends 'laboured by corrupt dealing and wrong information' to procure
his pardon; but so barbarous a murder could not be hushed up, and the
culprit eventually 'fled beyonde the seas.'

[Illustration: MURDER OF THE REV MR. STORRE, 1613.]

On the title-page of the pamphlet is a woodcut representing the murder
of the Rev. Mr. Storre, which is copied above.

The two other murders are not related at such great length, and are not
illustrated.

This is the earliest example I have met with of a kind of illustrated
news that is very popular even in our own day. From the pains taken to
describe all the circumstances of the crime and its consequences, the
author evidently regarded it as a subject of the highest interest, and
worthy of all the elaboration he was capable of bestowing upon it.

[Illustration: NEWS FROM PENRHYN IN CORNWALL, 1618.]

There is a very curious and rare tract of the date of 1618, which
describes the circumstances of another remarkable murder. It is entitled
'_News from Perin (Penrhyn), in Cornwall, of a most Bloody and
unexampled Murther very lately committed by a Father on his owne sonne
(who was lately returned from the Indyes), at the instigation of a
mercilesse Step Mother, together with their severall most wretched
endes, being all performed in the Month of September last, Anno 1618._'
On the title-page is a woodcut representing the discovery of the murder,
which is reprinted in the body of the pamphlet. Another woodcut
illustrates a scene before the murder is committed, where the son hands
his bag of treasure to his step-mother. The story is a very minute
history of a scapegrace son, who, after various adventures, returns to
his father's house a penitent and reformed man. Many years having
elapsed, the son is not recognised by his father, who has married a
second wife and is in straitened circumstances. The son begs a night's
lodging and resolves not to make himself known till next morning. In the
meantime, to show that he will be able to recompense his host and
hostess for their hospitality, he gives the latter a bag of gold and
jewels to take care of for him till the morrow. The woman, excited by
the possession of the gold, thinks how easy it would be to relieve
themselves from their embarrassments by murdering their guest and
keeping possession of his treasure. She urges her husband to do the
deed. After many refusals he consents, and the father murders his own
son. In the morning it is made known to him who his victim is, and, in a
fit of remorse and despair, he kills himself; upon which the guilty wife
also commits suicide, and the tract thus winds up:--'And to the end it
may be a warning to all covetous step mothers, and a content for all
easie Fathers to avoyde the like hereafter. At the entreaty of divers
Gentlemen in the Countrey, It is as neere the life as Pen and Incke
could draw it out, thus put in Print.'

William Lillo, the author of _George Barnwell_, is said to have founded
his play of 'Fatal Curiosity' on this tract. Lillo was a prosperous
London jeweller and a successful dramatic author. He depicted the
harrowing details of this tragic story with great power; and the agonies
of old Wilmot, the father, constitute one of the most appalling and
affecting incidents of the drama.

A curious black-letter tract of 1616, which is illustrated with a
fearful apparition of three skeletons, is entitled, '_Miraculous Newes
from the cittie of Holdt, in the Lordship of Munster (in Germany), the
twentieth of September last past 1616, wherein there were plainly beheld
three dead bodyes rise out of their Graves, admonishing the people of
Judgements to come_.' The truth of this miraculous news is vouched for
by 'divers worthy Persons and Burgimasters of the same citty,' whose
names are given. This miraculous appearance was preceded by a fearful
tempest of thunder and lightning. 'When this great tempest of thunder
and lightning was ceased, there was heard throughout all the parts and
places of the citty a most hideous and dolefull clamour or outcry,
striking terror into all the people, yet no man could perceive whence it
came, or where this clamour should bee. The people came over all the
citty after the noise, but could not finde it; for when they were at one
corner of the citty they then heard it at another; and when they were
come to that other corner there it seemed to them to be in the middle of
the citty; and to them that were in the middest it seemed farther off.
So that all heard it, but none could find where it was, or from whence
it came.

'At length the people assembling in the churchyard behelde there so
strange and incredible judgements sent by the Lord, that for the most
part the beholders fell flatt on their faces to the ground, crying loude
unto the Lord for mercy. For there they beheld coming out of their
graves three most ghostly and fearfull dead bodyes.


1.

'Whereof the first that was seen to arise out of the earth, seemed very
white, cleane, and cleere, who opening his mouth and beating his handes
together spake thus: "Blessed be God in the highest Heaven, that our
releasement is come, for we have wayted many a hundred yeare for this
time." The people hearing this fell upon their knees and prayed unto the
Lord with weeping and great lamentation, saying: O Lord beholde us with
thy merciful eyes, and let us not be overwhelmed or smothered in our
sinnes.


2.

'The second dead man that arose out of the earth caused farre greater
feare and trembling then the former, for the beholders saw him
altogether from the toppe to the toe, like unto a burning fire; he
likewise opened his mouth, and wringing his handes, and tearing his
haire, cryed with a loude voyce: Repent yee, Repent yee; Almighty God
hath taken his chastising rodde in hand, to punish the people for their
sinnes, for their great wealth, for their great talke or presumptious
wordes, for their pompe, and for their pride: The which the Lord will no
longer suffer nor endure, for the cry and complaint of these sinnes is
asended up into his eares; Wherefore hee will destroy you with a
suddaine sicknesse, and fiery Pestilence, so that you shall not have so
much time as one houre, to utter one worde, to call upon God.

[Illustration: MIRACULOUS NEWS FROM MUNSTER IN GERMANY, 1616.]


3.

'After this fiery apparition and threatening speech ended, there
appeared likewise rising out of the grave a third dead man, grinding and
gnashing his teeth together, striking his handes the one against the
other, and crying with a most fearful and hideous voyce, insomuch that
it seemed to all the multitude there present, that the earth would
certainly have rent in sunder; and spake that all the people plainly
heard and understood his wordes, which were these; Woe, woe, woe, to
the wicked; this is the time that wee have long attended and looked for;
wherefore (ye people) looke to it, and beware lest the great day of the
Lord come upon you suddainly, and fall upon you unprovided; for the time
of his comming is neerer than you thinke.

'After the uttering of these wordes, the three dead Bodyes vanished and
the Graves were shut againe, the heavens became cleere, the Tempest
ceased, and all the people being released of their present horror and
feare, rejoyced, and assembling themselves together, gave glory and
laude, and praise unto the Lord for his Fatherly mercy and unspeakable
goodnesse, in the mitigation of his furie, and withdrawing his heavy
hand for the present. And thereupon appointed a sett day of
supplications, prayers, and fasting, with true and unfained Repentance
to be proclaimed, and observed.'

This account is supplemented by an 'apology,' setting forth that men
must not be incredulous because they hear of miraculous
occurrences--that God is able to bring back the age of miracles, &c. The
writer evidently thought his readers might require to be strengthened by
argument before they could place implicit faith in his narrative, and so
he takes some pains in his 'apology' to convince them that however
unnatural and uncommon may be the appearances he relates, the wickedness
of the world was a sufficient justification for this and other
extraordinary events. A copy of the woodcut that illustrates this
curious production is shown on the preceding page.

[Illustration: 'GOOD NEWES TO CHRISTENDOME,' 1620.]

In 1620 Nathaniel Butter printed an illustrated tract entitled _'Good
Newes to Christendome, sent to a Venetian in Ligorne, from a Merchant in
Alexandria, Discovering a Wonderfull and Strange Apparition, visibly
seene for many dayes together in Arabia over the place where the
supposed Tombe of Mahomet (the Turkish Prophet) is inclosed; By which
the learned Arabians prognosticate the Reducing and Calling of the great
Turke to Christianitie. With many other Notable Accidents: But the most
remarkable is the miraculous rayning of Bloud about Rome_.' This
tract, which is very long and discursive, relates, among other things,
the apparition of a woman in the air, with a book in her hand, being the
same apparition that is described at great length in a tract of 1642,
which I shall quote hereafter. In the tract under notice there is a
woodcut representing an army in the clouds--the clouds raining blood
over a city; a woman with sword and book; and a crowd of men below
watching the aerial phenomenon. The writer, in winding up his narrative,
thus addresses his reader:--'If you cannot beleeve it as truth, yet to
make that use of it as if it were true; and then shall you know, there
is but one way to happiness, and all the predictions, prophesies,
visions, apparitions, comets, inundations, stormes, tempests, famine,
warre, alteration, and subversion of kingdomes, with all the cabinet of
mysteries, tend to this end that _premium_ and _poena_ be the mastering
curbs of the world; that is, that God hath a _Magazine_ of judgements to
inflict on the obstinate sinner with punishments: and a store-house of
mercy to support the penitent soule with comfort.'

In 1627 we come upon a very curious and literal example of illustrated
news. In that year Charles I., having declared war against France,
fitted out an expedition of a hundred sail and an army of 7000 men for
the support of the Protestant cause in that country. The King's
favourite, the self-confident and vainglorious Duke of Buckingham, took
the command of the expedition, although he was totally unfit for that
position. He was personally brave, but possessed no other quality of a
commander. He had no knowledge or experience of the art of war, and was
too proud and presumptuous to be guided by the advice of others. The
expedition was destined for Rochelle, then in possession of the
Huguenots; but Buckingham went to sea without any understanding with his
allies; and, when he anchored off Rochelle, he was refused admission to
the town. He then directed his course to the neighbouring Isle of Rhè,
where he succeeded in landing his men under the fire of his ships, and
defeated a small French force commanded by the governor of the island.
Instead of immediately following up his success, Buckingham allowed the
French commander to secure and strengthen the fortress of St. Martin;
and when he did advance he foolishly left the enemy in possession of
another fort in his rear. He besieged the Castle of St. Martin for many
weeks, and then led his men to storm the place without having made a
single breach in the walls. They were repulsed at all points with
considerable loss, and attempted to retreat to their ships; but Marshal
Schomberg with a French army had thrown himself between the Duke and the
fleet, and had put a strong corps and artillery into the fort of La
Prèe, which Buckingham had left in his rear. No precautions whatever had
been taken, and they suffered great loss before they could re-embark.
The expedition was a total failure, and Buckingham returned to England
beaten and disgraced.

While the Duke of Buckingham was besieging the citadel of St. Martin, an
attempt was made, or was said to have been made, upon his life by a
French Papist or Jesuit, with a thick four-edged knife. An account of
the Duke's proceedings while in the Isle of Rhè appears to have been
sent home, and was published probably with a view of influencing the
people in his favour and showing to what dangers he was exposed in the
national service. There is in the British Museum a tract entitled '_A
Continued Journal of all the Proceedings of the Duke of Buckingham his
Grace, in the Isle of Ree since the last day of July. With the names of
the Noblemen as were drowned and taken in going to releeve the Fort. As
also the Portraiture of the knife with which his Excellence should have
been murdered, which very knife was brought over by Captaine Buckestone
and delivered unto the Duchess of Buckingham her Grace on Monday night
last. Published by Authoritie. London, Printed for Thomas Walkley, and
are to be sold at his shop at the Eagle and Childe in Britaines Bursse,
1627._' The following account is given of the intended assassination of
the Duke:--

  'Received the 27 of August.

'Here I have sent you all the remarkable Newes that I have upon the
last of _July_. There was taken by a _Perdue_ of ours, in the night (a
Frenchman), that was sent by _Monsieur de Thorax_, the Governour of the
Citadell, with a full intent to kill my Lord Duke; and for the speedy
effecting of the same he had prepared a strange and dangerous _Poynado_,
which, although it was taken about him, he confidently denied that he
came not with any intent to kill the _Duke_ untill he came to the
Tortures, which being presented before him he promised to discover all
to my _Lord_ if he would promise him life, the which he did, and doth so
performe with him, like a noble and mercifull Generall.' The tract
contains a large woodcut of a knife, a reduced copy of which is given
above, and underneath the engraving is the following description:--'This
is the true Portraiture of the poysoned knife, both in length and
breadth, having foure edges, with which a Jesuited Vilaine was sent out
of the Fort by Monsieur de Thorax, the Governour of that Island, with an
intent to have killed his Excellence, but by God's providence was
delivered. His Grace hath used the French so nobly in all respects that
he rather deserved their love than any wayes to have his life thus
treacherously sought after, under the pretence that it was a meritorious
act. Which knife was brought over into England by Captaine Buckestone,
and by him delivered unto the Dutches of Buckingham her Grace on Monday
night last.'

[Illustration: KNIFE INTENDED FOR THE ASSASSINATION OF THE DUKE OF
BUCKINGHAM, 1627.]

Whether the attempt on Buckingham's life was a reality or was got up for
the purpose of endearing the court favourite to all good Protestants, it
foreshadowed his ultimate fate. In the following year, while he was at
Portsmouth, and about to embark on a second expedition to Rochelle, he
was stabbed by Felton, who had served under him in the expedition to
the Isle of Rhè.

Besides the subjects already noticed, the old news-writers delighted in
signs and portents in the air, and failed not to improve the occasion
whenever they met with a text so much to their liking. There was a fall
of meteorites in 1628, which was chronicled at the time in an illustrated
pamphlet, entitled, '_Looke up and See Wonders: a miraculous Apparition
in the Ayre, lately seen in Barke-shire, at Bawlkin Greene, neere
Hatford, April 9th, 1628._' The author, like his fellow-chroniclers,
already quoted, regards the occurrence as a sign of Heaven's displeasure,
and addresses his readers thus:--'So Benummed wee are in our Sences, that
albeit God himselfe Holla in our Eares, wee by our wills are loath to
heare him. His dreadfull Pursiuants of _Thunder and Lightning_ terrifie
vs so long as they haue vs in their fingers, but beeing off, wee dance
and sing in the midst of our Follies.' He then goes on to tell how 'the
foure great quarter-masters of the World (_the foure Elements_) ... haue
bin in ciuill Warres one against another.... As for _Fire_, it hath
denied of late to warme vs, but at vnreasonable rates, and extreame hard
conditions. But what talke I of this earthy nourishment of _fire_? How
haue the _Fires_ of Heauen (some few yeares past) gone beyond their
bounds, and appeared in the shapes of Comets and Blazing Starres?... The
_Aire_ is the shop of Thunder and Lightning. In that, hath of late been
held a Muster of terrible enemies and threatners of Vengeance, which the
great Generall of the Field who Conducts and Commands all such Armies
(_God Almighty, I meane_) auert from our Kingdome, and shoote the arrowes
of his indignation some other way, vpon the bosomes of those that would
confound his Gospell.... Many windowes hath he set open in heauen, to
shewe what Artillery hee has lying there, and many of our Kings haue
trembled, when they were shewne vnto them. What blazing Starres (euen at
Noone-dayes) in those times hung houering in the Aire? How many
frightfull Ecclipses both of Sun and Moone?... It is not for man to
dispute with God, why he has done this so often ... but, with feare and
trembling casting our eyes vp to Heauen, let vs now behold him, bending
his Fist onely, as lately he did to the terrour and affrightment of all
the Inhabitants dwelling within a Towne in the County of Barkshire....
The name of the Towne is _Hatford_, some eight miles from _Oxford_. Ouer
this Towne, vpon Wensday being the ninth of this instant Moneth of
_April_, 1628, about fiue of the clocke in the afternoone this
miraculous, prodigious and fearefull handy-worke of God was presented....
The weather was warme, and without any great shewe of distemperature,
only the skye waxed by degrees a little gloomy, yet not so darkened but
that the Sunne still and anon, by the power of the brightnesse, brake
through the thicke clouds....

'A gentle gale of wind then blowing from betweene the _West_ and
_North-west_, in an instant was heard, first a hideous rumbling in the
_Ayre_, and presently after followed a strange and fearfull peale of
Thunder, running vp and downe these parts of the _Countrey_, but it
strake with the loudest violence, and more furious tearing of the
_Ayre_, about a place called _The White Horse Hill_, than in any other.
The whole order of this thunder, carried a kind of Maiesticall state
with it, for it maintayned (_to the affrighted Beholders' seeming_) the
fashion of a fought Battaile.

'It beganne thus: First, for an onset, went off one great _Cannon_ as it
were of _thunder_ alone, like a warning peece to the rest that were to
follow. Then a little while after was heard a second; and so by degrees
a third, vntil the number of 20 were discharged (or thereabouts) in very
good order, though in very great terror.

'In some little distance of time after this was audibly heard the sound
of a Drum beating a Retreate. Amongst all these angry peales shot off
from Heauen, this begat a wonderful admiration, that at the end of the
report of every cracke, or _Cannon-thundering_, a hizzing noyse made way
through the _Ayre_, not vnlike the flying of _Bullets_ from the mouthes
of great Ordnance; and by the iudgement of all the terror-stricken
witnesses they were _Thunder-bolts_. For one of them was seene by many
people to fall at a place called _Bawlkin Greene_, being a mile and a
half from _Hatford_: Which _Thunder-bolt_ was by one Mistris _Greene_
caused to be digged out of the ground, she being an eye-witnesse amongst
many others, of the manner of the falling.

'The forme of the _Stone_ is three-square, and picked in the end: In
colour outwardly blackish, some-what like Iron: Crusted ouer with that
blacknesse about the thicknesse of a shilling. Within it is soft, of a
grey colour, mixed with some kind of minerall, shining like small peeces
of glasse.

'This _Stone_ brake in the fal: The whole peece is in weight nineteene
pound and a halfe: The greater peece that fell off weigheth fiue pound,
which with other small peeces being put together, make foure and twenty
pound and better....

'It is in the Countrey credibly reported that some other Thunder-stones
haue bin found in other places: but for certainty there was one taken vp
at _Letcombe_, and is now in the custody of the _Shriefe_.'

This curious account is illustrated with a quaint woodcut, in the
foreground of which the thunder-bolt seen by Mistress Green is being
'digged out of the ground.'

[Illustration: FALL OF METEORS AT BAWLKIN GREEN, BERKSHIRE, APRIL 9,
1628.]

Amongst the many publications relating to the victorious career of
Gustavus Adolphus, king of Sweden, there was one entitled the _Swedish
Intelligencer_, printed at London, in 1632, for Nathaniel Butter and
Nicholas Bourne, both of them names associated with the first
establishment of newspapers in England. The _Swedish Intelligencer_
gives very full accounts of the exploits of Gustavus, and it is
illustrated with his portrait, a bird's-eye view of the siege of
Magdeburg, a plan showing how the King of Sweden and his army crossed
the river Lech into Bavaria, and a plan or bird's-eye view of the battle
of Lutzen, where Gustavus was killed. The portrait, the siege of
Magdeburg, and the battle of Lutzen, are engraved on copper, but the
passage of the Lech is a woodcut. I have copied the latter, the others
being too elaborate for reproduction on a reduced scale. The three last
named are very curious as illustrations of war news. Gustavus had
crossed the Danube, and his troops overspread the country between that
river and the river Lech. Field Marshal Tilly was in front of him,
waiting for reinforcements from the army of Wallenstein, in Bohemia, and
the junction of fresh levies raised in Bavaria, with which he hoped to
drive the invaders back across the Danube. The account in the _Swedish
Intelligencer_ of this celebrated passage of the River Lech is too long
for quotation, but I give a condensed version of the circumstances from
other sources.

The Lech takes its rise among the mountains of the Tyrol, and, after
washing the walls of Landsberg and Augsburg, falls into the Danube at a
short distance from the town of Rain. The banks are broken and
irregular, and the channel uncertain. Nor are there many rivers of the
same size in Germany which can be compared with it in the strength and
rapidity of its current. The united forces of Bavaria and the League,
with this efficient means of defence in front, extended their right wing
towards the Danube and their left towards Rain, while the banks of the
river, as far as the city of Augsburg, were observed by their patrols,
supported by detached bodies of infantry. Tilly had taken the precaution
of breaking down the bridges over the Lech, and had thrown up field
works at points where he judged the passage might be considered attended
with fewest difficulties. That the Swedes would attack him in his main
position was a pitch of daring to which, well as he was acquainted with
the enterprising spirit of the king, he could scarcely suspect him of
having yet attained. Such, however, was the full determination of
Gustavus. After he had reconnoitred the course of the Lech for some
miles, at the imminent peril of his life, he fixed upon a point between
Rain and Thierhauppen, where the river makes a sweep to the eastward, as
the spot for carrying his venturous design into effect. The king's
first intention was to throw a floating bridge over the stream, but the
attempt was no sooner made than it was found to be rendered hopeless by
the rapidity of the current. It was then imagined that tressels might be
sunk, and firmly secured by weights in the bed of the river, on which
the flooring of the bridge might afterwards be securely laid. The king
approved of this plan, and workmen were commanded to prepare the
necessary materials at the small village of Oberendorf, situated about
half a mile from the spot. During the night of the 4th of April the work
was entirely finished, the supports fixed in the stream, and the planks
for forming the bridge brought down to the water's edge. The king had,
in the meantime, ordered a trench to be dug along the bank of the river
for the reception of bodies of musketeers, and several new batteries to
be constructed close to the shore, the fire from which, as they were
disposed along a convex line, necessarily crossed upon the opposite
side; those upon the left hand of the Swedes playing upon the left of
the enemy, and those on the right upon the wood held by the Bavarians.
Another battery, slightly retired from the rest, directed its fire
against the entrenchments occupied by Tilly's centre. By daybreak on the
5th, all necessary preparations having been made, the bridge was begun
to be laid, and completed under the king's inspection. Three hundred
Finland volunteers were the first who crossed, excited by the reward of
ten crowns each to undertake the dangerous service of throwing up a
slight work upon the other side for its protection. By four in the
afternoon the Finlanders had finished their undertaking, having been
protected from a close attack by the musketry of their own party and the
batteries behind them, from which the king is said to have discharged
more than sixty shots with his own hand, to encourage his gunners to
charge their pieces more expeditiously. The work consisted merely of an
embankment surrounded by a trench, but it was defended both by the
direct and cross fire of the Swedes. As soon as it was completed,
Gustavus, stationing himself with the King of Bohemia at the foot of
the bridge, commanded Colonel Wrangle, with a chosen body of infantry
and two or three field-pieces, to pass over, and after occupying the
work, to station a number of musketeers in a bed of osiers upon the
opposite side. The Swedes crossed the bridge with little loss, and after
a short but desperate struggle the Imperialists were routed. The whole
of the Swedish army was soon upon the eastern bank of the Lech, where
the king, without troubling himself with the pursuit of the enemy,
commanded his army to encamp, and ordered the customary thanksgivings to
be offered for his victory.[1]

The account in the _Swedish Intelligencer_ is wound up in these words:
'And this is the story of the King's bridge over the _Lech_, description
whereof we have thought worthy to be here in Figure imparted unto you.'
Then follows an 'Explanation of the Letters in the Figure of the
_Bridge_,' given below the illustration. The engraving does not appear
to have been entirely satisfactory to the author, for on its margin the
following words are printed: 'Our Cutter hath made the Ordnance too
long, and to lye too farre into the River. The Hole also marked with R,
should have been on the right hand of the Bridge.'

[Illustration: PASSAGE OF THE RIVER LECH, BY GUSTAVUS ADOLPHUS. FROM THE
'SWEDISH INTELLIGENCER,' 1632.]

  REFERENCES TO PASSAGE OF THE RIVER LECH.

  'A The King of Sweeden, and the King of Bohemia by him.

  B The Bridge.

  C A Trench or Brestworke, in which the Kings Musketeers were lodged,
  betwixt the severall Batteryes of the great Ordnance, which Musketeers
  are represented by the small stroakes made right forwards.

  D Divers little Field-pieces.

  E Plat-formes or Batteryes for the Kings greater Cannon.

  F The Halfe-moone, with its Pallisadoe or Stocket, beyond the Bridge,
  and for the guard of it. It was scarcely bigge enough to lodge a
  hundred men in.

  G A little Underwood, or low Bushy place.

  H A plaice voyd of wood; which was a Bache, sometimes overflowne.

  I A Brestworke for Tillyes Musketeers.

  K K Tilly and Altringer; or the place where they were shot.

  L The high wood where the Duke of Bavaria stood.

  M Tilleyes great Batteryes to shoot down the Bridge.

  N A small riveret running thorow the wood.

  O Tillyes great Brestworke; not yet finished. Begun at sixe in the
  morning; and left off when he was shot.

  P Some Horse-guards of Tillyes: layd scatteringly here and there all
  along the river from Rain to Augsburg.

  Q The kings Horse-guards, and Horse-sentryes.

  R A hole in the earth, or casual advantageable place; wherein some of
  the Kings Foot were lodged.

  S The Hill behind Tillyes great worke.

  T The fashion of the Tressels or Arches for the Kings Bridge.'

In 1636 the Sallee Rovers had become very troublesome, and not only
hindered British commerce, on the high seas, but even infested the
English coasts. They had captured and carried into slavery many
Englishmen, for whose release a 'Fleete of Shippes' was sent out in
January, 1636. Assisted by the Emperor of Morocco, the nest of pirates
was destroyed and the captives released. A full account of this
expedition is given in a curious pamphlet, entitled, '_A true Journal of
the Sally Fleet with the proceedings of the Voyage, published by John
Dunton, London, Mariner, Master of the Admirall called the Leopard.
Whereunto is annexed a List of Sally Captives names and the places where
they dwell, and a Description of the three Townes in a Card. London,
printed by John Dawson for Thomas Nicholes, and are to be sold at the
Signe of the Bible in Popes Head Alley, 1637_.' This tract is
illustrated by a large plan of Sallee, engraved on copper, with
representations of six English vessels of war on the sea. After minutely
describing the proceedings of the voyage, and giving a long list of the
captives' names, the journalist winds up in these words: 'All these good
Shippes with the Captives are in safety in England, we give God thanks.
And bless King Charles and all those that love him.'

At the end of the pamphlet is printed the authority for its publication:
'Hampton Court, the 20. of October, 1637. This Journall and Mappe may be
printed.'

There is an illustrated pamphlet of this period which I have not been
able to see. It is entitled, '_Newes, and Strange Newes from St.
Christopher's of a Tempestuous Spirit, which is called by the Indians a
Hurrycano or Whirlwind; whereunto is added the True and Last Relation
(in verse) of the Dreadful Accident which happened at Witticombe in
Devonshire, 21. October, 1638_.'

The _Weekly News_, begun in 1622, had been in existence sixteen years
when the idea of illustrating current events seems to have occurred to
its conductors; for in the number for December 20, 1638, there is,
besides the usual items of foreign news, an account of a 'prodigious
eruption of fire, which exhaled in the middest of the ocean sea, over
against the Isle of Saint Michael, one of the Terceras, and the new
island which it hath made.' The text is illustrated by a full-page
engraving showing 'the island, its length and breadth, and the places
where the fire burst out.' I have not been able to find a copy of the
_Weekly News_ for December 20, 1638, either in the British Museum or
elsewhere. My authority for the above statement is a letter in the
_Times_ of October 13, 1868. As far as I have been able to ascertain, no
other illustrations were published in the _Weekly News_, so that we must
conclude the engraving of the 'prodigious eruption of fire' was an
experiment, which in its result was not encouraging to the proprietor or
conductors of the journal.

[Illustration: TAKING OF THE CASTLE OF ARTAINE, IRELAND, 1641.]

When the Irish Rebellion of 1641 broke out, many news-books were
published describing the transactions in that country, and several of
them are illustrated. I may here remark that the illustrations of events
in these pamphlets, as well as many of those contained in the numerous
tracts published during the Civil War in England, appear to be works of
pure imagination, and were, probably, invented by the artist just as a
modern draughtsman would illustrate a work of fiction. Others, again,
were evidently old woodcuts executed for some other purpose. A few
instances occur, however, where drawings have been made from actual
scenes, and sometimes maps and plans are given as illustrations of a
battle or a siege. This rising of the Roman Catholics in Ireland began
with a massacre of the Protestants, and, according to the tracts
published at the time, the atrocities of recent wars in Bulgaria and
elsewhere were equalled in every way by the Roman Catholics in Ireland
in the seventeenth century. The illustrations in these tracts are very
coarse woodcuts. One represents the arrest of a party of conspirators,
and another is a view of a town besieged, while a third gives a group of
prisoners supplicating for mercy. The best illustration that I have met
with of this Irish news is contained in a pamphlet entitled, '_Approved,
good and happy Newes from Ireland; Relating how the Castle of Artaine
was taken from the Rebels, two of their Captaines kild, and one taken
prisoner by the Protestants, with the arrival of 2000 foot, and 300
horse from England. Also a great skirmish between the Protestants and
the Rebels at a place near Feleston, wherein the English obtained great
renowne and victory: Whereunto is added a true relation of the great
overthrow which the English gave the Rebels before Drogheda, sent in a
letter bearing date the 27 of February to Sir Robert King, Knight, at
Cecill house in the Strand. Printed by order of Parliament. London,
Printed for John Wright 1641._' The woodcut on the title-page of this
tract represents the taking of the castle of Artaine, but there is only
the following very short paragraph relating to it:--'The last news from
Ireland 7 March 1641. The 10 of February our men went to _Artaine_
against a castle so called, which had before done some mischiefe, to
some of our men, the enemy being in it. But the enemy fled before our
second coming, and left the Castle, and a garrison was left in it by
us.' The other news is related more at length, and one of the paragraphs
runs thus:--'On the 13 a man was brought to our City, being taken by
some of our scattering men scouting about our City, who confest without
constraint, that he had killed an _Englishwoman_ at a place called
_Leslipson_, 6 Miles West of our City, and washed his hands in her
bloud, being set on by the popish Priests so to doe; he was presently
hanged, but dyed with much repentance and a protestant, which few do.'
The concluding paragraph of this pamphlet shows the writer to have been
a man of a commercial spirit:--'Tis to be feared that a famine is like
to be in our City, in that still men come to us and provision is short,
and none of yours that come to us bring any vittailes, great taxes are
upon us, more than can be borne. He that had Butter, and Cheese, and
Cloath, at between 6 and 14 shillings a yard here sent by any out of
London might make a good trade of it. Cheshire Cheese is sould here for
sixpence a pound already. Some of your Londoners are come hither
(acquaintance of mine) that will send for such things, for great profit
may be made by them and quicke returne.' Annexed is a facsimile of the
woodcut representing the taking of the Castle of Artaine.

Several other pamphlets relating to the Irish Rebellion are illustrated,
but, with a few exceptions, the cuts bear very little relation to the
subject, and were probably not executed for the purpose. One gives an
account of a victory obtained by the English at Dundalk in 1642, and it
has a woodcut of a man firing a cannon against a town, a copy of which
is appended.

[Illustration: VICTORY AT DUNDALK, 1642.]

The description is in the following words:--'Newes from Ireland. On
Monday morning came three Gentlemen to our City of Dublin from Sir Henry
Tichbourne, who brought a message to the state of a great and happy
victory obtained by the aforesaid Sir Henry Tichbourne with 2000 horse
and foot marched to Ardee, and there put 400 of the Rebels to the sword,
yet lost not one man of our side; from thence upon the Saturday
following, he mustered up his forces against a place called Dundalke
some 14 miles northward from Tredath, where the enemy was 5000 strong,
and well fortified. At his first approach there issued out of the Towne
3000 of the Rebels who all presented themselves in Battallia, our
Forlorne hopes of horse and foot had no sooner fired upon them, but they
routed the Rebels. Captaine Marroe's Troope of horse setting on killed
great store of the Rebels who thereupon retreated to the Towne, made
fast the gates, and ran out at the other end to their boats beforehand
provided: Our Army coming in fired the gates, entred, and killed those
within. Captain Marroe followed the flying foe, and slew abundance of
them upon the strand, and it is reported by them that if he had known
the Fords and the River, he had cut them all off, if he had gained the
other side of the River, but being a stranger, could not doe it (wanting
a guide) without endangering the Troope. There was slaine of the Rebels
in this sudden skirmish not less than 1100 besides what they took
prisoners. Sir Philomy O'Neale fled with the rest of the Commanders; but
10 common soldiers were lost of our side. Sir Philomy O'Neale made speed
away to a place called Newry, a chiefe garrison of the Rebels. Sir Henry
Tichbourne hath sent 600 men more to Dublin, intending that place shall
be the next he begins withall, which is granted, and tomorrow there
goeth to him 500 men, if not 5000, for whose safety and prosperity in
the meantime is the subject of our daily prayers that he may have as
good success as in all his other designs from the first till this time;
for no man was ever so beloved by his souldiers, that protest to follow
him while they can stand. We are in great hope he will recover the Newry
very shortly; it is credibly reported, that they got 20,000 pounds at
least in pillage at Dundalke.'

In another pamphlet, dated 1642, there is an account of a battle at
Kilrush, which is also illustrated with a woodcut. The circumstances are
related in detail, but they are sufficiently set forth in the title,
without further quotation:--'Captaine Yarner's Relation of the Battaile
fought at Kilrush upon the 15th day of Aprill, by my Lord of Ormond, who
with 2500 Foot and 500 Horse, overthrew the Lord Mountgarret's Army,
consisting of 8000 Foot and 400 Horse, all well armed, and the choyce of
eight Counties. Together with a Relation of the proceedings of our Army,
from the second to the later end of Aprill, 1642.'

[Illustration: BATTLE OF KILRUSH, 1642.]

Many other illustrated pamphlets relating to current events were
published at this time. It would appear that in 1641 there was a
visitation of the plague in London, and a tract of that date has
reference to it. It is entitled:--'_London's Lamentation, or a fit
admonishment for City and Country, wherein is described certain causes
of this affliction and visitation of the Plague, yeare 1641, which the
Lord hath been pleased to inflict upon us, and withall what means must
be used to the Lord, to gain his mercy and favour, with an excellent
spirituall medicine to be used for the preservative both of Body and
Soule._' The 'spiritual medicine' recommended is an earnest prayer to
heaven at morning and evening and a daily service to the Lord. The
writer endeavours to improve the occasion very much like a preacher in
the pulpit and continues his exhortation thus:--'Now seeing it is
apparent that sin is the cause of sicknesse: It may appear as plainly
that prayer must be the best means to procure health and safety, let not
our security and slothfulnesse give death opportunity, what man or woman
will not seem to start, at the signe of the red Crosse, as they passe
by to and fro in the streets? And yet being gone they think no more on
it. It may be, they will say, such a house is shut up, I saw the red
crosse on the doore; but look on thine own guilty conscience, and thou
shalt find thou hast a multitude of red crimson sinnes remaining in
thee.' I have copied the illustration to this tract, and it will be seen
that it is divided into two parts--one representing a funeral procession
advancing to where men are digging two graves--the other showing dead
bodies dragged away on hurdles. The first is labelled 'London's
Charity.' The second 'The Countrie's Crueltie.' This was perhaps
intended to impress the reader in favour of the orderly burial of the
dead in the city churchyards, a subject on which public opinion has very
much changed since that time.

[Illustration: THE PLAGUE IN LONDON. 1641.]

We have already noticed that the vicissitudes of the sea and the
accidents of maritime life, which supply so much material to modern
newspapers, were not less attractive to the early news-writers. There is
a very circumstantial account of the voyage and wreck of a ship called
the _Merchant Royall_ in a pamphlet published in 1641. The engraving it
contains is the same block used by Thomas Greepe in 1587. It is
entitled, '_Sad news from the seas, being a true relation of the losse
of that good Ship called the Merchant Royall, which was cast away ten
leagues from the Lands end, on Thursday night, being the 23 of September
last 1641 having in her a world of Treasure, as this story following
doth truly relate_.' Another illustrated pamphlet, dated 1642, contains
a long and minute narrative of how a certain ship called the _Coster_
was boarded by a native of Java, who, watching his opportunity, murdered
the captain and several of the crew, but who was afterwards killed when
assistance arrived from another ship. There is a woodcut representing
the murders, and the title runs as follows:--'_A most Execrable and
Barbarous murder done by an East Indian Devil, or a native of
Java-Major, in the Road of Bantam, Aboard an English ship called the
Coster, on the 22 of October last, 1641. Wherein is shewed how the
wicked Villain came to the said ship and hid himself till it was very
dark, and then he murdered all the men that were aboard, except the
Cooke and three Boyes. And lastly, how the murderer himselfe was justly
requited. Captain William Minor being an eye-witnesse of this bloudy
Massacre. London: Printed for T. Banks, July the 18, 1642._' The very
full particulars given in this pamphlet show how minute and
circumstantial the old news-writers were in their narratives. It will be
seen by the following extracts that the story has an air of truth given
to it by careful attention to various small matters of detail:--

'On Friday the 22 of October last 1641 towards night there came aboard
an English ship called the _Coster_, in a small Prow (or flat Boat with
one paddle) a proper young man, (a Java, which is as much as to say as a
man born or native of the Territory of Java.) This man, (or devill in
mans shape) with a pretence to sell some Hews, (hatching mischiefe in
his damned minde,) did delay and trifle time, because he would have the
night more dark for him to do his deeds of darknesse. At last he sold 6
Hews for half a Royall of 8 which is not much above two shillings. There
came also another Java aboard, (with the like small Prow or Boat) to
whom he gave the half Royall, sent him away and bade him make haste; he
being asked for what the other Java went for, the answer was that he had
sent him for more Hews and Goates to sell.

'Night being come, and very dark, (for it was the last night of the wane
of the Moone) this inhumane dog staid lurking under the half deck having
2 Crests (or dangerous waving daggers) and a Buckler, of which he would
have sold one and the Buckler with it, and as he was discoursing he took
off one of the Crests hefts and put cloth about the tongue of the Blade,
and made it sure fast: on the other Crest he rolled the handle with a
fine linnen cloth to make it also sure from slipping in his hand; these
things he did whilst the Master, Robert Start, Stephen Roberts, his
mate, Hugh Rawlinson, Chirurgeon, William Perks, Steward, James Biggs,
Gunner, and 3 Boys or Youths attending. At supper they were very merry,
and this Caitiffe took notice of their carelessnesse of him to suffer
him to sit on the quarter deck upon a Cot close by them.

'Supper being ended about 6 at night the Master went to his Cabin to
rest, the Gunner asked leave to go ashore, (the ship riding but half a
mile from landing.) Afterwards Robert Rawlinson and Perks walked upon
the quarter deck; and the devilish Java perceiving the Master to be
absent, he asked the Boyes where he was, who answered he was gone to
sleepe. This question he demanded 3 or 4 times of the Boyes, and finding
it to be so, he arose from the place where he sate, which was on the
starboard side and went about the Table next the Mizzen Mast (where
Roberts, Rawlings and Perks were walking) with his Target about his Neck
for defence against Pikes, or the like; and his 2 Crests in his hand,
and upon a sudden cries _a Muck_, which in that language is I hazard or
run my death. Then first he stabd Roberts, secondly he stabd Rawlinson,
thirdly Perks, all three at an instant. After that he let drive at the
Boyes, but they leapd down, and ran forward into the forecastle, where
they found the Cooke, to whom the Boyes related what had happened.'

Further details are given at great length, showing how the savage
continued his bloody work, and how he was finally overpowered. The
narrative thus winds up:--

[Illustration: MURDERS ON BOARD AN ENGLISH SHIP, 1642.]

'It is observable that of all these men that were thus butchered, the
Hel-hound did never stab any man twice, so sure did he strike, nor did
he pursue any man that kept clear of his stand under the quarter-deck.
So there dyed in all (in this bloody action) Robert Start, Master,
Stephen Roberts, his Mate, Hugh Rawlinson, Chirurgeon, William Perks,
Steward, Walter Rogers, Gunner's Mate, and Francis Drake, Trumpeter of
the _Mary_. And after the Muck, Java, or Devill, had ended the first
part of this bloody Tragedy, there was only left in the ship, the Cooke,
3 Boyes, and one John Taylor, that was almost dead with a shott he
foolishly made. So that 7 men were unfortunately lost (as you have
heard) and the Gunner escaped very narrowly through God's merciful
prevention, from the like of these related disasters and suddaine
mischiefs, Good Lord deliver us.'

The engraving, like all those belonging to this period, is very rough;
but it was evidently prepared specially for the occasion, and some care
appears to have been taken to represent the '_Java_' as he is described.
It is a genuine attempt to illustrate the story, and on that account is
more interesting than some of the woodcuts in the early newspapers.

The Earl of Strafford, who was executed on Tower Hill, May 12, 1641,
forms the subject of more than one illustrated tract of this period. In
1642 was published a curious pamphlet, consisting of an engraved title
and eight pages of illustrations, representing the principal events of
1641-2. There are sixteen illustrations, exclusive of the title, two on
each page. They are all etched on copper, and are done with some freedom
and artistic ability. I shall have occasion to refer to this pamphlet
hereafter; but at present I have copied the engraving entitled, 'The
Earle of Strafford for treasonable practises beheaded on the
Tower-hill.'

In this example of illustrated news the artist has faithfully
represented the locality in his background, but there the truth of his
pencil stops. Strafford himself, although his head is not yet severed
from his body, lies at full length on the scaffold, and instead of the
usual block used for decapitations the victim's head rests on an
ordinary plank or thick piece of wood. There is no one standing on the
scaffold but the executioner, whereas history asserts that the Earl was
attended in his last moments by his brother, Sir George Wentworth, the
Earl of Cleveland, and Archbishop Usher. These omissions, if they were
noticed at all, were no doubt looked upon as trivial faults in the
infancy of illustrated journalism, and before a truth-loving public had
learnt to be satisfied with nothing less than 'sketches done on the
spot.' What appears to be a more correct view of the execution was,
however, published at the time. In the British Museum are two etchings
by Hollar (single sheets, 1641), representing the trial and execution
of the Earl of Strafford. They both look as if they had been done from
sketches on the spot, that of the execution giving a correct view of the
Tower and the surrounding buildings, but they are too crowded to admit
of reproduction on a reduced scale.

[Illustration: EXECUTION OF STRAFFORD, 1641.]

The taste of the time tolerated the publication of satires and petty
lampoons even upon dead men. Soon after Strafford's death a tract was
published entitled '_A Description of the Passage of Thomas, late Earle
of Strafford, over the River of Styx, with the Conference betwixt him,
Charon, and William Noy_.' There is a dialogue between Strafford and
Charon, of which the following is a specimen:--

'_Charon._--In the name of Rhodomont what ayles me? I have tugged and
tugged above these two hours, yet can hardly steere one foot forward;
either my dried nerves deceive my arme, or my vexed Barke carries an
unwonted burden. From whence comest thou, Passenger?

'_Strafford._--From England.

'_Charon._--From England! Ha! I was counsailed to prepare myselfe, and
trim up my boat. I should have work enough they sayd ere be long from
England, but trust me thy burden alone outweighs many transported
armies, were all the expected numbers of thy weight poor Charon well
might sweat.

[Illustration: STRAFFORD CROSSING THE STYX, 1641.]

'_Strafford._--I bear them all in one.

'_Charon._--How? Bear them all in one, and thou shalt pay for them all
in one, by the just soul of Rhodomont; this was a fine plot indeed, sure
this was some notable fellow being alive, that hath a trick to cosen the
devil being dead. What is thy name?

'(Strafford sighs.)

'_Charon._--Sigh not so deep. Take some of this Lethæan water into thine
hand, and soope it up; it will make thee forget thy sorrows.

'_Strafford._--My name is Wentworth, Strafford's late Earle.

'_Charon._--Wentworth! O ho! Thou art hee who hath been so long expected
by William Noy. He hath been any time these two months on the other side
of the banke, expecting thy coming daily.'

Strafford gives Charon but one halfpenny for his fare, whereat the
ferryman grumbles. Then ensues a conversation between Strafford and
William Noy, part of which is in blank verse. The tract is illustrated
with a woodcut, representing Strafford in the ferryman's boat with
William Noy waiting his arrival on the opposite bank.

[Illustration: A BURLESQUE PLAY ABOUT ARCHBISHOP LAUD. ACT I. 1641.]

No man of his time appears to have excited the hostile notice of the
press more than Archbishop Laud. The Archbishops of Canterbury had long
been considered censors of the press by right of their dignity and
office; and Laud exercised this power with unusual tyranny. The
ferocious cruelty with which he carried out his prosecutions in the Star
Chamber and Court of High Commission made his name odious, and his
apparent preference for ceremonial religion contributed to render him
still more unpopular. Men were put in the pillory, had their ears cut
off, their noses slit, and were branded on the cheeks with S. S. (Sower
of Sedition), and S. L. (Schismatical Libeller). They were heavily
fined, were whipped through the streets, were thrown into prison; and
all for printing and publishing opinions and sentiments unpleasing to
Archbishop Laud, under whose rule this despotic cruelty became so
prevalent that it was a common thing for men to speak of So-and-so as
having been 'Star-Chambered.' No wonder, when the tide turned, that the
long-pent-up indignation found a vent through the printing-press.
Amongst the numerous tracts that were published after the suppression of
the Star Chamber were many which held up Laud to public execration. He
was reviled for his ambition, reproached for his cruelty, and
caricatured for his Romish sympathies. During the four years between his
fall and his execution, portraits of him and other illustrations
relating to his career may be found in many pamphlets. I propose to
introduce the reader to some of these, as examples of the kind of
feeling that was excited by a man whose character and actions must have
contributed not a little to bring about a convulsion which shook both
the Church and the throne to their foundations. It must have been with a
peculiar satisfaction that Prynne, one of the chief sufferers under
Laud's rule, found himself armed with the authority of the House of
Commons to despoil his old enemy. Probably a similar feeling caused many
others to chuckle and rub their hands when they read, '_A New Play
called Canterburie's Change of Diet_, printed in 1641.' This is a small
tract illustrated with woodcuts, and is written in the form of a play.
The persons represented are the Archbishop of Canterbury, a doctor of
physic, a lawyer, a divine, a Jesuit, a carpenter and his wife. The
doctor of physic is intended for either Dr. Alexander Leighton, or Dr.
John Bastwick, both of whom had their ears cut off; the lawyer is
Prynne; and the divine is meant for the Rev. Henry Burton, a London
clergyman, who also suffered under Laud's administration. In the first
act enter the Archbishop, the doctor, the lawyer, and the divine. Being
seated, a variety of dishes are brought to the table, but Laud expresses
himself dissatisfied with the fare placed before him and demands a more
racy diet. He then calls in certain bishops, who enter armed with
muskets, bandoleers, and swords. He cuts off the ears of the doctor, the
lawyer, and the divine, and tells them he makes them an example that
others may be more careful to please his palate. On the previous page is
a copy of the cut which illustrates the first act.

[Illustration: A BURLESQUE PLAY ABOUT ARCHBISHOP LAUD. ACT II.]

[Illustration: A BURLESQUE PLAY ABOUT ARCHBISHOP LAUD. ACT III.]

In the second act the Archbishop of Canterbury enters a carpenter's yard
by the waterside, and seeing a grindstone he is about to sharpen his
knife upon it, when he is interrupted by the carpenter who refuses to
let him sharpen his knife upon his grindstone, lest he should treat him
(the carpenter) as he had treated the others. The carpenter then holds
the Archbishop's nose to the grindstone, and orders his apprentice to
turn with a will. The bishop cries out, 'Hold! hold! such turning will
soon deform my face. O, I bleed, I bleed, and am extremely sore.' The
carpenter, however, rejoins, 'But who regarded "hold" before? Remember
the cruelty you have used to others, whose bloud crieth out for
vengeance. Were not their ears to them as pretious as your nostrils can
be to you? If such dishes must be your fare, let me be your Cooke, I'll
invent you rare sippets.' Then enters a Jesuit Confessor who washes the
bishop's wounded face and binds it up with a cloth. There is also an
illustration to this act which is here copied.

[Illustration: ASSAULT ON LAMBETH PALACE, 1642.]

In the third act the Archbishop and the Jesuit are represented in a
great Cage (the Tower) while the carpenter and his wife, conversing
together, agree that the two caged birds will sing very well together.
The woodcut to this act represents a fool laughing at the prisoners.

There is a fourth act in which the King and his Jester hold a
conversation about the Bishop and the confessor in the cage. There is no
printer's or publisher's name to this play, only the date, 1641.

The pamphlet previously referred to as containing a picture of
Strafford's execution, has also an engraving showing how the tide of
public feeling had set against Archbishop Laud. The powerful Churchman
had been impeached for high treason; he was deprived of all the profits
of his high office and was imprisoned in the Tower. All his goods in
Lambeth Palace, including his books, were seized, and even his Diary and
private papers were taken from him by Prynne, who acted under a warrant
from the House of Commons. The engraving under notice is entitled 'The
rising of Prentices and Sea-men on Southwark side to assault the
Archbishops of Canterburys House at Lambeth.'

In a tract entitled '_A Prophecie of the Life, Reigne, and Death of
William Laud, Archbishop of Canterbury_,' there is a caricature of Laud
seated on a throne or chair of state. A pair of horns grow out of his
forehead, and in front the devil offers him a Cardinal's Hat. This
business of the Cardinal's Hat is alluded to by Laud himself, who says,
'At Greenwich there came one to me seriously, and that avowed ability to
perform it, and offered me to be a Cardinal. I went presently to the
king, and acquainted him both with the thing and the person.' This offer
was afterwards renewed: 'But,' says he, 'my answer again was, that
something dwelt within me which would not suffer that till Rome were
other than it is.' It would thus appear that the Archbishop did not give
a very decided refusal at first or the offer would not have been
repeated; and that circumstance, if it were known at the time, must have
strengthened the opinion that he was favourably inclined towards the
Church of Rome. At all events, the offer must have been made public, as
this caricature shows.

Though Laud behaved with dignity and courage when he came to bid
farewell to the world, if we are to believe the publications of the
time, he was not above petitioning for mercy, while any hope of life
remained. In 1643 a pamphlet was published with the following title,
'_The Copy of the Petition presented to the Honourable Houses of
Parliament by the Lord Archbishop of Canterbury, wherein the said
Archbishop desires that he may not be transported beyond the Seas into
New England with Master Peters in regard to his extraordinary age and
weaknesse_.' The petition is dated 'From the Tower of London this 6th of
May 1643,' and in it the petitioner sets forth that out of a 'fervent
zeal to Christianity' he endeavoured to reconcile the principles of the
Protestant and Roman Catholic religions, hoping that if he could effect
this he might more easily draw the Queen into an adherence to the
Protestant faith. He deplores that his endeavours were not successful,
and he begs the honourable Parliament to pardon his errors, and to
'looke upon him in mercy, and not permit or suffer your Petitioner to be
transported, to endure the hazard of the Seas, and the long tediousnesse
of Voyage into those trans-marine parts, and cold Countries, which would
soon bring your Petitioners life to a period; but rather that your
Petitioner may abide in his native country, untill your Petitioner shall
pay the debt which is due from him to Nature, and so your Petitioner
doth submit himselfe to your Honourable and grave Wisdoms for your
Petitioners request and desire therein. And your Petitioner shall humbly
pray &c.'

[Illustration: CARICATURE OF THE DEVIL OFFERING LAUD A CARDINAL'S HAT,
1644.]

If Archbishop Laud was really the author of this petition he appears to
have expected that his long imprisonment would end in banishment rather
than death. He was beheaded on Tower Hill, January 10, 1645. There is a
woodcut portrait of the Archbishop printed on the title-page of the
petition.

[Illustration: ARCHBISHOP LAUD.]


FOOTNOTE:

  [1] _Life of Gustavus Adolphus_. Family Library.




CHAPTER III.

  Ben Jonson's Ridicule of the Early Newspapers--Fondness of the Old
  News-Writers for the Marvellous--The Smithfield Ghost--The Wonderful
  Whale--The Newbury Witch--Satirical Tracts and Caricatures at the
  Commencement of the Civil War--Religion Tossed in a
  Blanket--Caricatures of the Pope and the Bishops--Pluralists and
  Patentees--Taylor, the Water Poet--_Mercurius Aulicus_--Activity of
  the Pamphleteers--Welshmen Satirised--Satires on Prince Rupert--On the
  King and Queen--The Ladies' Parliament--Illustrated Tracts relating to
  Social and Political Subjects--Sir Kenelm Digby's Duel--The King
  entertained by the City of London, 1641--Executions in 1641--The
  Liquor Traffic and Sunday Closing in 1641--Abuses of the
  Ecclesiastical Courts--Ritualism and Nunneries in 1641--Truths
  enforced by Lieing--Stage Players and the Plague in 1641--Bartholomew
  Fair in 1641--Destruction of Charing Cross and Cheapside
  Cross--Strange Apparition--Method of Enforcing their Views adopted by
  the Puritan Pamphleteers--Parodies of Roundhead Sermons--Matthew
  Hopkins the Witch-finder--_The Welsh Post_ of 1643--William Lilly the
  Astrologer--Three Suns seen in London on the King's Birthday.


When Ben Jonson called the newspaper 'a weekly cheat to draw money,' and
ridiculed the growing taste for news, he had some reason for satirising
the journalism of the period. To satisfy the craving for news all kinds
of impositions were freely circulated. Nothing was too wonderful for the
credulity of the age, and people eagerly accepted what was placed before
them, fully believing that whatever was in print must be true. It was
not, however, till many years after Ben Jonson's death that the
so-called newspapers put forward their full powers as purveyors of the
marvellous. _Mercurius Democritus_ was the _Punch_ of that day. While he
satirised men and things he laboured to satisfy the popular taste for
the wonderful, as in the following account of a ghost that was said to
haunt the neighbourhood of Smithfield:--'There is a great report of a
ghoast that walks every Night amongst the Butchers at _Smithfield
Barrs_, the _Shambles_, White-_Chappell_, and _Eastcheape_, in the habit
of _Mallet_, the Lawyer, pulling the meat off the Butchers Tainters;
many have adventured to strike at him with Cleavers and Chopping-knives,
but cannot feel anything but Aire, every Saturday at night between 9 and
12, he walks his stations, in this very habit as you see, doing more
mischiefe to the _Butchers_ than ever _Robin Goodfellow_ did to the
Country Hindes.'

[Illustration: THE SMITHFIELD GHOST. FROM 'MERCURIUS DEMOCRITUS,' 1654.]

Another example of the marvellous occurs in a tract entitled, '_The Sea
Wonder: a true and wonderful relation of a Whale pursued in the Sea, and
incountered by multitudes of other Fishes as it was certified by divers
Mariners of Weymouth, who, comming from France in the good ship called
the_ Bonaventure, _did shoote the said Whale, which making to Land did
strike upon the Shore, within three miles of Weymouth, where being
opened there was found in the belly of it a Romish Priest, with Pardon
for divers Papists in England and Ireland, whose names are here
inserted_.' Great pains appear to have been taken to give an air of
truth to the narrative, which begins thus:--'On the 19th of October
being the Lord's Day the good Ship called the _Bonaventure_ of
_Weymouth_ being bound for _England_ was bringing home her Merchandise
from _France_ which was wines, linning cloth, and abundance of
Wall-nuts, the day was very fair and no wind stirring, so that the ship
for above three hours space lay hulling upon the Seas, being not able to
move either one way nor other for want of wind, although she was full
sayled and prepared to take the advantage of every gale.' The author
gravely explains that the excitement of the fishes and their attacks on
the whale were caused by their instinctively feeling the presence of the
Popish Priest. Annexed is a copy of the woodcut on the title-page of
this curious tract.

[Illustration: THE WONDERFUL WHALE, 1645.]

'_Newes, True Newes, Laudable Newes, Citie Newes, Country Newes; The
World is Mad, or it is a Mad World my Masters especially now when in the
Antipodes these things are come to pass._' Such is the lengthy title of
a pamphlet containing an imaginary account of things at the Antipodes,
and illustrated with a fanciful woodcut on the title-page. Then we have
news from Boston in New England of a strange and prodigious birth of a
child with two heads, also illustrated. _Mercurius Democritus_, besides
such waggeries as giving an account of 'a sight seen in the air by a
blind philosopher,' communicates '_Many strange wonders out of the
World, in the Moon, the Antipodes, Maggy Land, Tenebris, Fary-Land,
Greenland, and other adjacent countries_. _Published for the right
understanding of all the Mad-merry-people of Great Bedlam._' Another
example of the wonderful stories put forth to entertain the multitude
relates to the discovery and punishment of a witch during the civil war.
It occurs in a pamphlet entitled '_A most Certain, Strange and true
Discovery of a Witch, being taken by some of the Parliament Forces, as
she was standing on a small planck-board and sayling on it over the
River of Newbury_.' The illustration is of the rudest description, and
the story is told in a breathless sort of way, without a full stop in
the whole narrative:--

'A part of the Army marching through Newbury, some of the Souldiers
being scattered by the reason of their loytering by the way, in
gathering Nuts, Apples, Plummes, Blackberries, and the like, one of them
by chance in clambring up a tree, being pursued by his fellow or comrade
in waggish merriment, jesting one with another, espied on the river
being there adjacent, a tall, lean, slender woman, as he supposed, to
his amazement, and great terrour, treading of the water with her feet,
with as much ease and firmnesse as if one should walk or trample on the
earth, wherewith he softly calls, and beckoned to his fellows to behold
it, and with all possible speed that could be to obscure them from her
sight, who as conveniently as they could they did observe, this could be
no little amazement unto them you may think to see a woman dance upon
the water, nor could all their sights be deluded, though perhaps one
might, but coming nearer to the shore, they could perceive there was a
planke or deale overshadowed with a little shallow water that she stood
upon, the which did beare her up, anon rode by some of the commanders
who were eye witnesses, as well as they, and were as much astonished as
they could be, still too and fro she fleeted on the water, the boord
standing firm boult upright, indeed I have both heard and read of many
that in tempests and on rivers by casualty have become shipwracked, or
cast overboard, where catching empty barrells, rudders, boards, or
planks have made good shift by the assisting Providence of God to get on
shore, but not in this womans kind to stand upon the board, turning and
winding it which way she pleased, making it pastime to her, as little
thinking who perceived her tricks, or that she did imagine that they
were the last she ever should show, as we have heard the swan sing
before her death, so did this devilish woman, as after plainly it
appeared make sport before her death, at last having sufficiently been
upon the water, he that deceived her alway did so then, blinding her
that she could not, at her landing see the ambush that was laid for her,
coming upon the shore, she gave the board a push, which they plainly
perceived, and crossed the river, they searched after her but could not
find her she being landed the Commanders beholding her, gave orders to
lay hold on her, and bring her to them straight, the which some were
fearful, but one being more venturous than other some, boldly went to
her and seized on her by the arms, demanding what she was? but the woman
no whit replying any words unto them, they brought her to the
Commanders, to whom though mightily she was urged she did reply as
little; so consulting with themselves what should be done with her,
being it so apparently appeared she was a _witch_, being loth to let her
goe & as loth to carry her with them, so they resolved with themselves,
to make a shot at her, and gave order to a couple of their souldiers
that were approved good marksmen, to charge and shoot her straight,
which they prepared to doe; so setting her boult upright against a mud
bank or wall; two of the souldiers according to their command made
themselves ready, where having taken aime gave fire and shot at her,
but with a deriding and loud laughter at them she caught their bullets
in her hands and chew'd them, which was a stronger testimony than the
water, that she was the same that their imaginations thought her for to
be, so resolving with themselves if either fire or sword or halter were
sufficient for to make an end of her, one set his Carbine close unto her
brest; where discharging, the bullet back rebounded like a ball, and
narrowly he mist it in his face that was the shooter; this so enraged
the Gentleman, that one drew out his sword and manfully run at her with
all the force his strength had power to make, but it prevailed no more
than did the shot, the woman still though speechless, yet in a most
contemptible way of scorn, still laughing at them, which did the more
exhaust their furie against her life, yet one amongst the rest had heard
that piercing or drawing bloud from forth the veins that crosse the
temples of the head, it would prevail against the strongest sorcery, and
quell the force of Witchcraft, which was allowed for triall; the woman
hearing this knew then the Devill had left her and her power was gone,
wherefore she began alowd to cry, and roare, tearing her haire, and
making pitious moan, which in these words expressed were: And is it
come to passe that I must die indeed? Why then his Excellency the Earle
of Essex shall be fortunate and win the field, after which no more words
could be got from her; wherewith they immediately discharged a Pistoll
underneath her ear, at which she straight sunk down and died, leaving
her legacy of a detested carcasse to the wormes, her soul we ought not
to judge of, though the evils of her wicked life and death can scape no
censure.'

[Illustration: THE NEWBURY WITCH, 1643.]

On the outbreak of the great Civil War an immense number of tracts and
pamphlets were published relating to social and political questions,
many of which were illustrated. Satire was a weapon freely used, and
many hard hits were made, the point and bitterness of which cannot now
be understood. Caricatures, which are generally supposed to have made
their appearance in England at a much later date, are of frequent
occurrence. The wonderful and supernatural were freely dealt in, and
many tracts were published which were not strictly news, yet had some
reference to public men and passing events. The woodcuts in the tracts
and pamphlets of this period were frequently repeated, being sometimes
used where they had no relation to the subject treated.

[Illustration: RELIGION TOSSED IN A BLANKET, 1641.]

The minds of men being much exercised on questions of religion at this
time, it was to be expected that the subject would not escape the notice
of the satirist. Accordingly, many tracts were published relating to
religious matters, some of which are illustrated with woodcut
caricatures. There is one of the date of 1641 containing a woodcut of
four men tossing Religion (represented by a Bible) in a blanket. The
writer condemns the numberless sects which were perplexing men's minds
and tearing the Church asunder:--

'Religion is made a Hotch potch, and as it were tossed in a Blanquet,
and too many places of England too much _Amsterdamnified_ by several
opinions. Religion is now become the common discourse and Table-talke in
every Taverne and Ale-house, where a man shall hardly find five
together in one minde, and yet every one presumes hee is in the right.
The Booke of Common prayer which was established by Act of Parliament by
that good and Godly King Edward the sixth, and after reestablished by
another Parliament by that unparaled and peerlesse princesse Queen
Elizabeth, and continued since in the happy Raignes of two gracious
kings in the church of England for the service of God these ninetie
yeares; yet one would have it to be cast out now, holding it to be a
false worship; another is angrie at the vestments and habits of the
Ministry; one will not kneel, another will not stand, one will sit
downe, one will not bowe, another will not be uncovered, one holds all
good manners to be popery, another that all decencie is superstitious,
another that railes are Romish (which is false for the papists have no
railes in their churches, nor anything so convenient). One foolishly
assumes and presumes to save himselfe and some of his Neighbours too, by
his good workes; another will be saved by a bare and lazie Faith that
will do no work at all, and thus religion is puft and blowne to and fro
with every wind of doctrine, and as it were tost in a Blanquet; but of
this more largely hereafter in another part which will suddenly be
printed, till when and ever it shall be my hearty prayers that as there
is but one Shepheard, that is God in his gracious goodnesse and mercie
would make us all one sheepfold.'

[Illustration: CARICATURE OF THE POPE, 1643.]

The shafts of satire were frequently aimed at the Pope and the Bishops.
One caricature represents the Pope seated, while a unicorn tumbles the
triple crown from his head. The same woodcut illustrates a '_Letter from
the Devil to the Pope of Rome_.' Another tract has a representation of
the Pope riding upon a seven-headed monster and holding in his hand a
scroll on which are the words 'Estote proditores'--'Betraye your
Country.' This advice he is giving to a cavalier, a bishop, and a monk,
and at the same time three devils are represented as leaving him and
entering into them. This cut, which is repeated in other pamphlets, is
curious as an early specimen of caricature, but its meaning is now lost.

[Illustration: CARICATURE OF THE BISHOPS, 1642.]

The Bishops were treated with as little ceremony as the Pope. In one
caricature four of them are represented as falling to the earth, with
the following lines underneath the woodcut:--

  'The tottering prelates, with their trumpery all,
   Shall moulder downe, like elder from the wall.'

In a pamphlet called _The Decoy Duck_, printed in 1642, there is a
quaint woodcut caricature and a satirical account of how the Bishops of
Durham, Lichfield, Norwich, Asaph, Bath, Hereford, Oxford, Ely,
Gloucester, Peterborough, and Llandaff were decoyed and deceived by the
Bishop of Lincoln (Bishop Williams). I have copied the woodcut, but no
quotation from the pamphlet would be understood unless given at great
length. It doubtless refers to the charge of high treason against the
twelve Bishops.

The abuses of the Established Church in an age when the spirit of
dissent was strong were pretty sure to attract the notice of the
satirical writer and the caricaturist. Accordingly, we find
representations of the pluralist holding a church in each hand and one
on each shoulder; while the non-resident clergyman was compared to the
locust:--'The Locust is given to spoile and devoure greene things; it
was one of the plagues of Egypt. Non-residents devoure the tithes of
many parishes in this kingdome; and they are not to be numbered amongst
the least of those plagues that God inflicts upon us for our sins. The
Locusts caused Pharaoh and his servants to cry unto Moses that he would
entreat the Lord to take them away; and our Non-Residents cause all good
people to cry mightily unto God, to the King's Majesty, and to the
Honourable House of Parliament, to reform them or remove them; that
there may not be any carelesse Non-Resident in all the coasts of
England.... Some of our carelesse Non-Residents have a cure of soules in
one place and live in another, like fugitive Captaines forsake their
Ensigne and Company at Barwick, and flee to Dover; who being with Jonah
commanded for Nineveh, flee to Tarshish; being placed in the Country
they run to the Cathedrals, they leave their charge as the Ostrich doth
her eggs in the earth and sands, forgetting that either the foot may
crush them or that the wild beast may break them, or at the best they
leave their Congregations, as the Cuckoo doth her eggs to be hatched of
a sparrow or some other bird.'

The following woodcut is copied from a pamphlet entitled '_A Purge for
Pluralities, showing the unlawfulnesse of men to have two Livings, or
the Downefall of Double Benifices_.'

[Illustration: THE PLURALIST, 1642.]

The abuse of the Crown's prerogative in the granting of patents and
monopolies was very frequent in the reigns of Elizabeth and James, and
was not diminished under Charles the First. The practice did not fail to
attract the notice of the satirical writers of the day, and caricature
laid hold on the 'Projectors and Patentees,' and held them up to
ridicule. '_A Dialogue or accidental discourse betwixt Mr. Alderman
Abell, and Richard Kilvert, the two maine Projectors for Wine_, 1641,
contains a woodcut showing 'The manner and forme how Projectors and
Patentees have rode a Tylting in a Parliament time.' The wit of the
illustration is a little obscure to the modern reader, but at the time
of its publication it was no doubt understood, and relished accordingly.
The pamphlet describes how Messrs. Abell and Kilvert laid their heads
together to obtain the patent for wine; how they put the patent in
force, and how, after the tide turned against them, they reviled one
another.

As the excitement of the Civil War increased, political animosity rose
to a red heat. Cavaliers and Roundheads belaboured each other in many a
merciless pamphlet, to which they often endeavoured to give additional
bitterness by woodcut caricatures. Prominent individuals, such as Prince
Rupert, became marks for the satirist's wit. Even the throne itself did
not escape, and it was broadly hinted that the Protestant king was
unduly influenced by the Roman Catholic queen. The curious subject of
the growth of caricature might be illustrated by numerous examples from
the publications of this period, but it will be sufficient to refer to
two or three more woodcut satires of this date.

The distractions of the times were epitomised by John Taylor, the Water
Poet, in an illustrated rhyming pamphlet, published in 1642. It is
entitled, '_Mad Fashions, Od Fashions, all out of Fashion, or the
Emblems of these distracted Times_.'

[Illustration: EMBLEMS OF THE DISTRACTED TIMES, 1642.]

The author compares England to the engraving on his title-page, where
everything is represented upside down:--

  'The Picture that is printed on the front
   Is like this Kingdome if you look upon 't;
   For if you well doe note it as it is,
   It is a Transform'd Metamorphasis.
   This Monstrous Picture plainly doth declare
   This land (quite out of order) out of square.
   His Breeches on his shoulders doe appeare,
   His doublet on his lower parts doth weare.
   His Boots and Spurs upon his Armes and Hands,
   His Gloves upon his feet (whereon he stands)
   The church o'erturned (a lamentable show)
   The Candlestick above, the light below,
   The Coney hunts the Dogge, the Rat the Cat,
   The Horse doth whip the Cart (I pray marke that)
   The Wheelbarrow doth drive the man (Oh Base)
   And Eeles and Gudgeons flie a mighty pace.
   And sure this is a Monster of strange fashion
   That doth surpasse all Ovids transformation.
   And this is England's case this very day,
   All things are turned the clean contrary way;
   For now, as when a Royall Parliament,
   (With King, and Peers, and Commons whole consent)
   Have almost sate two years, with paines and Cares,
   And charge, to free us from our Griefes and fears,
   For when many a worthy Lord and Knight,
   And good Esquire (for King and Countrey's Right)
   Have spent so much time with great Toyle and Heede
   All England's vicious garden how to weed,
   So like a wildernesse 'twas over run,
   That though much better hath been done; All is not done.'

The Water Poet sided with the Cavalier party, and verse and prose flowed
plentifully from his pen in favour of the Royal cause. His effusions
provoked many replies, one of which is entitled, '_No Mercurius
Aquaticus, but a Cable-Rope, double twisted for John Tayler, the Water
Poet; who escaping drowning in a Paper-Wherry-Voyage, is reserved for
another day, as followeth, viz._'

Then follows the subjoined woodcut, with verses underneath. The hint
that the poet was born to be hanged because he had escaped from drowning
refers to his having undertaken to sail from London to Queenborough in a
boat made of brown paper. In this foolhardy exploit Taylor and a friend
who was with him nearly lost their lives. The tract under notice affords
a good specimen of the sort of language used by the partisans of each
faction against their opponents: 'I should be loathe to foule my fingers
with any base Pamphlets that comes from Oxford, if the venom of their
malicious spleens were darted against my particular self: But when
through my sides they wound the honour of the Parliament and our Armies
abroad, I cannot but set Pen to paper, and pay them back again in their
own kinde. And who d'ye think I should meet abroad for a
_Rogue-in-Print_ but one of our City Water-rats, the doughty John
Taylor, who according to the knavish custom, changes his name upon every
new paper-designe? Sometimes he calls himself _Thorney Ailo, Mercurius
Aquaticus_, and now he entitles himself NO MERCURIUS AULICUS. I thought
I had lately sent _rope_ enough for all the Parrots in Oxford; But I
perceive they will be prattling still; and therefore I must unmaske the
Mysterious Masters of the science of railing. There are three grand
paper conspirators well known by the name of _Mercurius Aulicus, George
Naworth_, and reverend Master _John Tayler_ the water-tankard, by whose
sprinklings in this great dearth of Wit and Honesty the University is
cherished and kept in credit. These three are they which pumpe and Pimpe
about with their Prostitute Noddles in the behalf of Popery, Murder, and
Rebellion against the state; they are Liars in all elements, _Aulicus_
for Land-lies, _Tayler_ for Water, and hungry _George Naworth_ for all
between Heaven and Earth, where I doubt not but to see them all meet
together to take their farewell of the world, where the _Parrots_ will
find _Ropes_ made of stronger Lines than mine, and such as will
_non-plus_ the very primest Wits in the University.'

[Illustration: PREDICTED FATE OF JOHN TAYLOR THE WATER POET, 1644.]

The pamphleteer goes on to give the Water-Poet what he doubtless
considered a thorough drubbing, and at the end he leaves him 'to the
Gallows, the proper cure for such Rebels.' The words 'London' and
'Oxford' on the woodcut have reference to another voyage which the
Water-Poet performed in a sculler's boat between those places.

[Illustration: MERCURIUS AULICUS IN THE PILLORY, 1645.]

_Mercurius Aulicus_ was the organ of the Court party, and was published
at Oxford. A curious satire upon this Court paper was printed in 1645,
entitled, _Newes from Smith the Oxford Jaylor_. It consists of a
dialogue between the author and the 'Oxford Jaylor,' and sets forth that
'Mercurius Aulicus' was sentenced, by a jury of women,' to stand in the
pillory three market-days in Oxford, for his lies, libels, and
deceitful glozings;' to have a written paper over his head announcing
his shame; to beg forgiveness of 'Mercurius Brittanicus;' to be
prevented from writing any more libels for one year. 'That before two
months' expiration he be cut of the simples, and his braines be taken
out, washt in white wine, and put in againe.' 'That for every morning
during the said time he have one mess of stewd broth made of the
interlinings of fower Court Parazites, and the braines of 26 Oxford
Widgins boyld in the water of forgetfulnesse.' 'That he may never
hereafter have so much as one graine of wit left him in his empty
Hogshead (his brains being taken out and washed as before is ordered) to
scandalize those whom if he had any grace he is bound to honour.' There
is a woodcut of _Mercurius Aulicus_ in the pillory, which is supposed to
represent Sir John Birkenhead, who acquired the title of the Loyal
Poet, and suffered several imprisonments. This cut was used on several
other occasions.

The troubles of the times are constantly indicated in the pamphlets of
the period. In one the State is represented as a two-headed serpent,
with these lines underneath the engraving:

  'This double-headed serpent is a wonder,
   It draws two ways and tears the womb in sunder;
   The wofull emblem of a troubled State
   Where civill warres doe threat to ruinate.'

[Illustration: SQUARE CAPS TURNED INTO ROUND HEADS, 1642.]

The partisans of the Parliament faction appear to have been much more
active pamphleteers than the Cavaliers. '_Square Caps turned into Round
Heads, or the Bishop's Vindication and the Brownist's conviction, being
a Dialogue between Time and Opinion; showing the folly of the one and
the worthinesse of the other_,' is a tract with an illustration
representing Opinion turning a wheel, on which are five square caps and
five round heads, while Time, with his scythe and hourglass, holds
converse with Opinion. Under the woodcut are the following lines:--

  'Time doth Opinion call unto accompt,
   Who turns the Bishop's downe and Roundheads mount;
   Upon her lofty wheels their Noddles are,
   But her Camelion feedeth on his aire.'

'_Cornucopia, or Room for a Ram head, wherein is described the dignity
of the Ram head above the Roundhead or Rattlehead_,' is another tract,
with a woodcut caricature representing a woman attempting to saw the
horns from a man's head. The letterpress consists of a dialogue between
a man and his wife, wherein the man humorously praises horns. It was a
favourite joke to represent the Puritan as a 'cuckoldy Roundhead.'

[Illustration: CARICATURE, 1642.]

Another satirical pamphlet has a woodcut representing Cavaliers and
Roundheads exciting their dogs to fight. It is entitled, '_A Dialogue or
rather a Parly between Prince Rupert's Dogge whose name is Puddle, and
Tobies Dog whose name is Pepper, &c._ _Whereunto is added the challenge
which Prince Griffin's Dog, called Towzer, hath sent to Prince Rupert's
Dog Puddle, in the behalfe of honest Pepper, Tobie's Dog. Moreover, the
said Prince Griffin is newly gone to Oxford to lay the wager, and to
make up the Match._' In this satire, which is very highly flavoured,
both Cavaliers and Roundheads are pelted with very vigorous epithets,
but in the end the Roundhead dog is converted by his opponent, and
seals his recantation in a very striking manner.

There is a tirade against the Jesuits entitled, '_A Peece of ordnance
invented by a Jesuite, for Cowards that fight by Whisperings, and raise
jealousies to overthrow both Church and State, which with the help of a
private Ensign in the Cabbinet Councell, or Westminster Hall is able to
doe more mischiefe at twentie miles distance, than a whole Regiment of
stout Souldiers, at Musket-shot_. _Which grievance is by way of
Remonstrance humbly presented to the consideration of the Parliament._'
This tract has a woodcut of a man firing a cannon formed of the figure
of a man.

[Illustration: CARICATURE, 1643.]

'_Hell's Hurlie-Burlie, or a Fierce contention between the Pope and the
Devill_,' is illustrated; and there is a pamphlet, with a woodcut,
entitled, '_The Devill's White Boyes: A Mixture of Malicious Malignants,
with their much evill and manifold practises against the Kingdome and
Parliament, with a bottomlesse Sack-full of Knavery, Popery, Prelacy,
Policy, Treachery, Malignant Trumpery, Conspiricies, and Cruelties,
filled to the top by the Malignants, laid on the shoulders of Time, and
now by Time emptied forth, and poured out, to show the Truth, and shame
the Devill_. Beneath, the woodcut are the following verses:--

  'Malignants are the Divell's Agents still,
   The Sack is _England_, which they strive to fill
   With misery and mischief, and this Sack
   Full stufft is laid upon Times aged back;
   _Time_ pours it out now in an angry mood
   That all their knaveries may be understood.'

On the cut itself are printed the lines:--

  '_Time_ now at the last pours out much knavery,
   The Devill holds down fast to hinder the discovery.'

[Illustration: CARICATURE, 1644.]

The Welshman came in for a share of the satirist's wit at the
commencement of the Civil War. He generally figures under the name of
'Ap Shinkin,' and is made to speak English much the same as the Scottish
Highlander does in Scott's novels. '_The Welsh mans Postures, or the
true manner how her doe exercise her company of Souldiers in her own
Country in a warlike manners_,' is a satire of a very broad character,
and is illustrated with a woodcut representing men exercising with the
pike. Shinkin is also ridiculed for the share he took in the battle of
Edgehill, the first important engagement in the Civil War. There is an
illustrated tract with the following title: '_The Welsh mans
Complements: or the true manner how Shinkin wood his Sweetheart Maudlin
after his return from Kenton Battaile_. _Also Fair Maudlin's reply and
answer to all Shinkin's Welch complements, full of merry wit and
pleasant mirth._' The 'merry wit' is certainly not refined, and the
'pleasant mirth' is founded on Shinkin's supposed hasty departure from
the neighbourhood of the fight. The woodcut represents Shinkin and
Maudlin in conversation.

Prince Rupert is often the mark for the satirist's wit. In '_Rupert's
Sumpter, and private Cabinet rifled, and a Discovery of a Pack of his
Jewels, by way of Dialogue between Mercurius Brittanicus and Mercurius
Aulicus_,' there is a discussion as to the Prince's merits and demerits,
and he is charged with aiming at the crown. Both the King and Queen were
brought under the caricaturist's lash. In 1644 there was an illustrated
pamphlet published, representing the King, Queen, and a bishop, with the
following title: '_The Sussex Picture, or an Answer to the Sea-gull_.'
The address to the reader is headed: 'The Sceptre's Submission, the
Distaffs Triumph, and the Crosiers Combination. Reader, If thou hast
view'd that stately Picture, which was lately sent up to the Parliament
by Collonel Morley, and was taken in a Flemish Ship upon the Sussex
Shore; Thou hast beheld therein the weaker sexe triumphing over the
stronger, and by the help of a Miter, thou hast seen a Scepter doing
homage to the Distaffe. If thou hast never seen the Originall, yet here
is to be seen a poore, rude, counterfeit of the chief part in it; use
thy judgement freely, and impartially: let both the Peece itself, and
that which is said by both sides, in judgement thereupon, be put into
one equal ballance. If the Dutch Author be not to undergo censure, as if
he intended an English Storie, yet neither art thou to be censured for
doubting his intention, or for standing amazed at his phancie. Shadows
which are not fashioned by some certain, neer, interposing body present
nothing to the eye, and therefore work nothing upon the understanding.
The language of a picture is to be borrowed from the veritie of the
matter, if that be wanting, neither the Art of the Limner nor the
imagination of the spectator can supply its vocall organs.' This
caricature may have referred to the influence which the Roman Catholic
Queen was supposed to exercise over the Protestant king under clerical
guidance.

[Illustration: THE PARLIAMENT OF LADIES, 1644.]

Charles I. summoned a Parliament at Oxford in 1644, consisting of such
members of both Houses as were devoted to his interests. There exists a
satirical tract ridiculing this Parliament, and, in fact, representing
it as a Parliament of old women. The tract is entitled '_An exact
Diurnall of the Parliament of Laydes_,' and is illustrated with a
woodcut. It sets forth that 'Countesses and other Ladies (on Monday
morning early in a Prosopopia) being met in Mary Maudlins Hall in
Oxford, they first made choyce of their speaker; and it was agreed by
all that the Lady Oboney should have the chaire, the Lady Rivers was
made Chancellor, Nurse Windham High Constable, the Countess of Derby
High Treasurer, and the Countess of Essex High Chamberlain. These Ladies
having all taken their places, Mrs. Powell was appointed cheefe Clerk
to the House, and Mrs. Peele Chaire Lady to the Close Committee, and
Moll Cut-Purse was made Sergeant at Arms.' Prince Rupert and others are
tried and sentenced for various crimes, but the ladies afterwards
relent, and pardon all the prisoners brought before them. I give on the
preceding page a reduced copy of the rough woodcut which illustrates
this curious burlesque.

[Illustration: CARICATURE, 1644.]

A writer of much verbosity satirised the Assembly of Divines at
Westminster in another illustrated pamphlet, printed 'by Martin
Claw-Clergy for Bartholomew Bang-Priest, and sold in Toleration-street,
at the sign of the Subject's Liberty, opposite to Persecuting Court.'
The author states on the title-page that his production displays 'many
witty Synodian Conceits both pleasant and commodious,' and adorns his
work with the above curious engraving, which probably had some reference
to a Papal Bull, but at this distance of time we look in vain for the
point and meaning of many of these old caricatures.

Having glanced at the satirical side of illustrated journalism at the
epoch of the Civil War, I will quote two or three examples relating to
the social and political condition of the country before entering upon
the stirring events of that time.

A great variety of subjects are embraced in this section. There are
accounts of apparitions, signs and portents in the heavens, monstrous
births, duels and murders, criminal trials and executions, besides many
tracts relating to the vices and follies of the age. One of the first
illustrated pamphlets we come to in this division of our subject
describes a duel fought in vindication of the good name of King Charles
I. The pamphlet is entitled, '_Sir Kenelme Digby's Honour maintained by
a most couragious Combat which he fought with the Lord Mount le Ros, who
by base and slanderous words reviled our King_. _Also the true relation
how he went to the King of France, who kindly intreated and sent two
hundred men to guard him so far as Flanders. And now he is returned from
Banishment, and to his eternal honour lives in England._' This is a
tract written by an undoubted Royalist. It begins in praise of valour,
which is divided into three kinds--that which is allied to rashness,
that which is born of the fear of death, and temperate or true valour.
It describes how Sir Kenelme Digby was dining with a French lord, who,
having toasted most of the kings of Christendom, then proposed the
health of the most arrant coward in the world; and on Sir Kenelme
inquiring who that was, he was told, after he had drunk the toast, that
it was meant for the King of England: 'At which the good knight seemed
very much discontent, knowing in what nature his Soveraigne was wronged;
yet very wisely did he seeme to pass it by untill dinner being ended,
then did he desire the same lord the next day to come and dine with him,
who promised him upon his honour that he would.'

[Illustration: SIR KENELM DIGBY's DUEL, 1641.]

The next day the French Lord repaired to Sir Kenelme's lodgings, where
an entertainment befitting his rank was provided: 'Neither did Sir
Kenelme seeme to remember the former daies discontent, but was very
frolic and merry, and in the midst of dinner time desired them all to
be bare, for he would beginne a health to the bravest king in the world.
The French Lord asked whom that was, Sir Kenelme made answer that when
it had gone about he should know; well, about it went and then Sir
Kenelme said that it was the health of the bravest king in the world,
which is the King of England, my royal Master, for although my body be
banished from him, yet is my heart loyally linkt; the French Lord at
those words seemed to laugh repeating the same words before mentioned,
then was Sir Kenelme throughly moved in the behalf of our Soveraigne
King Charles whereupon he whispered the Lord in the eare, telling of him
how that twice he had reviled the best King in the world in the hearing
of me which am his faithful subject, wherefore for satisfaction I
require a single combate of you, where either you shall pay your life
for your sawcinesse, or I will sacrifice mine in the behalfe of my
King. The French Lord being of a resolute spirit condescended to fight,
the place was appointed, dinner being ended, they both arise from table
and privately went together, being in field off they pluckt their
doublets, and out they draw their weapons.

'Mars would have bashful beene to have seene himselfe by Noble Digby
there excelled, long work with the contemptible French Lord, he would
not make, for fear lest any should lye in ambush and so he might hazard
his own life, wherefore in four bouts he run his rapier into the French
Lords brest till it came out of his throat againe, which so soon as he
had done, away he fled to the Court of France, and made all knowne to
the King thereof, who said the proudest Lord in France should not dare
to revile his brother King.

'A guard was presently chosen to conduct Sir Kenelme into Flanders,
which they did, where he tooke shipping for England, where he now is,
where in peace and quietnesse may he still remaine.

'As for the French Lord he was paid according to his desert, and may all
be so rewarded which shall dare to revile the Lords anointed, who
suffers by other Nations, for the clemency he hath shown to his own
Nation, _sed beati sunt pacifici_, but blessed is the peace maker; good
king for thy patience in this world there are Crownes of immortal glory
laid in store for thee in the world to come, there shall not traitors
dare to show their faces, nor shall perplexity proceed from the great
care of ruling of a kingdome, in the meanwhile may more such Noble
Digbies increase to rebuke all cursing _Achitophels_ and reviling
_Rabshakey's_.

'Let God arise and then shall the enemies of our gracious King be sure
to be scattered.

  'Now I conclude commanding fame to show
   Brave Digby's worthy deed, that all may know
   He lov'd his king, may all so loyal prove
   And like this Digby to their king show love.'

Many portraits of Charles I. were published in tracts about this time.
One of the best is contained in a poetical welcome to the King on his
return from Scotland. '_King Charles his Entertainment and Londons
Loyaltie_,' 1641, contains a precept issued by the Lord Mayor, directing
how the aldermen and citizens shall meet the King, on his return from
Scotland, at Shoreditch Church, and conduct him to the Guildhall to a
banquet, and afterwards to Westminster. There is also a a very spirited
woodcut of a City trumpeter in this pamphlet, which is copied above.
City entertainments to sovereigns and princes have always been fruitful
occasions for illustrated newspapers.

[Illustration: CITY TRUMPETER, 1641.]

The wholesale executions that used to take place at this period would
astonish the modern newspaper reader. Sometimes as many as twenty-four
persons were executed in one day at Tyburn. '_A Coppy of the Prisoners
judgement condemned to dy, from Nugate on Monday the 13 of December,
1641_,' gives an account of eight Jesuits and several other prisoners
who were executed. A descriptive list is given of the condemned, and
amongst them are the following:--

'Charles James, an handsome gentile young man, was convicted for Robery
and Burglary.

'John Hodskins, a fine Scholler, a pretty fellow, yet wanted grace.

'John Davis, a lusty stout personable man.

'Francis Middlefield, a pretty youth, and a good Scholler, convicted of
felonie.'

Several highwaymen, horse-stealers, and coiners, are also included in
this gloomy list, which is adorned with a woodcut of an execution.

The regulation of the licensed victuallers' trade and the Sunday closing
movement appear to have been as troublesome questions in the seventeenth
century as they are now. As early as 1641 the publican was uttering the
complaints which he still continues to utter. In a pamphlet of that date
there is a dialogue between a tapster and a cook, which sets forth the
grievances of both these worthies. The pamphlet is entitled, '_The
Lamentable Complaints of Nick Froth the Tapster and Rulerost the Cook,
concerning the restraint lately set forth against drinking, potting, and
piping on the Sabbath day, and against selling meate_.' The publican
expresses himself thus:--'I much wonder Master Rulerost why my trade
should be put downe, it being so necessary in a commonwealth; why the
noble art of drinking, it is the soul of all good fellowship, the marrow
of a Poet's Minervs, it makes a man as valiant as Hercules though he
were as cowardly as a Frenchman; besides I could prove it necessary for
any man sometimes to be drunk, for suppose you should kill a man when
you are drunk, you shall never be hanged for it untill you are sober;
therefore I think it good for a man to be always drunk; and besides it
is the kindliest companion, and friendliest sin of all the seven, for
most sins leave a man by some accident or other, before his death, but
this will never forsake him till the breath be out of his body; and
lastly a full bowle of strong beere will drown all sorrows.'

To which master Cook rejoins:--'Master Nick, you are mistaken, your
trade is not put downe as you seem to say; what is done is done to a
good intent; to the end that poor men that worke hard all the weeke for
a little money, should not spend it all on the Sunday while they should
be at some church, and so consequently there will not be so many
Beggars.'

[Illustration: THE COMPLAINT OF THE LICENSED VICTUALLERS, 1641.]

Froth--'Alack you know all my profit doth arise onely on Sundays, let
them but allow me that privilege, and abridge me all the weeke besides;
S'foot, I could have so scowered my young sparks up for a penny a demy
can, or a halfe pint, heapt with froth. I got more by uttering half a
Barrell in time of Divine service, than I could by a whole Barrell at
any other time, for my customers were glad to take anything for money,
and think themselves much ingaged to me; but now the case is altered.'

Cook--'Truly Master Froth you are a man of a light constitution, and not
so much to be blamed as I that am more solid: O what will become of me!
I now think of the lusty Sirloines of roast Beefe which I with much
policy divided into an innumerable company of demy slices, by which,
with my provident wife, I used to make eighteene pence of that which
cost me but a groat (provided that I sold it in service time,) I could
tell you too, how I used my halfe cans and my Bloomsbury Pots, when
occasion served; and my Smoak which I sold dearer than any Apothecary
doth his Physick; but those happy days are now past, and therefore no
more of that.'

This pamphlet is illustrated with a woodcut showing the Cook and Tapster
in confabulation, while in the background joints are roasting, and
guests are seated in boxes, refreshing themselves with 'half-cans and
Bloomsbury pots.'

The abuses of the Ecclesiastical Courts did not escape the notice of the
seventeenth-century pamphleteers. Doctors' Commons and the Proctors were
quizzed in an illustrated pamphlet, wherein 'Sponge, the Proctor,' and
'Hunter, the Parator,' hold a long conversation, and express their
opinion that the only way to make men live in quietness is to beggar
them with long suits and large fees. Other evil-doers were shown up in a
similar manner. A certain Edward Finch, Vicar of Christ-church, London,
gave so much offence to the parishioners by his manner of life that a
petition was presented to Parliament on the subject. The petitioners
said they were offended by their Vicar's 'frequent and unreasonable
bowings' before the altar, and by his 'scandalous life and
conversation.' They set forth in the petition that they are 'troubled in
their church with singing, organs, and other Instruments of Musicke, not
understood by them, whereby they are greatly distracted in the service
of God, the same being altogether unprofitable, and no way tending to
their spirituall edification.' The Vicar is charged with drunkenness and
incontinence--with exacting unreasonable fees--with being a
non-resident; and the evidence in support of the petition shows that on
one occasion he went to Hammersmith in a coach with certain loose
companions and spent the day in a manner unfit for a clergyman. He is
proved to have attempted to administer the Sacrament to a dying woman
while he was in a state of drunkenness, and to have been guilty of many
other disgraceful acts. The House of Commons passed a vote of censure on
this graceless Ritualist; and the petition setting forth his misdeeds
was printed and published, illustrated with a woodcut showing the
journey to Hammersmith in a coach. Notwithstanding the condemnation of
Parliament, the Rev. Edward Finch continued in his evil courses, and
conducted his 'life and conversation' much the same as before.

[Illustration: EVIL DOINGS OF THE REV. EDWARD FINCH, 1641.]

From the 'perambulations' of a Ritualistic clergyman we come to a
nunnery, in a pamphlet published in 1641, entitled, '_The Arminian
Nunnery, or a briefe description and relation of the late erected
Monasticall Place, called the Arminian Nunnery at Little Gidding, in
Huntingdonshire_.' The writer of this pamphlet gives a minute and by no
means 'brief' description of the institution, which he evidently
believes to be Roman Catholic, or a stepping-stone to it, though the
'Deacon' who attended him on his visit assured him to the contrary. He,
however, sets down all the tapers and crosses, the bowings and
prostrations, as so many proofs of idolatry, and marvels that, in a
settled Church government, the Bishops should suffer any such
institutions to exist; particularly that Archbishop Laud, professing to
be such an 'Anti-Papist and enemy to superstition and idolatry, should
permit this innovation and connive at such canting betwixt the barke and
the tree in matter of Religion.' While censuring the prelates for their
criminal slothfulness, the writer gave his countrymen the benefit of his
own acuteness and energy, and published his description, illustrated
with an engraving representing one of the nuns, with a portion of the
nunnery in the background.

[Illustration: NUNNERY AT LITTLE GIDDING, HUNTINGDONSHIRE, 1641.]

The next illustrated pamphlet we come to is a curious attempt on the
part of its author to satirise his literary contemporaries for the
falsehoods contained in their writings, and he burlesques their
productions by relating many things as lies which, however, he means to
be understood as truths. It is called '_The Liar, or a contradiction to
those who in the titles of their Books affirmed them to be true, when
they were false; although mine are all true yet I term them lyes.
Veritas Veritatis_.'

'There was an Englishman which travelled to the Swedish Army, and began
to relate very strange passages which he had seen here in England,
thinking that travellers might lye by authority; for said he in the
County of Berke, at a place called Abingdon, when the Earle of Strafford
lost his head, was such thundering and lightning, and earthquakes, that
it is almost incredible. Surely I think it is incredible indeed, for I
know 'tis no such matter.

'He told too that the very same day that my Lord Archbishop of
Canterbury was committed to the Tower, there was a child born in the
County of Somerset with a Mitre on its head, a marke on his breast like
a Crucifix, and many other strange things which were there seene.'
Having invented the travelling Englishman for a mouth-piece and selected
the Swedish army for an audience, the writer goes on to relate many
other strange things, which, though told as lies, are evidently intended
to be taken as truths.

[Illustration: THE LIAR ON THE RACK, 1641.]

'They heard him with patience till he had made an end of his lying, and
then they asked him whether yea or nay he saw these things he spake of,
he presently swore all the oaths of God that he saw these things with
his own natural eyes, which he had reported, and he would maintaine it,
though he spent his dearest blood in the doeing of it; well, they heard
his protestations, and made a full account that they would prove his
constancie whether he would be a Martyr yea or nay, in the meane time
they horsed him, and this was the manner of it.

'There was a great high thing raised to the height of twelve or fourteen
yards, made of Iron, whereon he was seated, with two great weights on
his toes, and the like on his hands where he sate in great paine, if he
should chance to ease himselfe upwards, there were sharp nailes over his
head which would prick him, thus he sate and thus he suffered, till they
had sufficiently made a laughing stock of him; well, when he had
suffered enough they let him downe.'

There is a woodcut representing the lying traveller on his 'horse,' and
the tract winds up thus:--

'Gentle Reader, I have heere related under the name of lies nothing but
true tales, for if a man doth now speake truth he shall be sure to smart
for it now-a-daies, either here or in other places: read gentlie and buy
willingly.'

When the Plague visited London in 1641 the theatres were closed and the
players were thrown out of employment. This state of things is discussed
in a dialogue between 'Cane of the Fortune and Reed of the Friars,' in a
tract illustrated with a woodcut which was frequently used afterwards in
broadsides. Bartholomew Fair, which was proclaimed for the last time in
1855, was in all its glory in the days of Charles I. A contemporary
tract gives a graphic description of the fair, and is illustrated with a
woodcut representing a man swallowing a serpent. This probably
represented a picture hung outside one of the shows. The title of the
tract is, '_Bartholomew Faire, or Variety of Fancies, where you may find
a faire of wares and all to please your mind; with the several
enormities and misdemeanours which are there seen and acted_.' The fair
is described as beginning 'on the twenty-fourth day of August, and is
then of so vast an extent that it is contained in no lesse than four
several parishes, namely, Christ Church, Great and Little Saint
Bartholomew's, and Saint Sepulchre's. Hither resort people of all sorts,
High and Low, Rich and Poore, from cities, townes, and countreys; of all
sects, Papists, Atheists, Anabaptists, and Brownists, and of all
conditions, good and bad, virtuous and vitious.' It is said to be 'full
of gold and silver-drawers; just as Lent is to the Fishmonger so is
Bartholomew Faire to the Pickpocket; it is his high harvest, which is
never bad but when his cart goes up Holborn.

[Illustration: A BARTHOLOMEW FAIR WONDER, 1641.]

'It is remarkable and worth your observation to behold and hear the
strange sights and confused noise in the Faire. Here a knave in a fool's
coat, with a trumpet sounding, or on a drum beating, invites you and
would fain perswade you to see his puppets; there a rogue like a wild
woodman, or in an Antick shape like an incubus, desires your company, to
view his motion; on the other side Hocus Pocus, with three yards of tape
or ribbin in's hand, shewing his art of Legerdemain, to the admiration
and astonishment of a company of cockoloaches. Amongst these you shall
see a gray goose cap (as wise as the rest), with a what do ye lacke in
his mouth, stand in his boothe, shaking a rattle, or scraping on a
fiddle, with which children are so taken, that they presently cry out
for these fopperies; and all these together make such a distracted noise
that you would think Babell were not comparable to it. Here there are
also your gamesters in action, some turning of a whimsey, others
throwing for pewter, who can quickly dissolve a round shilling into a
three-halfpenny saucer. Long Lane at this time looks very faire, and
puts out her best cloaths, with the wrong side outward, so turned for
their better turning off. And Cloth Faire is now in great request; well
fare the ale-houses therein; yet better may a man fare (but at a dearer
rate) in the pig market, alias Pasty-nooke, or Pye Corner, where pigges
are all hours of the day on the stalls piping hot, and would cry (if
they could speak) come eate me.'

[Illustration: PULLING DOWN CHEAPSIDE CROSS, 1643.]

In 1641 an order of Parliament directed the removal of idolatrous
pictures from churches and the demolition of crosses in the streets. It
must have been on the passing of this order that '_The Doleful
lamentation of Cheapside Cross_,' with a woodcut of the Cross, was
published, 1641. Also, '_A Dialogue between the Crosse in Cheap and
Charing Crosse_,' 1641, which has also a woodcut representing the two
crosses, while a Brownist and an Anabaptist converse about their
demolition. It was not, however, till 1643 that Charing Cross and
Cheapside Cross were demolished. '_The Downfall of Dagon, or the taking
down of Cheapside Crosse this second of May, 1643_,' is a mock
lamentation for the destruction of the Cross on account of its being a
symbol of idolatry. The Cross itself is made to describe its history and
to lament its errors. Divers reasons are given for its demolition, and
the tract concludes in these words: 'And so this Tuesday it is a taking
down with a great deal of judgement and discretion, and foure Companies
of the Traine Bands of the City to guard and defend those that are about
the worke, and to keep others from domineering, and so I leave it to be
made levell with the ground this second day of May 1643.' The tract is
illustrated with a woodcut representing the demolition of the Cross;
and, as the day of publication is the day after the event, the persons
concerned in its production must have been unusually prompt and
energetic. The destruction of Cheapside and Charing Crosses is also
recorded, under the date of 1643, in '_A Sight of the Transactions of
these latter yeares Emblemized with Ingraven Plates, which men may read
without Spectacles_.' This pamphlet contains a reprint of the etched
plates previously mentioned, together with six others, one of which
represents the pulling down of Cheapside Cross, and a summary of the
transactions of the reign of Charles I., in which occurs the following
passage:--'Cheapside Crosse, Charing Crosse, and all other crosses, in
and about London utterly demolished and pulled down, and that abominable
and blasphemous book of tolerating sports and pastimes on the Lord's
daies, voted to be burnt, and shortly after accordingly burnt, together
with many crucifixes and popish trinckets and trumperies in the very
same place where Cheapside Crosse stood.' I have copied the plate
representing the demolition of Cheapside Cross.

The affairs of Turkey would seem to have had an interest for the English
public in the seventeenth century, if we may judge from a pamphlet
printed in 1642, with the following lengthy title:--'_Strange and
Miraculous Newes from Turkie, sent to our English Ambassadour resident
at Constantinople, of a woman which was seen in the Firmament with a
Book in her hand at_ Medina Talnabi, _where Mahomet's Tomb is_. _Also
several visions of armed men appearing in the Ayre for one and twenty
dayes together. With a prophetical interpretation made by a Mahomedan
Priest, who lost his life in the maintenance thereof. London, printed
for Hugh Perry neere Ivy Bridge in the Strand June 13, 1642._' There is
a woodcut of the apparition, and a lengthy description, passages from
which I have extracted:--

'There came newes to Constantinople of a strange Apparition or Vision,
which was seene at _Medina Talnabi_ in Arabia, whereat Mahomet their
great Prophet was buried. To visit whose Tombe the Turkes used to goe in
Pilgrimage, but they must first goe to _Mecha_, which is some few dayes
journey off, and there they take a ticket from the Grand Seigniors
Beglerbeg, else they are not allowed to go to Medina.

'This Vision continued three weeks together, which terrified the whole
country, for that no man could discover the truth thereof.

[Illustration: STRANGE VISION IN THE AIR, 1642.]

'About the 20 of _September_ there fell so great a Tempest and so
fearful a Thunder about midnight, as the Heavens were darkened, and
those that were awake were almost distracted, but the Vapours being
disperst, and the Element cleere, the people might read in Arabian
characters these words in the Firmament, _O Why will you believe in
Lies_. Betweene two and three in the morning there was seen a woman in
white compassed about with the Sun, having a cheerfull countenance,
holding in her hand a Booke, coming from the Northeast, opposite
against her were Armies of _Turkes_, _Persians_, _Arabians_, and other
Mahometans, ranged in order of Battaile, and ready to charge her, but
she kept her standing, and onely opened the Booke, at the sight whereof
the Armies fled, and presently all the lamps about Mahomet's Tombe went
out, for as soon as ever the Vision vanished (which was commonly an hour
before sunne rising) a murmuring Wind was heard, whereunto they imputed
the extinguishing of the lamps. The antient pilgrims of Mahomet's Race,
who after they have visited this place, never use to cut their haire,
were much amazed, for that they could not conceive the meaning of this
vision, only one of the _Dervices_, which is a strict religious order
among the _Turkes_ like unto the Cappuchins amongst the Papists, and
live in contemplation, stepped up very boldly and made a speech unto the
Company which incensed them much against him, so as the poore Priest
for his plain dealing lost his life, as you shall hereafter heare.'

Then follows the speech of the Dervish to the Turks, who became so
incensed that they put him to death, 'the poore man crying to the last
gaspe, O thou woman with the Booke save me, and so he died. At which
time there was a feareful tempest.'

It seems to have been a favourite method amongst the Puritan
pamphleteers of inducing belief in a particular creed or doctrine by
setting forth the awful consequences arising from adherence to an
opposite faith. Thus, in 1645, in the parish of Kirkham, a Popish
gentlewoman was said to have become the mother of a child without a
head, because she wished she might bear a child without a head rather
than her offspring should become a Roundhead. Again, it was related that
in Scotland a woman wished she might become the mother of a monster
rather than her child should receive the rites of the Church of England.
Accordingly, the child was born with two heads, long donkey-like ears,
&c. In all these cases the pamphlets recording these extraordinary
occurrences are illustrated. The apparitions of deceased persons were
also used as a means of enforcing certain views. For example, in 1642,
the ghosts of King James, the Marquis of Hamilton, George Eglisham, and
the Duke of Buckingham, were made to hold a conversation, wherein
Buckingham was charged with having caused the deaths of the others by
poison. Buckingham confesses his guilt and promises to weep repentant
tears. This pamphlet is also illustrated. The sermons of the Roundhead
preachers were sometimes parodied, as in the case of a humorous pamphlet
entitled, '_A Seasonable Lecture, or a most learned Oration;
disburthened from Henry Walker, a most judicious quondam ironmonger,
&c._' There is a woodcut to this pamphlet representing a person holding
forth from a tub to several others who are listening to him. In '_A
Glasse for the Times, 1648_,' there is a woodcut representing the
'Orthodox true Minister' preaching in a church, while the 'Seducer, or
False Prophet,' is holding forth to people in the open air; and the
reader is instructed as to the difference between true ministers and
false teachers.

Amongst the numerous executions that took place about the beginning of
the Civil War, some of the sufferers belonged to the Roman Catholic
Religion, and went to the gallows for conscience sake. In 1643 a certain
Father Bell, a Romish priest, was hanged; and a few days after the
execution a pamphlet was published, entitled '_The Confession,
Obstinacy, and Ignorance of Father Bell, a Romish Priest, wherein is
declared the manner of his Tryall, Condemnation, and Execution on Munday
December 11, 1643_.' There is a woodcut of the execution of Father Bell,
and an account of his behaviour on the occasion, his speech at the
gallows, and his disputatious conversation with the Sheriff.

Though many persons were put to death for witchcraft during the Long
Parliament, I have met with no illustrated record of any such event.
Matthew Hopkins was 'witch-finder general' at this time, and he had a
flourishing trade. He had a regular system for finding out witches; but
it appears that it must have been called in question, for the objections
to his system and his answers thereto were delivered to the Judges of
Assize for the County of Norfolk in 1647. A pamphlet of that date
contains a full account of Hopkins's rules for finding witches, and it
is illustrated with a woodcut representing the interior of a house, with
the witch-finder, two witches seated, and surrounded by their imps in
the shapes of animals.

_The Welsh Post_ of 1643 is a curious illustrated pamphlet which relates
the news of the Civil War in language such as was supposed to be used by
a Welshman speaking English. It begins thus:--'Whereas there hath beene
many Tiurnals and Passages, the truth whereof hath beene much suspected,
so tat her doth not be certaine to heare the true report of her
pretherns proceeding; her hath terefore chosen to herselfe a fery true
Printer (tat do scorne to print lie) to print a weekly Tiurnall for her
dear Countryman of Whales to understand te fery truth marke you me tat
now, for ferily her will not lye truly, but tell her te pare naked
truth.' The news from Oxford is that 'te kings forces are fery weake
there, and that the Countrey are fery glad of it, because of teir
intolerable trouble and charge.' There is also news from
Northamptonshire, Cheshire, Gloucester, Plymouth, Yorkshire, &c, all
related in the same language.

[Illustration: HOPKINS, THE WITCHFINDER, 1647.]

_The Welsh Plunderer_ is another pamphlet, with a woodcut of a Cavalier,
which is probably intended for Prince Rupert. It contains a rambling
protestation from 'Shinkin' of his loyalty, and states what he will do
in case Prince Rupert should visit Wales.

William Lilly, the Astrologer, found a rich field for the exercise of
his gifts during the progress of the Civil War. He was employed by both
Royalists and Roundheads; and it is said he was even consulted by the
King about signing the propositions of the Parliament. His advice was
also sought respecting the King's projected escape from Carisbrook
Castle. He kept his name before the public by publishing various
almanacs and tracts, in one of which, _The Starry Messenger_, 1645, he
gives an account of a strange apparition of three suns seen in London on
the King's birthday. This is preceded by a long list of similar
appearances, from the time of Christ to his own time, and the remarkable
events which followed. In high-flown language, mixed with the jargon of
astrology he vaguely hints at great events impending:--'I am clearly of
opinion, These Sights, as well as many others, were caused by those
tutelary Angels, who, by Gods permission, and under him, have the
Government of the English Commonwealth. They are sensible of those many
impending Miseries now too plentifully amongst us. Their conference with
man now, as in the days of old, very few attain unto, it being a
blessing sought after by many, attained unto by few: And yet there are
some of opinion there lives in the world some, and of those some, a
small Party in England, that know more than they utter, and either by
Vision, or verball Colloquie, have the knowledge of future events, yea,
even from the blessed Angels:'--which is as much as to say, I, William
Lilly, am one of the favoured few! Come to me and I will teach you
wisdom--I will unfold to you the mysterious future! The tract is
illustrated with a woodcut; and a later tract published by Lilly
contains an engraving of the three suns, together with a further
exposition of his views on the subject:--'God many waves in these last
times (though not by prophecy) yet discovers and signifies his
intentions unto us, and especially in and at those times when his heavy
judgments are imminent upon us; witnesse the many and frequent
Appearances of severall Prodigies seen in this Kingdom of England within
these four or five years, the like whereof for number are not recorded
in any, either ancient or modern History, so that I might weary the
reader, should I but mention the severall Letters which from sundry
parts of this Kingdom have come to my hands, some mentioning strange
sights in the ayre; others men fighting therein; others Guns shooting;
others relating of three moons; others the apparition of two suns; some
sending me letters, and including therein some part of that Corn which
was rained down from heaven, &c. I forbear all further discourse hereof,
assuring the kingdom, these Prodigies are the Premonitions, and assumed
infallible Messengers of Gods wrath against the whole Kingdom, for our
wicked transgressions, &c. God give us peace and grace to repent.'

[Illustration: THREE SUNS SEEN IN LONDON ON THE KING'S BIRTHDAY, 1648.]




CHAPTER IV.

  The Civil War--Flying Sheets of News--Disturbance at
  Kingston-on-Thames--Plot against London--Riotous Proceedings at York,
  and Conspiracy in Edinburgh--The House of Commons--The Royal Standard
  raised at Nottingham--Battle of Edgehill--Prince Rupert--The Lord
  Mayor of London--_Mercurius Civicus_--_The Scottish Dove_--_The Flying
  Post_--_The Kingdomes Weekly Post_--Cruelties of the Cavaliers--The
  'Levellers'--The King's Escape from Oxford--Funeral of the Earl of
  Essex--The Great Seal Broken--Fairfax--Cromwell--Sea Fight in the
  Channel--The Prince of Wales's Squadron--Mutiny at Norwich--Siege of
  Colchester--Execution of Sir Charles Lucas--The King at Carisbrooke
  Castle--Execution of the King--Confession of Richard Brandon.


The discontent which had been growing for so many years, and which had
been strengthened and inflamed by the acts of Charles I. and his
advisers in violating the principles of the Constitution, had now
arrived at the point of rebellion. At the commencement of the Civil War
the excitement was increased and sustained by the publication of flying
sheets of news. Although the practice of publishing regular periodical
papers had commenced, numerous fugitive tracts and pamphlets continued
to be printed relating to particular events. Some of these papers were
illustrated with woodcuts evidently executed on the spur of the moment,
while others appear to have been taken from other sources and adapted to
the occasion. An example of this latter kind occurs in a tract of 1642,
which strikingly illustrates the state of the times:--

'_A true Relation of the late Hurleyburly at Kingston upon Thames on
Wednesday the 12th of January caused by Collonell Lundsford and the rest
of his company, and the Towne fearing they would rise up in Rebellion,
one cam speedily to declare it at_ London, _upon which the Traine Band
were raised and caused to watch all night for the safety of the City._'
On the title-page is a woodcut of an officer and a soldier, which,
however, was evidently not executed for this special occasion, the
officer being in the costume of the preceding reign. A facsimile of it
is subjoined. The tract describes the commotion made in Kingston by the
appearance of Colonel Lundsford and three hundred troopers, who, 'about
the middle of the Towne, went in to drink, and continued there part of
that day, swaggering, and swearing blasphemous Oathes (which filled the
Towne with feares) and some amongst the rest, to frighten the Towne,
swore bitter Oathes that they should see bloody times ere long.'

[Illustration: HURLEYBURLEY AT KINGSTON-ON-THAMES, 1642.]

[Illustration: CAPTAIN VAUL, THAT CRUEL TYRANT, 1642.]

A tract of the same date refers to a reported conspiracy of the same
Colonel Lundsford:--'_A terrible plot against London and Westminster
discovered, showing how Colonell Lunsford the Papist, that should have
bin Lieutenant in the Tower, should in a Conspiracy among the Jesuits
and other Papists have blowne up the City of London, placing the pieces
of Ordinance against it. Also how the papists with their forces should
have risen against Westminster, and burnt downe the parliament house.
Likewise how by this Conspiracy the Arch-bishop of_ Canterbury _should
have been transported into France, and how Bishop Wren with many other
Bishops and popish Doctors should have bin conducted with him thither,
where Canterbury should have bin Sainted, and Wren made Cardinall. With
an exact Relation of the chiefe Cause of the Apprentices rising in Armes
to defend the City of London from their treachery, Describing most
succinctly the singular mercy of God towards us in defending this
Kingdome from the manifold Plots of the Papists and their Treacherous
Conspiracies._' On the last page is a woodcut of a Cavalier in a hat and
feathers, entitled 'Captaine Vaul that cruell Tyrant.' As there is no
mention of this person in the pamphlet it was perhaps a well-known
nickname of Colonel Lundsford. I annex a copy of this cut. The same cut
appears in a tract entitled '_Terrible Newes from York_,' detailing
certain riotous proceedings in that city, where it is given as 'Mr.
Holk, chief Agent in the uproar.' Its first appearance, however, is in
an account of a '_Bloody Conspiracy at Edinburgh_;' and, from its
frequent use, this rough woodcut must have been regarded as a good, bold
representation of a truculent soldier, suitable for the times.

While the King and the House of Commons were contending for the upper
hand there was published '_A Perfect Diurnall of the Passages in
Parliament_,' illustrated with a woodcut of the House of Commons, with
Mr. Speaker in the chair. This is used as a heading to several numbers
of the same _Diurnall_, and sundry varieties of it are printed as
headings to other reports of Parliament. This old woodcut has been often
copied, but my examples of illustrated journalism would not be complete
unless I introduced it here.

The printing-presses that are said to have been carried by both armies
during the Civil War must have been used solely for the printing of
Proclamations, General Orders, and suchlike documents. It seems to be an
ascertained fact that Cromwell's soldiers set up a printing-press in
Scotland, and printed a newspaper; but it is not so certain that the
armies of Charles I. and of the Parliament issued printed 'news' from
whatever town they chanced to occupy at the time. It does not follow
that because a tract is entitled _News from Hull_ it was actually
printed at that place. On the contrary, I have found nearly all the
tracts I have examined bear the imprints of London printers. _The News
from the North, The Last printed News from Chichester_, &c., were all
sent up to London, and there printed and published.

[Illustration: THE HOUSE OF COMMONS, 1642.]

In the words of Hume, 'The open signal of discord and civil war
throughout the kingdom' was made at Nottingham on August 22, 1642,
when the King erected his Royal standard and appealed to the loyalty of
his subjects to support his authority by arms. Historians differ as to
the precise day when this formal declaration of hostilities took place.
Clarendon and Hume both fix it on the _25th_ of August, while Rushworth
gives the _22nd_ as the date. The latter view is confirmed by a
contemporary pamphlet, which gives an account of the raising of the
Standard, and is illustrated with a woodcut representing the event. This
pamphlet was written in the interest of the Parliament and against the
King's party; but his Majesty is referred to in the most respectful
language, as is generally the case in the pamphlets of the time. At the
beginning of the struggle frequent hopes were expressed that the King
would consent to be guided by the Parliament, while his Cavalier
adherents were represented as his real enemies. The pamphlet referred to
has the following title:--

'_A true and exact Relation of the manner of his Majesties setting up of
His Standard at_ Nottingham _on Munday the 22 of August, 1642_.

'_First, the forme of the Standard, as it is here figured, and who were
present at the advancing of it._

'_Secondly, the danger of setting up of former standards, and the damage
which ensued thereon._

'_Thirdly, a relation of all the Standards that ever were set up by any
King._

'_Fourthly, the names of those knights who are appointed to be the
King's Standard-bearers, with the forces that are appointed to guard
it._

'_Fifthly, the manner of the Kings comming first to Coventry._

'_Sixthly, the Cavalieres resolution and dangerous threats which they
have uttered, if the King concludes a peace without them, or hearkens
unto his great Councill the Parliament; moreover how they have shared
and divided London amongst themselves already. London, printed for T.
Coles, 1642._'

[Illustration: RAISING THE ROYAL STANDARD AT NOTTINGHAM, 1642.]

The account of this interesting historical event is given in these
words: 'Munday being the 22 of August in the morning, his Majesty left
his forces before Coventry, and with some Lords and others in company
rode to Leicester, where he dined that day at the Abbey House, the
Countesse of Devonshire's house; however, so many printed intelligences
doe falsely, though with much confidence aver (much like their other
relations) that the king was with his Army in the field, at the time of
the battell between them and the Lord Brookes forces, which was not
untill the day following. Presently after dinner the King againe tooke
horse, and with his company rode to Nottingham, where was great
preparation for the setting up of the Standard that day as was formerly
appointed. Not long after the Kings coming to towne, the Standard was
taken out of the Castle, and carried into the field a little on the back
side of the Castle wall. The likenesse of the Standard it is much of the
fashion of the City Streamers used at the Lord Mayor's Show, having
about 20 supporters, and is to be carried after the same way; on the top
of it hangs a bloody flag, the Kings Armes quartered, with a hand
pointing to the Crowne which stands above with this Motto: _Give Cæsar
his due_. The names of those Knights Baronets who were appointed to
beare the Standard, viz. The chiefe was Sir _Thomas Brookes_, Sir
_Arthur Hopton_, Sir _Francis Wortley_, and Sir _Robert Darlington_.

'Likewise there was three troop of Horse appointed to waite upon the
Standard, and to beare the same backwards and forwards with about sixe
hundred foot Souldiers. It was conducted to the field in great state,
his Majesty, the Prince, Prince _Robert_ (whom his Majesty hath lately
made a Knight of the Garter), going along with divers other Lords and
Gentlemen of his Majesties traine, beside great company of Horse and
Foot, in all to the number of about two thousand, who came more to see
the manner of the thing than any waie to offer assistance to his
Majesty, as did afterwards evidently appear, for that upon the taking
downe of the Standard, there were not above thirty of the trained bands
that offered to come in to his Majesty, which, because their numbers
were so inconsiderable his Majesty refused to accept of.

'So soon as the Standard was set up, and his Majesty and the other Lords
placed about it, a Herauld at Armes made ready to proclaim a
Proclamation declaring the Ground and Cause of his Majesties setting up
his Standard namely to suppress the pretended Rebellion of the Earle of
Essex in raysing forces against him, to which he required the aid and
assistance of all his loving subjects. But before the Trumpeters could
sound to make Proclamation his Majesty called to view the said
Proclamation; which being given him he privately read the same over to
himselfe, and seeming to dislike some passages therein called for Penne
and Inke, and with his owne hand crossed out and altered the same in
diverse places, (a thing well worthy the noting) and then gave it the
Herauld, who proclaymed the same to the people, though with some
difficulty after his Majesties corrections; after the reading whereof,
the whole multitude threw up their hats, with other suchlike
expressions, _God Save the King_. Not long after the reading of the said
Proclamation, it being towards night, the Standard was taken downe, and
again carried into the castle, with the like state as it was brought
into the field. And the next day it was again set up, and his Majesty
came along with it, and made proclamation as the day before, and the
like also was done on Wednesday, his Majesty being also present. But
since that it hath been set up with lesse ceremony, there being not a
hundred persons as are yet heard of that have offered themselves to his
Majesty since the first setting up of his Standard.

'Since which time his gracious Majesty hath pleased to send some
propositions to both Houses of Parliament; and hath employed the Earle
of Dorset, the Earle of Southampton, and Sir John Culpeper, and Sir
William Uvedall to deliver his Majesties minde to the honourable Houses
of Parliament for a fair Treaty and accommodation of Peace, and that all
differences and mistakes might be ended, and all hostile manner of warre
to cease in our Land and that it might be sent over to Ireland upon
which report the Cavaliers which are about the Country are very
desperate to heare that his Majesty will hearken to an accommodation of
peace, or to apply or comply with his Parliament; telling his Majesty
that it is dishonourable to stoop to his Subjects, and if his Majesty
doth, they will either hang themselves, or kill and murther themselves,
and doth vow private revenge to this Kingdome, if they do now misse of
their hopes and enterprises, for they say they are sure to overcome us
whom they called Roundheads, and call our Souldiers nothing else but a
company of Shrove-Tuesday boyes, and idle headed prentices, who run away
from their Masters under pretence of having this opportunity to get
liberty from their hard service and cruelty. It is truly reported that
the Cavaliers are all desperately bent against the City of London, and
the inhabitants; they have already within themselves shared and divided
it; some have allotted to themselves Gracious Street, others Lumbard
Street, then others have shared Cheapside, and Pauls Church-yard, others
do determine to seize upon the rich Aldermens houses and Persons, others
to whom they owe or are indebted to by bond, or bill, or book, doe
resolve when they come into the City to seize upon those persons first,
to whom they are indebted, and to cut their throats, and then to seize
upon Usurer or others, and to cut his throat for that money, so say
they, we shall be both at once out of debt and have money to boot; these
are the resolutions of the Cavaliers who doth but looke for such an
advantage, so full of cruelty and malice they are, which God in his
infinite and blessed mercy protect both our King and Kingdome from; and
that their own swords may returne into their own bosoms that wish and
long for such a day.'

Then follows a notification from both Houses of Parliament that none
shall proclaim the setting up of the King's Standard; and whoever shall
suffer loss or damage through the Cavaliers shall receive reparation.

According to Clarendon, the Royal Standard was set up under the most
ill-omened and depressing circumstances: 'There was not one regiment of
foot yet brought hither, so that the train-bands which the sheriff had
drawn together were all the strength the King had for his person and
the guard of the Standard. There appeared no conflux of men in obedience
to the proclamation; the arms and ammunition were not yet come from
York, and a general sadness covered the whole town. The Standard was
blown down the same night it had been set up, by a very strong and
unruly wind, and could not be fixed again in a day or two, till the
tempest was allayed. This was the melancholy state of the King's affairs
when the Standard was set up.'

[Illustration: PRINCE RUPERT, GENERAL OF THE KING'S HORSE, 1643.]

Soon after the King had unfurled his Standard at Nottingham the battle
of Edgehill was fought, and an illustrated tract relates how the
inhabitants of Kenton, a village near the battle-field, were disturbed
at night by strange noises and the appearance of apparitions after the
battle. The name of Prince Rupert begins to appear in the narratives of
events, and his portrait frequently occurs in the illustrated sheets of
this period. This dashing and impetuous Cavalier, whose rash courage
excited the admiration of the Royalists, was regarded by the Roundheads
as a cruel and bloodthirsty enemy, and he was often denounced by the
Puritan preachers. In 1643 there was a pamphlet published called '_The
Bloody Prince; or, a Declaration of the Most Cruell Practises of Prince
Rupert and the rest of the Cavaliers in fighting against God and the
true Ministers of his Church_.' Facing the title is a woodcut
representing Prince Rupert on his charger, with the towns of Birmingham
and Daventry in the background, both of which places were the scenes of
conflict during the war, the former having been taken, partially burnt,
and a heavy fine inflicted on the inhabitants by Prince Rupert.

The City of London having taken the side of the Parliament, was
naturally inclined to honour its chief magistrate when he was found to
be an active and energetic promoter of its views. Isaac Pennington was
Lord Mayor in 1643, and his portrait was published in a laudatory
pamphlet, entitled '_A True Declaration, and just Commendation of the
great and incomparable care of the Right Honourable Isaac Pennington_.'
His Lordship is styled the Atlas of the city, bearing the weight and
management of all civil affairs on his shoulders, and he is much
commended for his great care in superintending the building of the
fortifications round London under the direction of the Parliament. 'And
herein,' says the writer, 'your honour hath shewed yourselfe an
excellent Magistrate complying with the Parliament in all matters that
concerne the publicke administration of the Commonweale; so that you
have lookt upon the present state of this Citie and Religion with the
cleare eye of justice; you have heard of the great pressures which the
country hath endured by the cruelty of the Cavaliers; you have to the
discouragement of malignants on the shoulders of fortitude, bore and
suffered their false aspersions.... Your Honour hath in your present
Magistracie walked uprightly, having clean and pure hands; nay, strong
hands; for your Honour hath been the chiefest raiser and promoter of
the workes and fortifications round about the Citie of London: you saw
the times were dangerous, and that the King's Cavaliers gaped after
nothing more than to get London, and make it a prey to the supplying of
their necessities.' I have copied the portrait of the man who was thus
distinguished by his fellow-citizens, not merely as an example of
illustrated news, but as showing what a Lord Mayor of London looked like
in Charles I.'s time.

[Illustration: ISAAC PENNINGTON, LORD MAYOR OF LONDON, 1643.]

It was in the City of London, and during the second year of the Civil
War, that the first illustrated newspaper came into existence. _The
Weekly News_ had attempted on only one occasion to illustrate the news
of the day, but the _Mercurius Civicus_ frequently gave illustrations,
and it is therefore entitled to be ranked as the first illustrated
newspaper. It is true that most of the engravings it contains are
portraits, and sometimes the same woodcut is used to represent more than
one person. Besides portraits of the King and Queen, there are portraits
of the chief generals and commanders engaged in the war. There are
Prince Rupert, the Lord General, Sir Thomas Fairfax, the Marquis of
Huntley, Sir Edward Deering, General Lesley, Lord Inchiquin, Lord Digby,
Sir W. Waller, the Earl of Warwick, and others. '_The Mercurius Civicus,
London's Intelligencer, or Truth impartially related from thence to the
whole kingdom, to prevent misinformation, from Thursday July 13 to
Thursday July 20, 1643_,' is the full title of No. 8; and it is curious
to notice how nearly a portion of the title--_London's
Intelligencer_--corresponds to the _London News_. It was a peculiar
feature of the early newspapers that they were announced as being
published 'to prevent misinformation,' or for the 'correction of false
reports'--not so much for the diffusion of truth as for the correction
of falsehood.

[Illustration: CHARLES I. AND HIS QUEEN, FROM 'MERCURIUS CIVICUS,'
1643.]

On the front page of Number 8 of the _Mercurius Civicus_ are small
portraits of Charles I. and his Queen, engraved on wood. Over the
woodcut is a sort of table of contents, thus:--'The King and Queen
conjoyned, the Kentish news related, our Forces are united, A publique
Fast appointed.' On the preceding page is given a facsimile of the cut
of the King and Queen.

[Illustration: WEAPON CALLED A ROUNDHEAD, FROM 'MERCURIUS CIVICUS,'
1643.]

Similar portraits occur in other numbers, as well as several ornamental
letters; but there is in Number 11 a very interesting illustration of
the news of the hour. It is a woodcut of a weapon said to be intended
for use against the Roundheads, and the following account is given of
it:--'In the Danish Ship lately taken by the Earle of Warwicke, near
Newcastle, were found Armes compleat for 5000 foot and for 500 horse,
500 barrels of Gunpowder, Great store of Match and Lead, beside a
thousand of those weapons which the Papists call Round-heads, for that
with them they intended to bring the Round-heads into subjection. Many
such weapons were long since found in divers Papists' houses in
Lancashire; it is a weapon with an ovall or round top, stuck full of
iron spikes. The forme whereof for better satisfaction is here set
downe.' Then follows a representation of the weapon, of which a
facsimile is given on the opposite page. The same cut is reprinted in
other numbers.

[Illustration: PORTRAIT OF PRINCE RUPERT, FROM 'MERCURIUS CIVICUS,'
1644.]

In another number it is related that 'the Manchestrians have lately
taken from severall Papists in that County many desperate weapons which
they call Round-heads.' No. 22 has a portrait of a Cavalier in hat and
feather, intended probably for Prince Maurice, as there is in the body
of the number an allusion to a report of his death. In No. 42 there is a
portrait of Prince Rupert and the following summary on the
title-page:--'Prince Rupert's forces routed near Stratford-on-Avon.
Generall King's Army dispersed by the Scots. Himselfe wounded and fled
to Yorke. Banbury Castle besieged by Colonell Cromwell.' I give a copy
of Prince Rupert's portrait, which is made to do duty for the Marquis of
Newcastle in another number. This practice of making the same woodcut
pass for the portraits of different individuals savours somewhat of
impudence on the part of the editor, and shows a cool reliance on the
good nature or the obtuseness of his readers.

[Illustration: THE OXFORD JUNTA IN COUNCIL, FROM 'MERCURIUS CIVICUS,'
1644.]

In the number of the _Mercurius Civicus_ for April 11, 1644, there is a
curious woodcut representing the 'Oxford Junta in Council,' with the
following paragraph referring to it:--'The news from his Excellencies
generall Roundezvous at Ailsbury on Good-Fryday next, will no doubt
cause the Oxonian Papists to whip themselves before the time, and to
make the Oxford Junto to recall their late votes.' The lady and
gentleman in the balcony were probably intended for the King and Queen.
There is more variety in this number of _Mercurius Civicus_ than in any
I have seen. In the war news there is the taking of Waltam House, in
Hampshire; the taking of numerous men and horses at Christ-church, in
Dorsetshire; then comes a paragraph stating that 'On Munday last, April
8, there were ten men and two women executed at Tyburne for the severall
offences for which they were condemned the last weeke at the Sessions in
the Old Bayley.' Mention is made of a fight between the Scots Army and
the Marquis of Newcastle's forces near Hilton; the gathering of the
King's forces in the neighbourhood of Marlborough, and an announcement
that the Parliament intend to draw all their forces together, and, if
possible, by fighting a decisive action 'to put a speedy end to these
miserable distractions.' The trial of Archbishop Laud was at this time
going on, and reference is made to his appearance before the House of
Peers. Two Welshmen were taken into custody for talking in Welsh, while
they were crossing the river from Westminster to Southwark, about firing
the city in several places, they not knowing that the waterman
understood their language. It is stated that a solemn day of
thanksgiving had been observed in London for the victory obtained over
Sir Ralph Hopton's forces, and an ordinance was read in the churches
exhorting the citizens to contribute all their strength to bring the
contest to a final issue. There is also some account of recent fires in
the city, which are attributed to the treachery of Cavaliers and
Malignants. 'But,' says the writer, 'which way soever these sad
accidents are brought to passe, they may afford the whole City this
caution: that if the firing of some few houses be so dreadful and
fearfull, as I am sure this appeared to those that beheld them,
notwithstanding they had all means convenient to quench them, and the
multitude being industrious to set their hands to the worke: O how
terrible would it be to see your houses set on fire by the enemy, and
the cruell souldiers, instead of bringing buckets of water, should stand
with their drawne swords threatening the death of those that should
offer to quench the flame? Poore Ireland can give ample testimony of
this.' From Yorkshire there is news that Fairfax had taken Cawood
Castle; from Banbury that the Royalist garrison was withdrawn from that
place, and 'that the Carriers of Banbury and Southam were robbed the
last weeke neere Tossiter in Northamptonshire by divers of the Cavaliers
Forces.' In the number for April 25, 1644, there is a figure of the King
armed with a sword, and with this inscription:--'Fire and sword again
menaced by his Majesty.' During the first years of the Civil War the
newspapers contained many portraits of the King, some of which were
carefully engraved on copper.

It is noticeable that the _Mercurius Civicus_ and other papers
published during the Civil War were in the habit of including on their
title-pages a summary of the contents of the number. Sometimes it was
put in the form of rhyme, as--

  'Tewkesbury is taken
   Yorke walls are well shaken.'

[Illustration: HEADING TO THE 'SCOTTISH DOVE,' 1644.]

The _Scottish Dove_ frequently indulged in these rhyming summaries. On
the title-page of Number 39 for July 13, 1644, the following lines are
printed:--

  'Rupert and Newcastle wholly Routed
   Rupert and Newcastle's jarres undoubted;
   Newcastle fled to Sea, Rupert to the King,
   Give God the Glory heavenly praises sing.
   A day of thankes the parliament hath set,
   Lord Gray with some of Hasting's troops hath met.
   From Oswestree Middleton the siege did raise
   And Barnstaples defence, doth Essex praise;
   The Queen Pendennis Castle liketh best.
   The King uncertain where to take his rest.'

The _Scottish Dove_ was a small quarto numbered and paged consecutively
like the _Mercurius Civicus_. On the front page of every number was
printed a woodcut of a dove bearing an olive-branch in its mouth, and at
the side of the woodcut was usually printed the rhyming summary. I annex
a facsimile of this heading.

Many of the journals of this period showed their hankering after
illustrations by occasionally indulging in an initial letter, if they
could do nothing more. The animosities of party often caused them to
forget their original purpose of spreading true intelligence, and they
were quite as ready to apply the lash to each other as to chastise
public wrongdoers or 'correct false reports.' At this time first
appeared the familiar newspaper heading of the man on horseback blowing
a horn. It was on the front page of the _Flying Post_, the first number
of which was published on May 10, 1644. The full title was '_The Flying
Post, conveying Weekly Packets to all Forraigne Nations, of the
Proceedings of both Houses of Parliament and the Armies in Great
Brittain_,' and it was 'published for the cleere satisfaction of all
Forraigners and others who desire Certain, and Weekly Information.' The
introduction is as follows:--

'Gentlemen,--The too many errours committed of late time, by the
irregularitie of the Presse (which since by the wisdome of the
Parliament, is in a great measure suppressed), which did run Weekly in
severall channels to the greatest part of Europe in great dishonour to
our English Nation; Have enforced this my Flying Post never to make
stay, till it had intimated the same unto you, and fully vindicated this
my Native Kingdome, by publishing a certain Weekly Intelligence of all
Proceedings of our honourable Parliament and unhappy wars of this
Kingdome; wherein (though a well wisher to his Excellencie the Earle of
Essex, and the Proceedings of Parliament) I shall write with the
greatest indifference, truth, and modestie, as shall satisfie the
impartiallest that reades me; attributing to the Enemy no otherwise than
Truth will warrant it, be it to their honour or shame according to
their demerit. Therefore give me leave to beg your credence beyond Sea
and elsewhere, as you find me.'

The _Flying Post_ gives intelligence from York, then besieged by the
Scots; from Hull, Newark, and Mansfield; some notes of the proceedings
in Parliament, respecting which the journalist says cautiously:--'As for
our proceedings in Parliament, I shall be very cautious and tender in
divulging them.' It was 'Published according to order,' and printed at
London for Bernard Alsop, 1644.

[Illustration: HEADING TO THE 'KINGDOMES WEEKLY POST,' 1644.]

The _Klngdomes Weekly Post_ had the same heading, which is here copied.

In a tract entitled '_Strange true and lamentable news from Exeter and
other parts of the Western Countreys_' there is a woodcut of a woman on
her knees praying for mercy. The pamphlet relates the cruelties
inflicted by the Cavaliers on the inhabitants of Exeter, Bristol, and
other towns. Prince Maurice is charged with breaking the articles of
agreement made with the city of Exeter, and both he and Prince Rupert
are likened to 'Tigers or Savage Beares.' It is stated that in the city
of Exeter 'the rude Souldiers would not forbeare upon the least
discontent given to them to draw their Rapiers upon the Citizens, and
wound them, but especially when they are in their cups, they swagger,
roare, sweare, and domineere, plundering, pillaging, or doing any other
kind of wrong; to break shops and houses they count as nothing, taking
away Boots, Shoes, Stockings, Hats, or any other commodities they can
lay their hands on, and no Justice dares to resist them, and by this
means the City is in such a miserable condition that they are even
terrified to the death.' At Cirencester, having entered the town by
force, they slew all the men who opposed them, took the unresisting
inhabitants prisoners, and pillaged the town. At Bristol 'They went into
some Cellars, where was plenty of wine and beere, drank what their
gormandising guts would hold, and let the rest run about the house, with
many other antique tricks that they used, which I cannot omit to speak
of; moreover, they breake the Covenant which was made in every respect
the very first hour that they entered the city, and fell to plundering,
pillaging, robbing, stealing, cutting and slashing, as if they had never
been brought up to any other practice.'

[Illustration: STRANGE NEWS FROM EXETER, 1643.]

In an account of the defence of Plymouth against the Royalists there is
a very elaborate map showing the fortifications of the town, 'with the
workes and approaches of the enemy at the last siege.' The account of
the siege is very long, but the following passage may be quoted:--'One
remarkable passage of God's providence to us we must with all
thankfulnesse remember and acknowledge, that after the Towne had been a
long time strictly beseiged and no fresh victuall either flesh or fish
could be had, whereby the poore people were grievously punished, there
came in an infinite multitude of Pilchards into the Harbour, within the
Barbican, which the people took up with great ease in baskets, which did
not only refresh them for the present, but a great deal more were taken,
preserved, and salted; whereby the poore got much money; such a passage
hath not happened before.

'We cannot forget the humanity of the good women of Plymouth, and their
courage in bringing out strong waters, and all sorts of provisions in
the midst of all our skirmishes for refreshing of our souldiers, though
many shot through the cloathes.'

I have already made the remark that the military atrocities of recent
times were equalled, if not exceeded, during the Civil War in England
and Ireland. In a tract of 1644, containing various items of news, the
following woodcut is given as an illustration of recent events. The same
woodcut is found in another tract entitled '_Terrible and bloody Newes
from the disloyall Army in the North_:'--'The proceedings of the Scots
and Irish appears more visible and inhumane than formerly; their actions
are tyrannical, their ways most insufferable, and executeth nothing but
blood thirstinesse and cruelty tending only to utter ruin and
desolation; they have burned down divers stately buildings in these
parts, executed some of my Lord Wharton's tenants, and threatens others,
which causeth the Country to rise and joyn with Lieu. Gen. Cromwell,
insomuch that there will be a sudden engagement.'

The sect called the 'Levellers' is thus alluded to in the same
tract:--'Colonel Martin's approach with his Levellers in these parts
hath alarmed the Country and put themselves into a posture to receive
them, and for preservation of their ancient rights and liberties against
their new design of levelling, who by their strange, politick, and
subtill delusions have wrought into the hearts of divers people to
ingage with them, especially among those who are of a desperate fortune,
and mean condition, the basest and vilest of men resorting to them. They
rob and plunder exceedingly wheresoever they come, saying they will
levell all sorts of people, even from the highest to the lowest, and
that he that hath the most shall be equall with him that hath the
least.'

[Illustration: CRUELTIES OF THE CAVALIERS, 1644.]

In a pamphlet relating to the events of Charles I.'s reign there are
some of the etchings previously noticed, together with nine others
illustrating the history of the same period. They are:--1. The Court of
High Commission and Star Chamber. 2. The Execution on Tower Hill of Sir
Alexander Carew, Sir John Hotham, Captain Hotham, and the Archbishop of
Canterbury. 3. The King's Escape from Oxford. 4. The Execution of the
Duke of Hamilton, Earl of Cambridge, Earl of Holland, and Arthur Lord
Capel. 5. The Coronation of Charles II. in Scotland, 1650. 6. A Meeting
of Cavaliers. 7. A Seapiece illustrating Charles II.'s Escape from
England after the Battle of Worcester. 8. Reading the Act of General
Pardon and Oblivion, 1651. 9. The House of Commons in Session. The full
title of the pamphlet is as follows:--'_A Brief Review of the most
material Parliamentary Proceedings of this present Parliament, and their
Armies, in their civil and Martial Affairs, which Parliament began the
third of November, 1640, and the remarkable Transactions are continued
untill the Act of Oblivion February 24, 1652. Published as a Breviary,
leading all along successively, as they fell out in their several years.
So that if any man will be informed of any remarkable passage, he may
turne to the year and so see in some measure in what Moneth thereof it
was accomplished. And for information of such as are altogether ignorant
of the rise and progress of these times, which things are brought to
pass that former ages have not heard of and after ages will admire. A
work worthy to be kept in Record, and communicated to Posterity. London:
Printed for Tho. Jenner at the South Entrance of the Royal Exchange._'
From the above I have copied the etching of the escape of Charles I.
from Oxford.

[Illustration: ESCAPE OF CHARLES I. FROM OXFORD, 1646.]

It is stated by Hume that when the King escaped from Oxford he was
accompanied by two persons only--Dr. Hudson and Mr. Ashburnham--and that
he rode before a portmanteau and called himself Ashburnham's servant.
The engraving scarcely corresponds with this account; but the scene
represented is evidently outside the city of Oxford, and other persons
may then have joined the King's party.

The city of Oxford surrendered to the Parliament on June 24, 1646, the
King having signed a warrant for the surrender fourteen days previously.
This event is recorded in a pamphlet entitled '_Good Newes from Oxford
of the Treaty for the Surrender thereof, and how they are packing up to
march away on Thursday next, June 18, 1646_.' The 'march away,' however,
was not accomplished till the 24th. Amongst those who left the place
were Prince Rupert and Prince Maurice, and the King's second son, James,
the young Duke of York. The illustration to this pamphlet has no
relation to the event, and was used on other occasions.

The funeral of the Earl of Essex, the Parliamentary General, who died in
1646, was made the occasion of a great display of pomp and ceremonial
magnificence, which was duly chronicled and illustrated by the
journalists of the time. '_The true manner and forme of the proceeding
to the Funerall of Devereux, Earl of Essex_,' contains, besides a
copperplate portrait of the Earl, numerous woodcuts of banners, and the
funeral canopy. Several illustrated broadsides relating to this event
were also published. In looking over the old newspapers we are
frequently reminded of the truth of the saying that 'history repeats
itself.' The Duke of Wellington's funeral in 1852 was a repetition, on a
much more splendid scale, of the funeral of the Earl of Essex in 1646,
with such differences as arose from the taste and circumstances of the
time. Portraits of the Earl of Essex are of frequent occurrence in the
pamphlets of this period.

In the pamphlet containing the escape of the King from Oxford there is
an etching of the burning of the Book of Sports on the site of Cheapside
Cross, which is thus described:--'10 of May the Booke of Sportes upon
the Lords Day was burned by the Hangman in the place where the Crosse
stoode and at Exchange.' There is also in the same pamphlet a
representation of breaking the Great Seal:--'The Great Seale broken
before the Lords and Commons, on Tuesday, the 11 of August, 1646.' Some
authorities say the Great Seal was not broken till January, 1649, new
style.

[Illustration: THE GREAT SEAL BROKEN, 1646.]

Sir Thomas Fairfax succeeded the Earl of Essex as commander of the
Parliamentary army, and had Oliver Cromwell for his Lieutenant-General.
Though a Presbyterian, he suffered himself to become the tool of the
Independent party, and followed the councils of Cromwell until the Army
had become master both of the Parliament and of the kingdom. All that
related to a person of so much importance must have had uncommon
interest for the popular mind, and accordingly we find Sir Thomas
Fairfax and his military council form the subject of an engraving in a
pamphlet of 1647. It is entitled '_The manner of His Excellency Sir
Thomas Fairfax and the officers of his Army sitting in Council_.' In
this engraving it will be seen that Fairfax, though farthest removed
from the spectator, is made the largest figure in the picture,
apparently for the purpose of giving him proper importance. Note also
the huge pens, and the mysterious way in which the foreground figures
appear to grow _out_ of the benches instead of sitting _on_ them.

[Illustration: SIR THOMAS FAIRFAX AND HIS MILITARY COUNCIL, 1647.]

Though Cromwell was at this time the real director of the army, and ere
long became its acknowledged head, I have met with no representation of
him in the illustrated news of the period. The art of 'interviewing' had
not then been developed, and the 'Special Artist' did not exist. The
most enterprising correspondent would probably have hesitated to intrude
upon that stern and resolute leader of a revolutionary army, if he had
no better excuse than to describe how he looked and what he said. Fancy
the Special Artist of the _Mercurius Civicus_, for instance, sending in
his card to Oliver Cromwell with a polite request that the General would
give him five minutes of his valuable time for the purpose of making a
sketch for the next number of his journal! And fancy how the uncomely
countenance of the _ci-devant_ brewer would redden at the request, and
how, probably, the unlucky artist would be consigned to the custody of
the sentinel at the door!

There is not much said about naval matters in the newspaper chronicles
of the Civil War. The earliest account of a sea-fight that I have met
with occurs in a pamphlet published in 1647. It is illustrated with a
woodcut representing ships of war in action--which woodcut, by-the-by,
afterwards appears in other pamphlets. The narrative is in the form of a
letter, dated at sea, off Dover, May 4th, 1647; and, as the pamphlet is
dated May 10th, we have another example of the extreme eagerness of the
news-writers to supply the public with early intelligence. The
combatants were not at war, and the fight appears to have arisen out of
a mere question of naval etiquette. The following account is given of
the transaction:--

'A full Relation of a late Sea-Fight, betwixt the Parliament Ships and
the Queene of Sweathlands, upon the Coast of England, neere Portsmouth,
May 1.

'Sir,

'On the 2 of this instant moneth, being the Lords day, our Commander in
chiefe of the Sea Forces, received a packet from a small Frigat, that
came from the Rear-Admirall who had been in Fight the day before with
five of the Queen of Swethlands ships, which they conveyed, being all
laden with salt from Tubey in Portingale.

'The reason of the fight was, the Swedish ships wore flags, viz.,
Admirall, Vice-Admirall, and Rear-Admirall, which they refused to take
in, or to low their top-sales (although commanded by Cap. Owen, Capt. of
the Parliaments Reare-Admiral so to do) whereupon the said Capt. Owen
gave them a broadside, insomuch that divers shots past betweene them,
and great execution done upon the Switzers, scouring their upper decks
with small shot severall times. Captain Owen lost not above 8 men,
besides some few wounded, the fight continued sixe hours, til night
began to aproach, where the Swedish Fleet tooke their opportunity, and
got away. But so soon as Vice-Admirall Batten[1] heard of it, he set
saile with the St. Andrew, Garland, Convertine, and Mary-Rose, and stood
over for the coast of France in the night; and in the morning about 8 of
the clock, being the 3 of May near Bulloign, he came up with the Admiral
of the Swedes ship whose names was Martin Tysin, the ship was called the
Leopard and had 32 guns; the Vice-Admiral Daniel Johnson, a lusty stout
ship, called the Angel Raphael, and had 24 guns; the Rear-Admiral the
Neptune, Moris Cook Captain, with 18 guns; the other two ships of 22
guns apiece, one being called the Anne-Free, the other the Neptune.

'The Captaines of all these ships, hee commanded aboard, and asked them
what they had done with his Rear-Admiral; they at first denied that they
saw him, but he pressing it so hard upon them, at length confessed, that
they had been in fight with him, and that the reason was, because they
would not take in their flags, being so commanded by their Queen, and
had instructions to that purpose, which he caused them to send for, and
took copies of them, which appeared to be true in a high manner.

'And they further told our Commander Vice-Admiral Batten, that they
would rather die in honour, than to go home and be hanged, for
disobeying their commissions; a brave resolution, and I could wish it
were imprinted in the hearts of all our commanders; they further told
him, that if these flaggs were then abroad, they would die before they
made one shot at him, though he shot never so many at them, yet would
not take them in, and indeed were very respective to him. But they did
much blame the Rear-Admiral, for that all the shot he made was at their
Vice-Admiral and Rear-Admiral, and not at their Admiral, whom he ought
first to have commanded, the others being subordinate to his commands;
and although he was 4 or 5 hours by the Admirals side never shot gun at
him, but sent his Boat 3 times aboard. Our Vice-Admiral demanded of
them, where the Rear-Admiral left them, they told him off Beachey which
to him did seem strange, that he should begin a quarrell and not follow
them, till he came neer where the Vice-Admiral was, having sent a Frigot
to him, to give him intelligence, and might undoubtedly expect his
relief.

'All Munday was spent in taking of Examinations, and Copies of
Commissions; the Swedish Commanders being detained aboard by our
Vice-Admiral as prisoners, but used with great civilitie.

'At length a Councell of Warre was called by our Commander in chiefe
with his Captaines, the result whereof was, that the Swedes
Vice-Admiral, who had been the man which was most active was with his
ship to be carried into the Downes, till the pleasure of the Parliament
be further known which was done accordingly, and the next day we arrived
in the Downes, being the 4. instant; the rest of the Swedes in regard of
their shortness of Victuall, and having charge of the Convoy, were left
to their own dispose, and this was performed without shooting so much as
a Musket; but truly, if the Queene of Swethland leave not out that
peremptory command in her instructions, not to strike to any of our
Commanders, enjoyned to keep the Sovereignty of the Seas, and to expect
homage from all, even to sinking, or burning, this must in time breed
ill-bloud between the two Kingdomes, which might be wisht might be
prevented, by a letter from our Parliament to the Queen of Swethland.
Thus have I given you a perfect Relation of the whole proceedings.
Sir, I have not else at present, but to let you know, I am your most
humble servant and kinsman, 'R. B.

[Illustration: NAVAL BATTLE, 1647.]

'Dated at Sea off Dover the 4. of May 1647.'

Another piece of illustrated news bearing upon naval affairs is
entitled, '_News from the Royall Navie, Colchester, and Portsmouth,
declaring the proceedings and intentions of the Prince of Wales, &c._'

[Illustration: THE PRINCE OF WALES'S SQUADRON, 1648.]

'We have received intelligence from the _Brill_ in Holland, that his
Highness the Prince of Wales since his arrival there hath embarked
himself in a great Vessell for England, the Earl of Newcastle, the Lord
Gerhard, the Lord Culpepper, and divers others Lords and Gentlemen,
being now floating upon the Neptune Seas towards the North of England,
accompanying of his Royall person; we hear that they intend to land
about Berwick, or else on the South side of the Holy-Island, and to
march in the Van of the English Army. It is likewise said that divers
Scottish Lords hath been with his Highnesse, and have treated with his
Councell declaring the grounds and reasons of their engagement with
England, and their resolution to redeem their dread Sovereign from
imprisonment, to re-invest His Royall Person, and to make both him and
His Posterity happy, and so Peace and Unity may flourish throughout all
His Majesties Realms and Dominions. Severall urgent invitations were
also presented to his Highness for his speedy and personal appearance in
the North of England. The like to the Duke of York for his hastening
with the Royal Navie towards the Downs, which unexpectedly is now come
to pass; for we hear that the Prince with a great number of Royalists
are sayled from the Brill in Holland towards the North of England, and
that the Duke is come upon the Downs with a great and numerous Fleet,
consisting of about 10 of the Kings great ships, and 30 Flemings, but
they have not meddled on either side as yet; six of the Dukes ships, on
Saturday last strook sayle before the town and Castle of Deal, and by
their churlish tokens they sent us made it appear what they were, for
they shot very neer 100 great Pieces at us, which killed 8 or nine of
our men.'

This account is illustrated with the woodcut on the opposite page.

Some of the rough woodcuts to be found in many of the Civil War tracts
would be unworthy of notice, did they not show the constant efforts that
were made to illustrate the news of the hour. Such is the illustration
to a tract entitled, '_A true Relation of the late Great Mutiny which
was in the City of Norwich April 24, 1648_.' This gives an account of
the explosion of ninety-eight barrels of gunpowder, whereby 200
mutineers were slain, and the woodcut is intended to show the effects of
the explosion.

_Bloody Newes from the Scottish Army_ contains a woodcut representing
two men on horseback charging each other. The description gives an
account of the advance of the Scottish army on the English near Penrith,
intending to surprise the latter; 'but by the vigilance of our scouts
they were discovered.' After a 'furious conflict gallantly maintained on
both sides, we gained ground, and beat them out of the field. This
action happened upon Sunday morning last about 2 of the clock in the
morning.'

[Illustration: EXPLOSION AT NORWICH, 1648.]

During the last struggles between the Parliamentarians and the
Royalists, the latter, under Lord Goring, were driven into Colchester by
Fairfax, and there besieged for more than two months. There are several
pamphlets detailing incidents of this siege, one or two of which are
illustrated. One of them is in the form of a letter to the writer's
brother, and it has a quaint woodcut of 'Colchester Leaguer.'

Another tract, dated July 27, 1648, is entitled '_A great Fight at
Colchester upon Tuesday night last, being the 25 of this instant July,
and the advancing of General Lucas and his forces to the very Guards of
the Parliamenteers, with the particulars of the Fight, and the number
that were killed and taken prisoners on both sides, and the springing of
a Mine to blow up part of the Leaguer. Likewise a letter from Colchester
concerning the marching of an Army to London. And Message from Prince
Charles to Gen. Lucas. And a bloudy Fight at Deal Castle in Kent.
London. Printed for R. Woodus, and are to be sold at the Royall Exchange
in Cornhill, 1648._ The letter describing this fight contains so much
curious matter that it is worth transcribing entire:--

[Illustration: COLCHESTER LEAGUER, 1648.]

'Sir, we have received information from Yarmouth, Harwich, and other
places, that there is great fear of the Prince of Wales landing in those
parts with a very considerable Army, and that he is resolved to advance
towards Colchester, to raise the siege, and to let those Birds at
liberty, which he esteems to be the only instruments to advance his
Father's Cause. We hear that the L. Gerrard is designed Lieutenant
Generall of the new Eastern Army, and the Lord Culpepper Major Generall,
and that his Highnesse will repose no trust in either of the Princes
Rupert or Maurice, or any other Foreign Personage whatsoever. This
morning a Corporall of a troop of horse deserted the Colchestrian
service, and humbly submitted himself to the Lord Generall, who upon
examination touching their numbers and victualling said that the last
Muster Rolls made mention of above 6000 Horse and Foot, and for
victualling, they had plenty of Rye and bread-corn, but for flesh-meat
they had none at all left, being constrained to kill Horses to satisfie
their hungry appetites, which causeth many of the young Soldiers to
desert their hard commons.

'He further said, that at the last Muster upon Munday last the E. of
Norwich and Sir Charles Lucas rode to the head of each Regiment, and
read a paper to the Soldiery (which they said was a Message from the
Prince of Wales) intimating that his Highnesse were resolved immediately
to land his Forces about Yarmouth, and from thence to march downe to
Colchester to raise the siege, and set them at liberty, and that if they
could but hold out till Satterday, he doubted not of the day, and should
take it as an acceptable service from them.

'But I conceive the truth of this to be as palpable falsehood as the
late report of the Royalists in these parts, who would not stick to say,
_that Colchester was relieved by the ship called the Swallow, and that
they shot in above 500 Holland cheeses out of Mortar pieces &c._

'Some who are come out of the Town reports that the enemy within are
springing a Mine, and doth intend to blow up the Lord Lucas his house
(in our possession) which doth very much annoy them; their great
Ordnance plaid very hard this morning, and did some execution, ours
answered them again from the Great Mount, and plaid upon them for the
space of one hour.

'They are in very great streights for provision, and have eaten
horse-flesh these six or seven dayes, but as resolute as formerly.

'A party came out to cut Barley which was repulsed without losse, two
only wounded of the party; some horse grazing under the City walls were
snapt by some of Col. Whalleyes Forces, some shot, 38 taken, no way
serviceable at present, unlesse good keeping recover them.

'On Satterday last the Lord Generall gave Order that several Papers
should be shot into the town out of Arrows, offering the private
Souldiers quarter, and passes to go home, if they will deliver up
Goring, Capel, Lucas, Loughborough, Farre, &c.

[Illustration: GENERAL LUCAS AT THE SIEGE OF COLCHESTER, 1648.]

'This morning betwixt three and four of the clock, we received some
tokens from the besieged, a party of them sallied out, and advanced up a
narrow Lane neer to one of our Guards, thinking to surprise them
unawares; but an Eagle ey'd Centinel discovering them, presented her
bill, and fired; whereupon the rest of the Guardians received an allarm
and immediately man'd the Line, the Colchestrians advanced and charged
with great fury, this action was disputed by both parties with great
courage and resolution, the enemy fell on without mercy, and fought it
with much violence, but our Forces bodying, they retreat, our men
pursues with great execution, killed about 20. and took as many
prisoners, with the losse of 12. men; the like dispute hapned the last
night; we expect every hour when we shall have Orders to fall on, the
work will be difficult, and the storming dangerous, the town being
disadvantageous for such a Military action.

'_Colchester Leaguer July 26. at 8. in the morning._'

This tract is illustrated with a portrait of General Lucas on horseback,
which is copied on the previous page.

Colchester surrendered to the Parliament on Aug. 27, 1648, when Fairfax
determined to make an example of Sir Charles Lucas. This unexpected
severity was attributed to Ireton, who had been set by Cromwell to watch
Fairfax. There was a strong protest made against the intended execution,
but it nevertheless took place. Lucas was shot, together with Sir George
Lisle. The former suffered first, and he himself gave the order to the
soldiers to fire, with as much coolness as if he had been a mere
spectator. It is said that Lisle ran and kissed the dead body of his
friend, and then presented himself to a like fate. Thinking that the
firing party was too far off, he called to them to come nearer; one of
the soldiers replied, 'I'll warrant you, Sir, we'll hit you.' 'Friends,'
said the gallant Royalist, smiling, 'I have been nearer you when you
have missed me.'

Other tracts describe the proceedings of the Prince of Wales in his
attempts to retrieve his father's fortunes. One of them has a portrait
of the Prince, and contains a message sent by him to the Mayor of
Yarmouth concerning the landing of his forces there for the relief of
Colchester. Another is adorned with a very elaborate title-page, and
describes 'The Resolution of the Prince of Wales, concerning the landing
of his Army in the Isle of Loving-Land, within the County of Suffolk,
and his Propositions to all Englishmen concerning his Engagement for
King, City, and Kingdom, against the Army, and to fight for their
Liberties, Freedom, and Privileges. Likewise, the further proceedings of
the Royal Navie, under his Highness the D. of York, and the Declaration
of the Seamen in the Isle of Wight and Portsmouth, concerning the Kings
Majesty and the Fleet Royall, 1648.'

The contest between the Royalists and the Parliament was now drawing to
a close. The King was a prisoner in Carisbrooke Castle, and while he lay
there he continued to occupy the pens of the pamphleteers and
journalists. One writer addressed an exhortation to the nobility,
clergy, and civil magistrates, in favour of the imprisoned Monarch; and
he adorned his work with the above representation of the King in prison,
which afterwards appeared in other pamphlets.

[Illustration: CHARLES I. IN CARISBROOKE CASTLE, 1648.]

It is remarkable that such important events as the trial and execution
of Charles I. should not have tempted the newspapers of the day to
illustrate subjects of so much interest. It may have been that such a
terrible termination of the Civil War in some degree paralysed men's
energies, and drove all thoughts of trading on such an event from their
minds. I have met with two very rough woodcuts professing to represent
the execution. One is contained in the Confession of Richard Brandon,
the Hangman, and the other forms half of a woodcut frontispiece to a
broadside describing the execution of the Regicides, which I shall refer
to in its proper place. The Confession of Richard Brandon was published
in 1649, the same year in which the King was executed, and purports to
be a death-bed statement concerning that event. There were two Brandons,
Gregory and Richard, father and son. The former beheaded Lord Strafford,
and was believed by Charles II. to have been the executioner of his
father. According to Sir Nathaniel Wraxall, George Selwyn, 'that
insatiable amateur of executions,' told the story of King Charles's
execution from information which he professed to have obtained from the
Duchess of Portsmouth, who, he said, always asserted, on the authority
of Charles II., that the King, his father, was not beheaded by either
Colonel Joyce or Colonel Pride, as was then commonly believed, but that
the real name of the executioner was _Gregory_ Brandon; that this man
had worn a black crape stretched over his face, and had no sooner taken
off the King's head than he was put into a boat at Whitehall Stairs,
together with the block, the black cloth that covered it, the axe, and
every other article that had been stained with the Royal blood. Being
conveyed to the Tower, all the implements used in the decapitation had
been immediately reduced to ashes. A purse containing one hundred broad
pieces of gold was then delivered to Brandon, and he was dismissed. He
survived the transaction many years, but divulged it a short time before
he died. 'This account,' Wraxall adds, 'as coming from the Duchess of
Portsmouth, challenges great respect.'[2] Popular belief, however, at
the time pointed to Richard Brandon, son of the above-named Gregory
Brandon, whose confession, published immediately after his death, I here
quote:--

'The Confession of Richard Brandon the Hangman (upon his Death bed).

'The Confession of the Hangman concerning his beheading his late Majesty
the King of Great Brittaine (upon his Death bed) who was buried on
Thursday night last, in White Chappell Church-yard, with the manner
thereof.

'Upon Wednesday last (being the 20 of this instant June, 1649) Richard
Brandon, the late Executioner and Hangman, who beheaded his late
Majesty, King of Great Brittaine, departed this life. But during the
time of his sicknesse his conscience was much troubled, and exceedingly
perplexed in mind, yet little shew of repentance, for remission of his
sins, and by past transgressions, which had so much power and influence
upon him, that he seemed to live in them and they in him. And upon
Sunday last, a young man of his acquaintance going in to visit him, fell
into discourse, asked him how he did, and whether he was not troubled in
conscience, for cutting off of the King's head?

'He replied by reason that (upon the time of his tryal, and at the
denouncing of Sentence against him) he had taken a vow and protestation,
_wishing God to perish him body and soul, if ever he appeared on the
scaffold to do the act or lift up his hand against him_.

'Further acknowledging, _That he was no sooner entered upon the
scaffold, but immediately he fell a trembling, and hath ever since
continued in the like agony_.

'He likewise confessed that he had 30 pounds for his pains, all paid him
in half-crowns, within an hour after the blow was given, and that he had
an orange stuck full of cloves, and a handkircher out of the King's
pocket, so soon as he was carried off from the scaffold; for which
orange he was proffered 20 shillings by a gentleman in Whitehall, but
refused the same, and afterwards sold it for ten S. in Rosemary-lane.

'About 6 of the clock at night he returned home to his wife living in
Rosemary Lane, and gave her the money, saying, _That it was the deerest
money that ever he earned in his life, for it would cost him his life_.
Which prophetical words were soon made manifest; for it appeared that
ever since he hath been in a most sad condition, and upon the
Almightie's first scourging of him with the Rod of meeknesse, and the
friendly admonition of divers friends, for the calling of him to
repentance, yet he persisted on in his vicious Vices, and would not
hearken thereunto, but lay raging and swearing, and still pointing at
one thing or another, which he conceived to appear visible before him.

'About three dayes before he died he lay speechlesse, uttering many a
sigh and heavy groan and so in a most desperate manner departed from his
bed of sorrow. For the buriall whereof great store of wines were sent in
by the sheriff of the City of London, and a great multitude of people
stood wayting to see the Corps carried to the Church-yard, some crying
out _Hang him Rogue, bury him in the Dung-hill_; others pressing upon
him saying, _They would quarter him, for executing of the King_;
insomuch, that the Church Wardens and Masters of the Parish were fain to
come for the suppressing of them, and (with great difficulty) he was at
last carried to White-Chappell Church-yard, having (as it is said) a
bunch of Rosemary at each end of the coffin, on the top thereof, with a
Rope tyed crosse from one end to the other.

'And a merry conceited Cook, living at the sign of the Crown, having a
black Fan (worth the value of 30 shillings) took a resolution to rent
the same in pieces, and to every feather tied a piece of packthread dy'd
in black ink, and gave them to divers persons, who (in derision) for a
while, wore them in their hats.

'Thus have I given thee an exact account and perfect relation of the
life and death of Richard Brandon, to the end, that the World may be
convinced of those calumnious speeches and erroneous suggestions which
are dayly spit from the mouth of envy, against divers persons of great
worth and eminency, by casting an _odium_ upon them for the executing of
the King; it being now made manifest that the aforesaid Executioner was
the only man that gave the fatal blows, and his man that wayted upon
him was a Ragman, living in Rosemary Lane.'

Subjoined is a copy of the cut on the title-page of this tract.

[Illustration: EXECUTION OF CHARLES I., 1649.]

The death of Richard Brandon is entered in the register of St. Mary's,
Whitechapel, under date June 21, 1649. To the entry is appended a note,
evidently of about the same date, to the effect that 'this R. Brandon is
supposed to have cut off the head of Charles the First.' The 'calumnious
speeches and erroneous suggestions' had indicated several persons as
having struck the fatal blow on that dismal morning in January. Amongst
them, besides those already named, were 'Squire Dun,' William Walker,
Hugh Peters, Lord Stair, and William Hewlett. The last-named person was
actually tried for the crime at the Restoration. The evidence against
him went to show that 'his voice was heard upon the scaffold, and his
Breeches were seen under his Frock, that he confest he was to have £100
and preferment in Ireland to doe it; that being asked whether he cut off
the King's head or no, he said what he had done he would not be ashamed
of; and if it were to doe again he would doe it; more to the same
purpose was witnessed by several witnesses, and by one, who being sworn,
said that the Common-Hangman profest he did not doe it.' This sort of
evidence was not fit to hang a dog; and, though Hewlett was found guilty
and sentenced to death, the sentence was never carried into effect--a
proof that public opinion must have been too strong even for the
hardihood of those who had foredoomed Hewlett to the gallows. The
Government had evidently determined to fix the treason on this man with
the sanguinary idea that some person ought to be made to expiate the
deed, even though that person might be innocent. The prevalent belief,
however, was that it was the common executioner who had been employed;
and it is highly improbable that a mere amateur would have been
permitted to officiate on such an important occasion.

Although I have met with no native contemporary production representing
the execution, other than the rude woodcuts before mentioned, there is
in the British Museum a collection of broadsides relating to the period
of the Civil War, one of which has a large and well-executed copperplate
engraving representing the execution of Charles I. It was published at
Frankfort, and the descriptive text is in German. The view of Whitehall
is correctly given, and the engraving looks like a genuine
representation of the event.


FOOTNOTES:

  [1] There is an Admiral Batten often mentioned by Pepys. If this is
    the same man who was an active commander under the Parliament he must
    have trimmed his sails well to hold a place in the Navy office under
    Charles II.

  [2] _Old and New London._ By Edward Walford.




CHAPTER V.

  Decrease of Newspapers after the Civil War--_Mercurius
  Democritus_--_The Faithful Post_--_The Politique Post_--Broadsides for
  the People--The Hollow Tree at Hampstead--Prodigious Monster taken in
  Spain--The Restoration--Trial of the Regicides--Execution of the
  Regicides--Licenser of the Press appointed--Popular Taste for the
  Supernatural--Apparition in the Air in Holland--Revival of _Mercurius
  Civicus_--Murder of Archbishop Sharpe--_The Loyal Protestant_--Frost
  Fair on the Thames--Monmouth's Rebellion--The Bloody Assizes--Funeral
  of Queen Mary, Consort of William III.--Increase of Newspapers after
  the Revolution.


When the Civil War was over the newspapers it had called into existence
disappeared. The printing-press was, of course, not idle during the rule
of Cromwell, but its productions were narrowly watched, and there is
reason to suppose the newspapers were to a great extent under the
influence of the party in power. Examples of illustrated journalism
during this period are rare. We have '_A terrible and bloudy Fight at
Sea_' between Blake and Van Tromp, and '_A great and wonderful Victory_'
obtained by the English in the West Indies, each illustrated with a
woodcut that had done duty in the pamphlets of the Civil War. A rough
representation of an owl seated at a table writing in a book heads a
tract ridiculing Lilly, the astrologer; while '_Black Monday, or a full
and exact description of the great and terrible Eclipse of the Sun_,' is
adorned with a representation of 'the true Figure of the Eclipse.' The
grim and unsocial character of the times is set forth in '_The
Vindication of Christmas_,' a pamphlet illustrated with a woodcut
representing Old Christmas welcomed on one hand and forbidden on the
other. After a pitiful lament for the misery of the times, Christmas
sets out on a pilgrimage to London, where he enters a fair house that
had once been an Alderman's, but is now inhabited by a sour-tempered
miser. Here he meets with such a cold reception that he is fain to take
himself off, 'and wandering into the country up and down from house to
house, found small comfort in any.'

[Illustration: THE VINDICATION OF CHRISTMAS, 1653.]

I have spoken of _Mercurius Democritus_ as being the _Punch_ of the
seventeenth century. It is singular that such a publication as this
should have existed under a Puritanical Government. The humour is so
exceedingly broad that it is difficult to understand how it could be
circulated at a time when the rulers of the land professed a stern and
rigid morality. Unlike the modern _Punch_, who is refined and courteous
even when he is most severe, _Mercurius Democritus_ could seldom be
facetious without being coarse and even indecent. In the same number
that contains the cut of the Smithfield ghost, referred to in Chapter
III., occur the following jests, which are comparatively mild specimens
of the humour of _Mercurius Democritus_:--'The last Monday a Herd of
Swine being driven through Long Lane 600 Jews were suddenly converted by
them; some think it was for fear those Rumford Cattell should serve them
as they served the Devill in the country of the _Gergesens_ when they
carried him headlong into the sea.'

'A Mad Country Parson coming riding up to London between Islington and
the Red Bull met with a small-coale man, very black, with his sack of
small coale at his back. The pitiful Parson minding to put a jeer on the
small-coale man, made a sudden stop with his Horse, saying with a loud
voyce, that those that rid after him might partake of the jest, Fellow,
fellow (quoth he) I prithee tell 's some news from Hell, I see thou hast
a whole sack full at thy back. Truly quoth the small-coale man, I can
tell you but very little news from Hell, only the Devill wants a
Chaplaine, and you ride but a little faster you may perchance have the
place.'

Much of the news printed continued to be circulated by means of
pamphlets and broadsides, but some regular newspapers were also
published. An illustrated example of the latter occurs in the _Faithful
Post_ of 1653. The full title of the number for April 8, 1653, is '_The
Faithful Post Impartially communicating the Proceedings of the
Parliaments forces in England, Scotland, and Ireland, comprising the sum
of Intelligence from the English and Dutch Fleets; with the Affairs and
Designs now on foot in France, Denmark, Sweden, Holland, and all other
parts of Europe_.' It has a woodcut portrait of Admiral Van Gallen, and
contains the following news from Amsterdam relating thereto:--

  'Wednesday, April 6.

'From Amsterdam thus; Van Gallen Admiral of the Dutch Fleet in the
Streights, has a golden chair sent him for his little great gallantry in
the last service. And the Commons forsooth adore him extremely; insomuch
that many of the Bores have erected his Statue and Portraiture, and hung
it up as a memorial in the most eminent places of their Low country
Fabrics, according to the figure following; with two silver keys in his
hands; which, say they, are to unlock the Treasury of their enemy. _Pure
Youths_.' (Here follows the portrait.)

'And as we are informed, hath a golden Leg delicately set forth by Mr.
Painter, in lieu of that shot off in the fight.'

[Illustration: PORTRAIT OF ADMIRAL VAN GALLEN. FROM THE 'FAITHFUL POST,'
1653.]

[Illustration: FLAG OF COL. CHARLES JAMES. FROM THE 'POLITIQUE POST,'
1653.]

In the foregoing _Faithful Post_ there is a good deal of news about the
English and Dutch fleets; and in the news from Lubeck it is reported
that the English have printed a 'picture of Admiral Van Tromp
represented with a man opening his breast to find his heart; but,
searching, it was found in the Calf of his Leg, whereas, saith the Dutch
Print, they know very well that Tromp behaved himself most gallantly,
and like a man of courage.' In another number of the _Faithful Post_ is
an illustration of a comet or 'Blazing Star' seen in Germany. The
foregoing portrait of Admiral Van Gallen, and the blazing star, together
with a map showing the effects of a great storm and flood in Holland,
are printed in the _Politique Post_ for January 4, 1653; but there is no
reference made to the engraving of Van Gallen; and the blazing star is
described as having been seen at Pembroke, in Wales. In the same number
of the _Politique Post_ is a woodcut of the flag of Colonel Charles
James, which is thus alluded to:--'By the last Post and intelligence
from the Navie, we have received very certain and credible intelligence,
that Colonel Charles James having received a commission from the King of
Scots, is launched forth into the deep with the Brest men of war who has
now struck sail upon the Coast of Brittain, and there set up his Flag
on the Poop of the Patrick, called the Vice-Ambral as here represented
in the ensueing Figure.'

[Illustration: THE HOLLOW TREE AT HAMPSTEAD, 1654.]

In 1654 there was a remarkable tree at Hampstead, which was visited as a
curiosity. It was called 'The Hollow Tree,' and was probably the central
attraction of a place of entertainment. In a broadside of 1654 there is
an etching of it by Hollar, with descriptive and other verses. There was
a door in the trunk of the tree, and a turret on the top, the ascent to
which was in the hollow of the tree. The turret was large enough to seat
six, 'and round about roome for fourteene more.' The following is a
specimen of the verses accompanying Hollar's etching:--

'THE SALUTATION.

  'Welcome, before! welcome all you that follow!
   Our heart is sound although our Tree be hollow,
   Yet know nor age, nor weaknesse did distresse
   Its willing bulk into this hollownesse:
   But a desire markt out for noble ends,
   To finde more room to entertain fast friends,
   And in the compasse of itself to try
   Laws of true Mirth and Hospitality.
   In such a Hollow, Musick dwells; thus love
   Laies forth itself, yet ne'er doth bankrupt prove.
   And having read the riddle doth impart
   Things sometimes hollow have the soundest heart.'

[Illustration: PRODIGIOUS MONSTER TAKEN IN THE MOUNTAINS OF ZARDANA IN
SPAIN, 1655.]

This broadside was an agreeable change from the prodigies and
monstrosities with which the public were so liberally supplied. A
specimen of the latter was published in 1655, which must have tried the
faith of even the most credulous. It is described as '_The True
Portraiture of a prodigious Monster, taken in the Mountains of Zardana_;
the following Description whereof was sent to Madrid October 20, 1654,
and from thence to Don Olonza de Cardines, Ambassador for the King of
Spain now resident in London. Its stature was like that of a strong well
set man, with 7 heads, the chief of them looking forward, with one eye
in its front; the other heads have each two eyes in their natural
situation, the ears of an Ass; with its principal head it eates, drinks,
and cryes with an extraordinary and terrible voice; the other heads are
also moved to and fro; it hath seven Arms and Hands of a Man, very
strong in each of them; from the middle downward it is like a Satyr,
with Goats feet, and cloven,' &c. This broadside has a very
well-executed copperplate engraving of the monster; and another sheet of
the same date has a woodcut copy of the same engraving, together with a
long account in verse 'to the tune of Summer Time,' and the following
additional particulars: 'The News of this Satyrical Monster being noysed
abroad throughout all Spain, France, and Italy, made a desperate fear,
and general distemper amongst all the Popish Prelates, Cardinals,
Jesuites, Monks, and Fryers; yea, the very Pope himself trembled to hear
this strange Report. There is a Prophesie in the 13 of the Revelation,
of a great Red-Dragon and a Beast with seven heads that should arise out
of the Sea, that should continue 42 moneths, which was to come to pass
before the great and terrible day of judgement; which by the appearing
of these strange Monsters is neer at hand now.'

At the Restoration several broadsides of news were published containing
engravings. There is one giving an account of the coronation of Charles
II., which is illustrated with a copperplate engraving of the King
seated on his throne, robed and crowned, with the following
complimentary lines:--

  'The Second Charles, Heire of the Royal Martyr
   Who for Religion and his Subjects Charter
   Spent the best Blood, that unjust Sword ere dy'de
   Since the rude Souldier pierced our Saviours side.
   Who such a Father had'st, and such a Son;
   Redeem thy people and assume thy own,
   Ascend thy Ancestors Imperial seat
   Of Charles the Good, thou second Charles the Great,
   That adds the worth; this lustre to the Crown,
   Whose solid Glorious weighed Usurpers down.
   Such Majesty as never was profan'd
   While Tyrants rul'd 'twas only Charles that reigned.'

Another broadside of the same date (1660) is entitled '_A Looking-Glass
for Traytors, being the manner of the Tryall of those Barbarous Wretches
at Justice-Hall in the Old-Baily, who contrived and compassed the Death
of his late Sacred Majesty King Charles the First, of ever blessed
memory; with an Account of their Severall Araignments, Conviction,
Condemnation, and Execution_.' This sheet is also illustrated with a
copperplate engraving, representing the Old Bailey Court at the trial of
the Regicides, which is interesting if it truly represents the
appearance of the court at that time. Numerous letters of reference are
given under the engraving to explain its different parts, and a short
summary is given of the trial: 'His Majesty (in pursuance of an Act of
Parliament which had left the persons following to be tried according to
Law, for being the principal Actors in the said Tragedy of his Father's
death) issued out a special Commission of _Oyer_ and _terminer_ to the
Judges and other Commissioners for that purpose; and accordingly
_Wednesday_ the 10th of _October_ they met at the Sessions house in the
_Old-Baily_, and the same morning the following persons were ordered to
be brought from the _Tower_ to _Newgate_, and a way was made from the
Press-yard backwards to the Sessions house, privately to convey them to
and again, to keep them from the pressing of the people.' Then follows a
list of twenty-eight persons, including Major-General Harrison and Hugh
Peters, 'all which being brought to the Bar, were indicted and arraigned
to the following effect:--

'_That they not having the fear of God before their eyes, but being led
by the instigation of the Divel had maliciously, traiterously, and
advisedly imagined, consulted, contrived, and compassed the death of his
late Majesty Charles the first of ever blessed memory, and that they had
aided, procured, abetted, assisted, and comforted a certain person with
a vizard upon his face, and a frock upon his body for that purpose._

'Major-General _Harrison_ in his Pleadings carried himself so
confidently to the Court as if he thought himself Careless and
Unconcerned in the businesse, and seemed to justify not only the Power
under which he Acted but also the Act itself, saying that Kings had
formerly been privately Assassinated and Murthered, but what they had
done was in the face of the Sun and in the fear of the Lord; whereat the
Court was much troubled to see that he should make God the Author of
that Horrid Murther.'

Harrison was found guilty at once, and sentenced to be hanged, drawn,
and quartered. The like fate awaited Hugh Peters. The sort of evidence
that was brought against the prisoners is exemplified in this broadside,
where it is stated that 'Mr. _Hugh Peters_ stood strangly amazed and
could say nothing for himselfe against that Jury of witnesses that
appeared against him; as that he said, _England_ could not be settled
till 150 were taken away which he said were L L L viz. the Lords, the
Levites, and the Lawyers; that he was often conspiring privately with
Oliver Cromwell the King's death, that he could even reverence the High
Court of Justice, it lookt so like the judgement of the world which
should be at the last day by the Saints; with many other blasphemies too
large to enumerate.'

Amongst the prisoners arraigned on this occasion was the William Hewlett
already referred to. In the other cases the jury promptly found the
prisoners guilty without leaving the court; but it was a proof of the
weakness of the evidence in Hewlett's case that 'they did withdraw
themselves, and after a little consultation they found him guilty, and
accordingly sentence was pronounced against him.' This sentence,
however, as before stated, was never carried into effect.

The engraving of this historical trial at the Old Bailey is too crowded
to admit of reproduction here. Other broadsides relating to the trial of
the regicides were published at the time, but they are more of the
nature of caricatures than illustrations of news.

It is well known that General Harrison, Hugh Peters, and others were
executed with all the barbarous circumstances indicated in the words of
their sentence. Peters was made to sit upon the scaffold, exposed to the
jibes and jeers of the mob, and compelled to witness the mutilation of
his fellow-victims. The executions were continued day after day both at
Charing-cross and at Tyburn, and were stopped at last, not for lack of
victims, or disinclination for more slaughter on the part of the
authorities, but from a dread of the effect such bloodthirsty
proceedings might have on the minds of the people. The horrors of such a
scene, of course, attracted the sensational news-writer of the day; and
a broadside of the time gives us a picture and description of the
executions, coupled with a representation of the execution of Charles I.
This broadside was evidently intended to exhibit at one view the
commission of a great crime and its just punishment. The engraving shows
on one side the execution of the King and on the other the punishment of
the regicides. The description of the latter is preceded by an account
of the trial and death of Charles. The title runs thus: '_A true and
perfect Relation of the Grand Traytors Execution, as at severall times
they were Drawn, Hanged, and Quartered at Charing-Crosse, and at
Tiburne. Together with their severall Speeches and Confessions which
every one of them made at the time of their Execution. London, printed
for William Gilbertson, 1660_.'

[Illustration: EXECUTION OF THE REGICIDES, 1660.]

The following account is given of the execution of Major-General
Harrison: 'The next day being _Saturday_ Major-Gen. _Harrison_ was drawn
upon a Hurdle from Newgate to the Round, or railed Place near
Charing-Crosse, where a Gibbet was set upon which he was Hanged. Many
of his acquaintance did seem to triumph to see him die so Confidently;
whiles numbers of true Christians did grieve in earnest to see him die
so impenitently. We have been told that when he took his leave of his
wife, he comforted her, and told her that he would come again in three
days; but we hear nothing as yet of his Resurrection.' In describing the
execution of Hugh Peters, it is said, 'He came to the Ladder
unwillingly, and by degrees was drawn up higher and higher. Certainly he
had many Executioners within him; he leaned upon the Ladder being
unwilling to part from it, but being turned off, the spectators gave a
great shout, as they did when his Head was cut off, and held up aloft on
the point of a Spear. The very souldiers themselves whom heretofore he
did animate to slaughter, and a thorough execution of their Enemies were
now ashamed of him, and upon the point of their Spears showed that
guilty head which made them guilty of so much blood.'

Pepys, in his Diary, says, under date October 13, 1660:--'I went out to
Charing Cross, to see Major-General Harrison hanged, drawn, and
quartered; which was done there, he looking as cheerful as any man could
do in that condition. He was presently cut down, and his head and heart
shown to the people, at which there were great shouts of joy. It is
said, that he said that he was sure to come shortly at the right hand of
Christ to judge them that now had judged him; and that his wife do
expect his coming again. Thus it was my chance to see the King beheaded
at White Hall, and to see the first blood shed in revenge for the King
at Charing Cross.'

It will be seen by the copy made from this woodcut that the design is of
the rudest possible description, and must have been the work of a common
ballad illustrator, whose fee was probably on a par with his ability. He
evidently thought that, in such a scene as the execution of Charles I.,
the Church should be paramount, for he has made Bishop Juxon a much more
prominent figure than the King.

The reign of the 'Merry Monarch,' though not the most creditable period
in English History, would have supplied abundant materials for the
journalist if there had been any newspapers. The Great Plague, the Fire
of London, the sea-fights with the Dutch, were splendid opportunities
for the pencil of the 'special artist' or the pen of 'our own
correspondent.' A law had been passed prohibiting the publication of
newspapers without being duly licensed. Sir John Birkenhead was
appointed Licenser of the Press, and he was succeeded by Sir Roger
L'Estrange. There was scarcely anything that could be called a newspaper
except the _London Gazette_, and it only contained such news as the
Government thought proper to make public, and it was never illustrated.
The little that was done in the way of pictorial journalism was of a
satirical or humorous character, or had reference to foreign affairs,
and was either published in the form of broadsides or was put before the
public in such a questionable shape that it was difficult to tell
whether it was truth or fiction. As soon as the people were released
from the domination of Puritanism a reaction set in, and the humours of
_Mercurius Democritus_ were supplemented by the still broader fancies of
_Mercurius Fumigolus_. Occasional entertainment of a more serious
character was supplied, such as '_A True and Perfect Relation of the
Happy Successe and Victory obtained against the Turks of Argiers at
Bugia_.' The popular taste for the mysterious and supernatural was
touched by '_A true and perfect Relation, of a strange and wonderful
Apparition in the Air, the Fourteenth of August, near Goeree in
Holland_.' This was an illustrated broadside containing the following
account:--'On the fourteenth of August this year 1664, towards the
evening near Goeree in Holland, there was seen by many Spectators an
Apparition upon the Ocean of two several Fleets of Ships engaged in a
Fight, which lasted for the space of about half an hour, and then
vanished. Afterwards there appeared two Lyons, who with great fury and
violence, assaulted each other three several times, neither of them
prevailing against the other, till at length both of them wearied with
their continual striving, did, as it were, give over for breath, when on
a sudden a third Lyon of a very great and huge stature appeared and
falling first upon the one, and then on the other, destroyed them both.
They being vanished, there appeared a King, with a Crown upon his head,
and he so plainly and visibly discerned as that the spectators did
discover the very Buttons on his Coat. After all was vanished, the said
Spectators continueing there, and walking too and fro upon the sands,
the Ocean, so far as they could see, seemed to be Blood. On the next
morning, the same Apparition, in all its Circumstances, was seen again,
and the truth thereof attested upon Oath, before the Magistrates of
Goeree, by the said Spectators; so that there is no doubt made of the
truth thereof. And this happening in this juncture of time, begets some
strange apprehensions; for that about six Months before Van Trump was
slain in the former Wars with England, there was seen near the same
place, an Apparition of several Ships in the Air, as it were fighting
with each other.'

[Illustration: APPARITION IN THE AIR AT GOEREE IN HOLLAND, 1664.]

This broadside was printed at London, 'by Thomas Leach in Shooe Lane in
the Year 1664. _With Allowance_ October 13, 1664. Roger L'Estrange.' The
illustration is an etching, very well and freely executed.

Amongst other things which appear to have been revived at the
Restoration was the _Mercurius Civicus_. In Dr. Burney's collections in
the British Museum there is preserved a copy of Number 4 of _Mercurius
Civicus_, dated May 1, 1660. On the title-page it is stated to be
'published by order of the Lord Mayor and Court of Aldermen;' but it is
not illustrated, as was its predecessor of the time of the Civil War.

[Illustration: THE MURDER OF ARCHBISHOP SHARP, 1679.]

One of the most atrocious deeds of the time, and one that had a powerful
effect upon public feeling, was the murder of Archbishop Sharp in 1679.
This prelate was held to have betrayed the Presbyterians at the time of
the Restoration, and was hated accordingly. This hatred had been
manifested by an attempt on his life in the streets of Edinburgh in the
year 1668; but on that occasion the Archbishop escaped, and another
person was wounded. On May 3, 1679, Archbishop Sharp was returning in
his coach to St. Andrews from Kennaway, where he had passed the night,
when, at a place called Magus Moor, he was set upon by nine men, who
murdered him with pitiless barbarity in the presence of his daughter,
who accompanied him. This dreadful event was commemorated in a broadside
entitled '_The Manner of the Barbarous Murther of James, late Lord
Archbishop of St. Andrews, Primate and Metropolitan of all Scotland and
one of his Majesties most Honourable Privy Council of that kingdom, May
3, 1679_.' A copperplate engraving represents the murder, and some
verses are printed underneath. I have copied the engraving on this
broadside, which forms part of the Luttrell collection in the British
Museum.

In 1681 there existed a newspaper entitled _The Loyal Protestant and
True Domestic Intelligencer_. In the number for April 2, 1681, there is
printed the following curious news from Rome:--

'Rome, March 6. There did appear here about the middle of Dec. last, a
strange and wonderful Comet near the Ecliptick in the sign of Libra, and
in the body of the Virgin. At the same time a Prodigious Egge was laid
by a Young Pullet (which had never laid before) with a perfect Comet in
it, and as many stars, and in the same form as the enclosed figure
shows. All the great ones of Rome have seen it, even the Queen and the
Pope. What you see in the enclosed Paper is within the Egge most clearly
exprest, and not upon the Shell. The Roman Wits are now very busy in
guessing at what this Comet and Egge may portend.'

This account of the egg is printed on the front page of _The Loyal
Protestant_, in the midst of Court news from Oxford, municipal news from
Leicester, news from Edinburgh, &c, and is illustrated with a woodcut,
which I have copied. A further description is appended to the
representation of the egg:--'The true form of a Prodigious Egg brought
forth at Rome the 11th of Dec. last in the year 1680 in which the Commet
here printed does continue to appear.'

'The aforesaid 11th of Dec. about 8 of the Clock in the morning, a Hen
Chicken, with a great Noise, crying extraordinarily, that never had laid
an Egge before this day, brought forth an Egge of an extraordinary
greatness, with all these several Forms as you see here exprest, to the
great amazement of all those that have seen it. This is an exact draught
of the Egge as it was printed in Italy. But all persons are left to
their own choice whether they will believe either this or any of our own
late home-bred Miracles or visions.'

[Illustration: EXTRAORDINARY EGG LAID AT ROME. FROM THE 'LOYAL
PROTESTANT AND TRUE DOMESTIC INTELLIGENCER,' 1681.]

Supernatural occurrences and uncommon events, even when traceable to
natural causes, have always had great attractions for both the ignorant
and the educated. We therefore find the talents of the old newsmen were
most frequently exercised on mysterious appearances in the air, floods,
fires, and frosts, earthquakes and upheavings of the sea. Having already
quoted examples dealing with some of these subjects, I now come to two
broadsides which describe and illustrate the great frost of 1683-4, when
the river Thames was covered with ice eleven inches thick, the forest
trees, and even the oaks, in England were split by the frost, most of
the hollies were killed, and nearly all the birds perished. According
to the testimony of an eye-witness, 'The people kept trades on the
Thames as in a fair, till February 4, 1684. About forty coaches daily
plied on the Thames as on drye land.' The broadsides under notice give
representations of the fair held on the Thames, and describe it in
doggerel verse. The one containing the engraving I have copied is
entitled '_Great Britain's Wonder; London's Admiration. Being a True
Representation of a Prodigious Frost, which began about the beginning of
December, 1683, and continued till the Fourth Day of February following.
And held on with such violence, that Men and Beasts, Coaches and Carts,
went as frequently thereon as Boats were wont to pass before. There was
also a street of Booths built from the Temple to Southwark, where were
sold all sorts of Goods imaginable--namely Cloaths, Plate, Earthen Ware;
Meat, Drink, Brandy, Tobacco, and a Hundred sorts of other Commodities
not here inserted. It being the wonder of this present Age, and a great
consternation to all the Spectators._' The description opens thus:--

  'Behold the Wonder of this present Age
   A Famous River now become a stage.
   Question not what I now declare to you,
   The Thames is now both Fair and Market too.
   And many Thousands dayley do resort,
   There to behold the Pastime and the Sport
   Early and late, used by young and old,
   And valued not the fierceness of the Cold.'

The illustration is a roughly executed woodcut, and represents a street
of booths opposite the Temple, looking towards the Middlesex shore. On
one side are men skating, sliding, riding on sledges, and playing at
football; whilst bull-baiting, skittle-playing, &c, go on on the other
side. Coaches are driven across the ice, boats are dragged as sledges,
and an ox is roasted whole in one corner.

[Illustration: FROST FAIR ON THE THAMES, 1683.]

The other broadside has a woodcut of the same scene, but taken from a
different point, and looking _down_ the river, with London Bridge, the
Tower, Monument, &c, in the distance. In addition to a description of
Frost Fair, there is an account of all the great frosts from the time of
William the Conqueror.

Some curious particulars of this great frost are recorded by
contemporary writers. Evelyn describes the whole scene, and says that he
crossed the river on the ice on foot upon the 9th, in order to dine with
the Archbishop of Canterbury at Lambeth; and again in his coach, from
Lambeth to the horse-ferry at Millbank, upon Feb. 5th, when 'it began to
thaw, but froze again.' Hackney-coaches plied between Somerset House and
the Temple to Southwark. There was a printing-press set up in one of the
booths, 'where the people and ladys tooke a fancy to having their names
printed, and the day and year set down, when printed on the Thames. This
humour took so universally that 'twas estimated the printer gained about
£5 a day for printing a line onely at sixpence a name, besides what he
got by ballads, &c.' A specimen of this printing has been preserved. It
was executed for Charles II., who visited Frost Fair accompanied by
several members of his family. It contains, besides the names of the
King and Queen, those of the Duke of York, Mary his Duchess, Princess
Anne (afterwards Queen Anne), and Prince George of Denmark, her husband.
The last name on the list is 'Hans in Kelder,' which literally means
'Jack in the Cellar,' and is supposed to have been suggested by the
humour of the King in allusion to the interesting situation of the
Princess Anne; and we can fancy the swarthy face of the 'Merry Monarch'
smiling in the frosty air as this congenial joke was perpetrated.

In the Luttrell collection of broadsides there is one with a large
woodcut representing the battle of Sedgemoor and other incidents of
Monmouth's rebellion. The letterpress is in wretched verse, and is
entitled, '_A Description of the late Rebellion in the West. A Heroic
Poem._' The unfortunate issue of Monmouth's rising excited the sympathy
of the common people, to whom he was endeared by his many amiable
qualities and his handsome person. Though this broadside was evidently
written in the interest of the Government it was likely to have a ready
sale, and it was sought to increase the interest by pictorial
representation. The engraving, which is on an unusually large scale, is
very rough, like all the woodcuts of the period.

The slaughter at Sedgemoor and the execution of the Duke of Monmouth
were partly forgotten in the greater horror excited by the unsparing
severity of Judge Jefferies in condemning to death hundreds of persons
who were charged with being concerned in the rebellion. I have met with
one illustrated tract relating to the 'Bloody Assize.' It is inserted at
the end of the volume of the _London Gazette_ for 1685, and has
apparently been added by Dr. Burney, the collector, as bearing upon the
events of the time. It forms no part of the _London Gazette_, though
bound up with it. There is a rough woodcut on the title-page containing
eleven portraits, and the title is as follows:--

'_The Protestant Martyrs; or the Bloody Assizes, giving an account of
the Lives, Tryals, and Dying Speeches, of all those eminent Protestants
that suffered in the West of England by the sentence of that bloody and
cruel Judge Jefferies; being in all_ 251 _persons, besides what were
hanged and destroyed in cold blood. Containing also the Life and Death
of James Duke of Monmouth; His Birth and Education; His Actions both at
Home and Abroad; His Unfortunate Adventure in the West; His Letter to
King James; His Sentence, Execution and Dying-words upon the Scaffold;
with a true Copy of the Paper he left behind him. And many other curious
Remarks worth the Readers Observation. London, Printed by F. Bradford;
at the Bible in Fetter Lane._'

At the end of the pamphlet is printed this curious sentence:--'This
Bloody Tragedy in the West being over our Protestant Judge returns for
London; soon after which Alderman Cornish felt the Anger of Somebody
behind the Curtain.'

Alderman Cornish was afterwards executed at the corner of King Street,
Cheapside, for alleged participation in the Rye House Plot.

[Illustration: MARTYRS OF THE BLOODY ASSIZES, 1685.]

This fragment of contemporary history shows that if there were no
regular newspapers to supply the people with illustrated news they
obtained it in the shape of cheap fly-sheets and broadsides--the form in
which it was supplied to them before newspapers began.

Macaulay describes the unlicensed press at this period as being worked
in holes and corners, and producing large quantities of pamphlets which
were a direct infraction of the law subjecting the press to a
censorship. 'There had long lurked in the garrets of London a class of
printers who worked steadily at their calling with precautions
resembling those employed by coiners and forgers. Women were on the
watch to give the alarm by their screams if an officer appeared near the
workshop. The press was immediately pushed into a closet behind the bed;
the types were flung into the coal-hole, and covered with cinders; the
compositor disappeared through a trap-door in the roof, and made off
over the tiles of the neighbouring houses. In these dens were
manufactured treasonable works of all classes and sizes, from halfpenny
broadsides of doggerel verse up to massy quartos filled with Hebrew
quotations.'[1] The pamphlet I have just quoted probably issued from a
press of this kind; but he must have been a bold printer who dared to
put his name and address to a work wherein Jefferies was openly referred
to as 'that bloody and cruel Judge Jefferies.'

Large broadsides continued to be the favourite form of illustrated
journalism for some time after this. One gives a 'true and perfect
relation' of a great earthquake which happened at Port Royal, in
Jamaica, on Tuesday, June 7th, 1692, and is illustrated with a large
woodcut. On the death of Queen Mary, the consort of William III., an
illustrated broadside was published, plentifully garnished with skulls
and cross-bones, entitled, '_Great Britain's Lamentation; or the Funeral
Obsequies of that most incomparable Protestant Princess, Mary, of ever
Blessed Memory, Queen of England, Scotland, France, and Ireland, who
departed this life the 28th of December, at Kensington, 1694, in the
Thirty-second Year of her Age. She Reigned Five Years, Eight Months, and
Seventeen Days. And was conducted from Whitehall to Westminster Abbey,
in an open Chariot of State, on black cloath, by the Nobility, Judges,
and Gentry of the Land, on Tuesday, the 5th of March, 1694-5._' The
large woodcut shows the funeral procession, and I have copied that part
of it containing the funeral car, with the body of the deceased queen
resting under a canopy.

[Illustration: FUNERAL OF QUEEN MARY, 1695.]

In a few years after the Revolution newspapers began to increase
rapidly. The censorship of the press ceased in 1695, and was immediately
followed by the appearance of great numbers of periodical papers. At
first they were small in size, were wretchedly printed on the commonest
paper, and each number contained only a small quantity of matter. The
art of wood-engraving, the readiest and least expensive method of
illustration, was now in the lowest possible condition; and the
newspapers at the end of the seventeenth century contain scarcely any
illustrations, except, perhaps, a heading of a rudely executed figure of
a man blowing a horn, flanked by a ship or a castle, and numerous small
woodcuts to advertisements.

[Illustration]


FOOTNOTE:

  [1] _History of England._




CHAPTER VI.

  Constant Attempts at Illustrated News--Increase of Caricatures--The
  _Postman_, 1704--Fiery Apparition in the Air, seen in
  London--Caricature against the Jacobites--The South-Sea
  Bubble--Eclipse of the Sun, 1724--The _Grub Street Journal_ an
  Illustrated Paper--The _Daily Post_--Admiral Vernon's Attack on Porto
  Bello--The _Penny London Post_--Henry Fielding and the _Jacobite's
  Journal_--_Owen's Weekly Chronicle_--_Lloyd's Evening Post_, and the
  Trial of Lord Byron for the Murder of Mr. Chaworth--The _St. James's
  Chronicle_--Illustrated Account of a Strange Wild Beast seen in
  France--The _Gentleman's Journal_ of Anthony Motteux--The _Gentleman's
  Magazine_ of Edward Cave--The _London Magazine_--The _Scot's
  Magazine_.


In glancing at the early newspapers it is apparent that the idea, in
some shape, of illustrating the news of the day was never quite absent
from the minds of newspaper conductors. Sometimes it took the form of a
rude map of the country where some war was going on, or the plan of some
city which was being besieged. In the _London Post_ for July 25, 1701,
is a map of the seat of war in Italy, which is reprinted in other
numbers, and the _Daily Courant_, for Sept. 8, 1709, contains a large
plan of Mons. In the absence of other means, even printers' lines were
used to represent a plan of some place, or an event of unusual interest.
Such an attempt at illustrated news was made in the _Dublin Journal_ for
May 14, 1746, where there is a plan, set up in type and printers' lines,
of the battle of Culloden; and in the number for March 28, 1747, there
is a similar plan of the trial of Lord Lovat. This is doubly interesting
as being _Irish_. Engraving on copper, though it involved the expense of
a double printing, was sometimes resorted to for the purpose of
enlivening the pages of the early newspapers, and we have seen that it
was also employed in broadsides. There was so much enterprise that even
penny papers sometimes introduced engravings into their pages.

About the beginning of the eighteenth century caricatures began to
increase in England. Religious animosities and political intrigues,
always keen incentives to satire, had opened a wide field to the
caricaturist in the years which followed the Revolution. But religious
bigotry and party spirit, strong as they were at this period, were
exceeded by the social follies which came afterwards. The trial of Dr.
Sacheverell occasioned the publication of numerous songs, squibs, and
caricatures; but the South-Sea Bubble surpassed it as a fruitful source
of lampoons and pictorial satire. The spirit of ridicule was fed by the
political intrigues, the follies and the vices of the Georgian era, and
reached its highest development in the days of George III. Amongst other
early channels for circulation we find caricatures making their
appearance in newspapers, and as we proceed I shall give one or two
examples from the illustrated journalism of this period.

On March 14, 1704, _The Postman_, one of the papers that was started on
the expiration of the censorship (and which Macaulay says was one of the
best conducted and most prosperous), published what was called a
Postscript for the purpose of making its readers acquainted with a
prodigy seen in Spain in the air so far back as the year 1536. It is
illustrated with a woodcut representing two men fighting in the air; and
the following account is given of it:--'The success of the expedition of
K. Charles III. being now the subject of all Publick Discourses, the
Reader, we hope, will excuse the following Postscript, which must be
confest to be of an extraordinary nature, as containing some things
hardly to be parallelled. All the states of Christendom being concerned
some way or other in this great quarrell, it is not to be wondered at if
the discovery of a Prodigy, which seems to foretell the decision of it,
has made so much noise at Rome, and that we insert it in this place. The
French Faction grew intolerably insolent upon account of the storms
which have so long retarded the Portuguese expedition, and represented
these cross accidents as a manifest declaration that God did not approve
the same; and this way of arguing, though never so rash and impertinent
in itself, prevailed over the generality of the people, in a City which
is the Centre of superstition. The Partizans of the House of Austria
were very much dejected and had little to say, when they happily
discovered in the Library of the Vatican a Book printed at Bazil in the
year 1557 written by Conradus Lycosthenes, wherein they found an
argument to confute all the reasons alledged by their adversaries, and a
sure Presage in their opinion of the success of K. Charles III. This
made a great noise at Rome, and his Grace the Duke of Shrewsbury sent an
account thereof. The Book perhaps is not so scarce as they thought at
Rome; and the learned Doctor Hans Sloane having one in his Library, and
having been so obliging as to give me leave to transcribe that passage,
I present it here to the reader, leaving it to everyone to make his own
observations. The Book is thus Intituled: "_Prodigiorum Ostentorum
Chronicon, &c., per Conradum Lycosthenem, Rubeaquensem. Printed in Folio
at Bazil per Henricum Petri 1557_," and amongst the infinite number of
Prodigies he relates in his collection, which extends from the beginning
of the world to his time, he has the following, page 558 (here follows
the description on each side of the woodcut in Latin and English). 'In a
certain place of Spain on the 7th of Feby, 1536, 2 hours after the
setting of the sun as Fincelius relates it after others, were seen in
the Air, which was rainy and cloudy, two Young Men in Armour, fighting
with Swords, one of them having in his left hand a Shield or round
Buckler, adorned with an Eagle, with this inscription, I SHALL REIGN,
and the other having on a long Target with these words, I HAVE REIGNED.
They fought a Duel, and he who had the Eagle on his Buckler beat down
his enemy and was conqueror.' The whole affair refers to the war of the
Spanish Succession between the partisans of Louis XIV. and the House of
Bourbon, and the House of Austria, and is made to foretell the downfall
of the former. As the Bourbons did eventually obtain the Crown of Spain,
this interpretation of the supposed prodigy may be referred to the same
class as the prophecies of _Old Moore's Almanack_. I have copied the
engraving, which is the only illustration I have found in _The Postman_.

[Illustration: PRODIGY SEEN IN SPAIN. FROM THE 'POSTMAN,' 1704.]

We have already noticed that no class of marvels were so attractive to
the early news-writers as apparitions in the air. Another example of
this is found in a pamphlet, published in 1710, entitled '_The Age of
Wonders: or, A further and particular Description of the remarkable, and
Fiery Apparition that was seen in the Air, on Thursday in the Morning,
being May the 11th, 1710_.' It is illustrated with a rough woodcut, and
has the following description:--

.... 'As for the strange Appearances which were seen on the 11th of May
in the Morning, I suppose there is by this time few that do not give
Credit to the same, since so many creditable People in several parts of
the Town have apparently testified the same, and are ready still to do
it upon enquirey, as in Clare Market, Cheapside, Tower-hill, and other
places; it was likewise seen by several Market Folks then upon the
Water, who have since agreed in Truth thereof, most of which relate in
the following manner:--

'On Wednesday Night, or rather Thursday Morning last, much about the
Hour of two a Clock, several People, who were then abroad, especially
the Watchman about Tower Street, Clare Market, Cheapside, and
Westminster, plainly and visibly saw this strange Comet, it seem'd a
very great Star, at the end of which was a long tail, or streak of Fire,
very wonderful and surprizing to behold. It did not continue fix'd, but
pass'd along with the Scud, or two black Clouds, being carried by a
brisk wind that then blew.

[Illustration: FIERY APPARITION IN THE AIR, SEEN IN LONDON, 1710.]

'After which follow'd the likeness of a Man in a Cloud of Fire, with a
Sword in his hand, which mov'd with the Clouds as the other did, but
they saw it for near a quarter of an Hour together, to their very great
surprize, and related the same the next Morning, which they are ready
now to affirm if any are so curious to go and Enquire, particularly John
Smith, near Tower-street, Abraham Wilsley, on Tower-hill, John Miller,
near Clare Market, John Williams, in Cheapside, George Mules and
Rebeccah Sampson upon the Water, and Mr. Lomax, Watchman of St. Anns,
with many others too tedious to insert.'

Amongst the many newspapers that had sprung into existence the following
so far improved upon their small and dingy predecessors as to be adorned
with pictorial headings:--The _Post Boy_, 1720; the _Weekly Journal_,
1720; the _London Journal_, 1720; the _Weekly Journal, or Saturday's
Post_, 1721; _Applebee's Weekly Journal_, 1721; _Read's Journal, or
British Gazetteer_, 1718-31. The last named appeared for many years as
the _Weekly Journal, or British Gazetteer_; but the _Weekly Journal_ was
a favourite title, and was borne by so many other papers that after a
time the publisher altered the title of his paper to _Read's Journal; or
British Gazetteer_, and gave it an engraved heading. Read was a man of
enterprise, and surpassed his contemporaries in endeavouring to make his
journal attractive by means of illustrations. In his paper for Nov. 1,
1718, there is a caricature engraved on wood. It is levelled against the
Jacobites, and is called 'An Hieroglyphick,' and is introduced to the
reader with the following rhymes:--

  'Will _Fools_ and _Knaves_ their own Misfortune see
   And ponder on the _Tories_ villany
   Behold this _Hieroglyphick_, and admire
   What _Loyalty_ do's in true Souls inspire!
   Whate'er the _Figures_ mean we shan't declare,
   Because the _Jacobites_ will curse and swear;
   But if our _Readers_ will this piece explain,
   Their Explanation we shall not disdain.'

[Illustration: CARICATURE AGAINST THE JACOBITES. FROM 'READ'S WEEKLY
JOURNAL,' 1718.]

Nobody appears to have responded to the invitation conveyed in the
verses, for in the succeeding numbers of the paper there is no attempt
to explain the 'hieroglyphick.' A copy of this early newspaper
caricature is given on the opposite page.

In the same journal for May 20, 1721, there is a large woodcut entitled
'Lucifers Row-Barge,' which I have also copied. It is a caricature on
the South-Sea Bubble, and appears, from what follows, to have been first
published in the previous week: 'The Call for this Journal (last week)
being very extraordinary, upon account of the delineation of Lucifer's
Row-Barge in it, we are desired by several of our Correspondents both in
City and Country, to present them with it in this week's paper, with an
Explanation of every Representation in the aforesaid Cut, adapted to
Figures; with which Request we have comply'd, as supposing it will be
acceptable not only to them with such a Design, but likewise pleasing to
all our Readers in General.' The different parts of the engraving are
described under the illustration on the following page.

Each of these divisions of the subject is further described in verse. In
concocting this satire the author has allowed some symptoms of
journalistic jealousy to appear by dragging in the correspondent of the
_London Journal_ (which was a rival paper), and describing him as the
common hangman. The feeling about the South-Sea Bubble must have been
very strong to have made this caricature acceptable. It was intended to
satirise Mr. Knight, the cashier of the South-Sea Company, who fled the
country when it became too hot for him. The verses which accompany the
engraving, though by no means models of poetic elegance, might be
commended to the attention of some directors of our own day:--

  'Then what must such vile Plunderers expect
   When they upon their Actions do reflect;
   Who barely have three Kingdoms quite undone
   From aged Father to the Infant Son?
   From many Eyes they've drawn a briny Flood,
   But Tears to ruined People do no Good.'

[Illustration: SOUTH SEA BUBBLE CARICATURE. FROM THE 'WEEKLY JOURNAL AND
BRITISH GAZETTEER,' 1721.

  '1. The Cashire of the South Sea Company

  2. The Horse of an Accomptant to the South Sea
  Company

  3. The Correspondent of the Author of the _London
  Journal_

  4. A Stock Jobber, or Exchange Broker, whipt by
  the Common Hangman

  5. Belzebub prompting a Director of the South Sea

  6. Satan prompting the same Director in t'other Ear

  7. The Worm of Conscience fastens on the above
  said Director

  8. The Cup of Indignation

  9. A Director's Sacrifice, which is a Villanous Heart

  10. A Director in the Pillory

  11. The Superscription over the pillory'd Director
  paraphras'd from the prophet Ezekiel. Chap.
  XXII. Ver. 12, 13, and Chap. XXIII. Ver. 25, 26, 27

  12. A Director decyphered by the Knave of Diamonds
  Hanged

  13. A Director wafting to Hell with the tide

  14. Lucifers Row-Barge for first rate passengers

  15. Moloch sounds his trumpet for Joy of meeting
  with a good Fare

  16. Belial playing on the Violin to the Director

  17. Mammon takes a trip at Helm for him

  18. The South Sea

  19. Lucifer rowing his own Barge

  20. The Entrance into Hell, represented by the
  Mouth of the Leviathan, or great Whale,
  belching flames of sulphurous fire.']

There was a total eclipse of the sun in 1724, which appears to have
excited much attention, and several notices of it occur in the
newspapers. Parker's _London News_ gives a long account, with a woodcut,
which I have copied. This paper was published three times a-week--on
Mondays, Wednesdays, and Fridays. In the number for Monday, May 4th,
1724, is the woodcut referred to, together with the following
explanation:--

'Of the Eclipse of the Sun which will happen in the Afternoon on Monday,
the 11th of this inst. May 1724.

'The Sun, the glorious Lamp of the Universe, being a large round Body of
Light, is fixt in the Centre of the _Creation_; so that all parts
thereof might be partakers of his vivifying Rays, which otherwise would
be shut up in perpetual Darkness.

'The Earth is a dark round Ball, which turneth round on its own Axis,
from West to East, once in twenty-four Hours Time, causing thereby Day
and Night, also at the same Time, the Earth with the Moon, going round
in its Orbit in 365 Days and some Hours, constituting thereby the true
Length of our Year.

'The Moon is likewise a round dark Ball, void of Light, and
circumvolveth the Earth once a Month; so that whenever she passeth in
her Orbit, in a direct line between the Sun and Earth, she Eclipses the
Earth not the Sun, by depriving us of a Sight thereof; And whenever the
Earth happens to be between the Sun and Moon, at such times the Earth
obstructs the Light of the Sun from the Moon, and then the Moon is
Eclipsed by the dark Body of the Earth.

'Now to prevent any Consternation, which People, through Ignorance may
fall under, by means of that great Eclipse which is now approaching; at
which time it will be so dark, that the stars, (if the Air be clear)
will be seen; and the Planets Mars, Venus, and the seldom to be seen
Mercury, will appear a little above the Sun, towards the South; also
Venus a little higher to the Left of Mercury, and Mars in the S.S.W.
Parts of the Heavens; The several Appearances of this Eclipse will be
according to the Types before inserted.

'The beginning of this Eclipse, according to the nicest Computation of
the most Judicious, will happen at 39 Minutes past 5 in the Afternoon
when the Limb of the Moon will just touch the Sun's Limb, as it is
represented by the Uppermost Figure to the Right Hand. At 44 Minutes
after 5 it will be enter'd the disk, and so much darkened as the 2d
Scheme on the Right Hand shews. At 48 Minutes past 5 as the 3d denotes.
At 53 Minutes past 5 as the 4th shews. At 58 Minutes after 5, as the 5th
represents. At 3 Minutes past 6, as in the 6th Scheme. At 7 Minutes
after 6, as in the 7th. At 12 Minutes past 6, as is shewn by the 8th
Figure. At 17 Minutes past 6, as the 10th Figure shews. At 26 Minutes
past 6, as the next succeeding Scheme denotes, beginning always to
number from the Right Hand. At 31 Minutes after 6, so much of the Sun's
Body will be darkened, as the 12th represents: and at 36 past 6, will be
the greatest darkness, when only a small thread of Light will be seen at
_London_, on the upper part of the _Sun_ as the 13th Scheme informs; but
to all the Southern parts of the Kingdom, it will be totally darkened.

'After this the _Sun_ will begin to shew its Light, which will appear
first on the lower part of that Glorious Body, towards the Right Hand;
and the darkness will gradually lessen, as the several Figures
represent, till the Sun's Body be perfectly clear of the Shadow, which
will be at 27 Minutes past 7 a-clock that Afternoon.'

This description is reprinted, together with the woodcut, in the same
paper for May 8th, and to it is added the following:--'Directions for
the better viewing the Eclipse that will happen on Monday next'--'Take a
Piece of Common window Glass and hold it over a Candle, so that the
Flame of the Candle may make it black, through which look upon the Sun,
and you will behold the _Eclipse_ without Danger to the Eyes.'

Or thus

Take a Piece of thick writing Paper, and prick a hole in it with a fine
Needle, through which the _Eclipse_ may be seen.'

[Illustration: ECLIPSE OF THE SUN. FROM 'PARKER'S LONDON NEWS,' 1724.]

The same paper (May 8th, 1724) contains some advertisements about the
eclipse, which seems to have been for the moment the absorbing topic,
and was apparently made the vehicle for advertising the shops of
different tradesmen. The notices were published ostensibly 'to lessen
the consternation of ignorant people,' but it is evident the advertisers
had an eye to business. 'An exact curious Draft' was to be 'given
_gratis_ at Mr. Garway's original shop, the Sign of the Practical Scheme
at the Royal Exchange Gate, on Cornhill Side. Up one pair of Stairs at
the Sign of the celebrated Anodyne Necklace for Childrens' Teeth, next
the Rose Tavern without Temple Bar. At Mr. Gregg's Bookseller, next to
Northumberland House, at Charing Cross; and at R. Bradshaw's the
author's Servant, at his House, next to the King's Head, in Crown
Street, right against Sutton Street End, just by Soho Square. Note, it
will not be given to any Boy or Girl.'

The cut and description are again reprinted in the number for May 11th,
where, amongst other items of news, is the following:--'His Royal
Highness went last Monday to Richmond, as did also the Right Hon. the
Lord _Chancellor_, Judge Fortescue, and other persons of note; some of
the Judges went to Hampton Court, and other gentlemen of Learning and
Curiosity to more distant places, to make their Observations, as 'tis
said, upon the great Eclipse of the Sun that happen'd in the Evening,
and exactly answered the _Calculations_ made of it by our Astronomers.'
In the number for May 18th are accounts of how the eclipse was observed
in the country. It is stated:--'We are advised from the Isle of Wight
that the Eclipse on the 11th instant, which was Total, and caused very
great Consternation there lasted about a Minute and a half; but that the
chief sufferers thereby were the gentry of that Island, who by the great
concourse of Strangers to their Houses, had but very little French
Claret left upon their hands; But the comfort is, they have frequent
opportunities of running some more.'

_Parker's London News_ blended amusement with instruction. The following
items of news occur in the same number that contains the account of the
eclipse, and show how our forefathers were entertained by the newspapers
160 years ago:--'The Papers of the week, from the highest to the lowest
rank have killed one Sir Nicholas Raymond in the Isle of Wight; but as
no such knight ever inhabited therein, we can impute it to nothing but
want of home news.'

'Last Saturday Night, two Servant Maids at a Snuff Warehouse, at Mile
End took _so much Snuff_, that they quarrell'd, and one of them stabbed
the other in so many places with an Iron Scuer, that 'twas thought she
could not live. The other therefore, was instantly apprehended and
committed.'

'Last week an Apothecary was attacked by two Highwaymen, between
Winchester and Southampton, who robbed him of his money, and finding two
Vials of Purging Potions in his Pocket, that he was carrying to a
_Patient_, they were so inhuman as to force him to swallow 'em himself.'

'Last Sunday Night, Sir Basil Firebrass, noted for his humanity to young
Vintners, whom he first set up, and afterwards upon Default of payment
took execution against 'em, departed this life.'

_The Weekly Journal or British Gazetteer_ for May 9th, 1724, contains an
account and illustration of the same eclipse that is described in
_Parker's London News_. The illustration is a diagram, and is called, 'A
Representation of a Solar Eclipse. The Time of the Beginning, Middle,
and End of the Eclipse and the continuance of Darkness, together with
its Appearance at London and Bristol.'

The celebrated _Grub Street Journal_ now comes upon the scene; and we
find it not only surpassing its contemporaries in wit and satire, but it
also comes out as an illustrated paper. In No. 43, for Oct. 29th, 1730,
a whole page is occupied with woodcuts of the arms of the City
Companies, which are reprinted about the time of Lord Mayor's Day in
succeeding years. In No. 48 there is a very well-executed copperplate
portrait, presumably of the Lord Mayor of London. As it is printed on
the same page with type (involving two printings), and the journal was
sold for twopence, it shows some enterprise for the year 1730. On the
front page of No. 95, for Oct. 28th, 1731, there are very rude woodcuts
of the Lord Mayor's procession, surrounded by the arms of the City
Companies before referred to. No. 147 has a curious copperplate at the
head of an article entitled, '_The Art and Mystery of Printing
Emblematically Displayed_.' The engraving represents human figures with
animals' heads at work in a printing-office. An ass is setting up the
types, a pig is using the inking-balls, a horse is acting as pressman, a
sheep is arranging the printed sheets, while a two-faced man and a
many-horned devil are watching them all. This, like the portrait of the
Lord Mayor, is printed on the same page with the type, with no printing
at the back of the engraving. The article is a satirical conversation
between certain printers' devils, and is continued in the next number,
where the engraving is also reproduced. The _Grub Street Journal_ is the
first example I have met with of a newspaper employing the expensive
process of copperplate engraving for illustrations, and printing the
plate in the body of its pages. It was probably thought to be too
costly, for we find the conductors recurring to the almost extinct art
of wood-engraving. In the number for Oct. 25th, 1733, there is a
coarsely executed woodcut heading a satirical allegory, entitled, _The
Art of Trimming Emblematically Displayed_.

The _Daily Post_ of March 29th, 1740, is interesting as being an early
example of a daily paper attempting to illustrate current events. The
_Daily Post_ consisted of a single leaf, with the page divided into
three columns. In the number referred to there is a long account of
Admiral Vernon's attack on Porto Bello, illustrated with a woodcut,
which the writer says will give the reader a clearer idea of the
position of the town, castle, and ships engaged. The narrative is
introduced by the editor in these words:--'The following is a letter
from a gentleman on board the Burford at Porto Bello to his friend at
Newcastle, which, as it contains a more particular account of Admiral
Vernon's glorious achievement at that place than any yet published here,
we thought we could not in justice to the Bravery of our English
Officers and Sailors, refuse it a Place in our Paper.'

[Illustration: ADMIRAL VERNON'S ATTACK ON PORTO BELLO. FROM THE 'DAILY
POST,' 1740.

  A. The Iron Castle on the North side of the Mouth of the Harbour with
  100 Guns.

  B. The Castle Gloria, with 120 Guns, on the South side of the Harbour,
  and a Mile from the Iron Castle.

  C. The Fort of Hieronymo, with 20 Guns.

  D. The Town of Porto Bello lying along the Extremity of the Harbour.

  E. The station of the Spanish Ships.

  F. The Hampton-Courts place of Action, Commodore Brown.

  G. The Norwich's ditto, Cap. Herbert.

  H. The Worcester's ditto, Cap. Main.

  I. The Admiral's Ship, the Burford.]

'On the afternoon of the 21st about two o'clock we came up with Porto
Bello Harbour, where the Spaniards had hoisted upon the Iron Castle the
Flag of Defiance; and, as we were told by themselves afterwards, they
wished earnestly for our attempting to come in, as believing they could
sink us all immediately, but said they feared we were only making a
second Bastimento Expedition, and would not give them the pleasure of
engaging us.' Then follows a long and circumstantial account of the
conflict. 'Notwithstanding they had discharged very few Guns for some
Minutes before we came up; yet as if they had resolved to summon up all
their Courage against the Flag, they welcomed us with a terrible Volley,
which being at so short a Distance, took Place with almost every Shot.
One struck away the Stern of our Barge; another broke a large Gun upon
our upper Deck; a third went thro' our Foretop-Mast; and a fourth,
passing thro' the Arning within two Inches of our Main-Mast, broke down
the barricado of our Quarter-Deck, very near the Admiral, and killed
three Men in a Moment, wounding five others which stood by them. This
look'd as if we should have bloody work, but was far from discouraging
our brave Fellows.' The Spaniards being driven from their guns, the
English landed:--'One man set himself close under an Embossier, whilst
another climbed upon his Shoulders and enter'd under the Mouth of a
great Gun. This so dismay'd the Spaniards that they threw down their
Arms and fled to the Top of the Castle; from whence scaling backwards we
could see them run into the woods by hundreds and fly for their lives.'
The place being taken, the writer gives a minute account of the damage
done and the booty taken. He says:--'We have also had the good luck to
find about 10,000 Dollars belonging to the King of Spain, which I had
the Pleasure of being present at the searching for, when we found it in
the Customhouse,' &c.

The writer of the above account signs himself Wm. Richardson, and gives
the explanations to the letters on the woodcut, a facsimile of which is
engraved.

To account for the enthusiasm with which Admiral Vernon's victory at
Porto Bello was received we must remember that the nation had previously
been wrought up to a high state of fever about Spain, and the
declaration of war had been received in the most jubilant manner. We can
therefore understand that the conductors of the _Daily Post_, infected
by the popular fervour, would gladly seize the opportunity of producing
in their pages the drawing and description by an eye-witness of this
naval victory. This early example of illustrated news, though it has
nothing pictorial about it, is extremely interesting, showing as it does
the tendency of newspapers, in times of excitement, to call on the
artist's pencil to aid the writer's pen. It was in reference to this war
that Walpole said, when the bells were ringing joyfully, 'They may ring
the bells now, but they will soon be wringing their hands.'

To the preceding example of a _daily_ paper attempting to illustrate
current events I will add an instance of a _penny_ paper doing a similar
thing at about the same period. _The Penny London Post, or, The Morning
Advertiser_, was a paper published three times a-week, and in the number
for Jan. 9th, 1748-9, there is given 'A view of the Public Fireworks to
be exhibited on occasion of the General Peace concluded at Aix La
Chapelle the 7th Day of October 1748.' The engraving is little more
than a diagram, and accompanies a description of the arrangements made
for the occasion, amongst which there was to be a band of a hundred
musicians to play before the fireworks began, 'the Musick for which,'
says the _Penny London Post_, 'is to be composed by Mr. Handel.'

We are accustomed to think of the immortal author of _Tom Jones_ as a
novelist only. Henry Fielding was, however, also a journalist, a
pamphleteer, and a justice of the peace for Middlesex and Westminster.
Amidst his other labours he found time to edit the _Jacobite's Journal_,
a paper started to support the House of Hanover after the Rebellion of
1745. It was a sheet of four pages, published every Saturday, and the
first twelve numbers were adorned with a woodcut heading which has been
attributed to Hogarth. This heading was discontinued after the twelfth
number, and in number 13 there is an elaborate article, replete with
sarcastic humour, explaining the reasons for its discontinuance. The
_Jacobite's Journal_ purported to be edited by 'John Trott-Plaid, Esq.,'
and was essentially satirical in its tone. In the second number there is
the following reference to the engraved heading:--

'As my Wife appears in her Plaid on _Ass-back_ behind me at the Head of
this Paper, it will not I hope be imagined that I have brought her
abroad only to take the Air, without assigning to her any share in this
undertaking.

'The _Mystery of Jacobitism_ doth not, like that of _Free Masonry_,
exclude the Female World; for tho' all Jacobites are not, as some wicked
Whigs have represented us, _old women_, yet women we have in great
Numbers among us, who are as learned in the knowledge of our Mysteries,
and as active in the celebration of our Rites, as any of the Male
Species; and many of these are so far from deserving the name of _old_,
that their age scarce yet entitles them to the name of _women_.'

As I before stated, the heading is left out after the twelfth number.
Whether it had sufficiently served its purpose as a caricature of the
Jacobite party, and was no longer needed, or whether it really took up
too much room, as stated by the editor, its discontinuance was made the
occasion of publishing a leading article, part of which I am tempted to
transcribe as an excellent specimen of Fielding's satire.

'There is scarcely anything more provoking than to be totally
misunderstood, and by that means to have our compliments received as
Affronts, and our Panegyrick converted into Satire.

'It cannot therefore be wondered at, if I am not well pleased with that
gross misunderstanding of the Emblematical Frontispiece so long prefixed
to my Paper, which hath generally prevailed, and which, among other good
Reasons, hath at length induced me to displace it for the future. By
this Error of the Public, a Contrivance of mine (the expense of much
laborious thinking) to do Honour to the Jacobite Party, hath been
represented as the Means of vilifying and degrading it.

'But, seriously, could the Art of Man have carried the Glory of
Jacobitism higher than it was carried in this print, where a Jacobite of
either Sex was seen cloathed in Mystery, and riding on one of the most
honourable Beasts in the Universe, while Popery servilely attends,
leading it by the Halter, and _France_ and the Republican Party are
dragged after Heels. Is not here depictured that notable and mysterious
Union of _French_ Interest, Popery, Jacobitism, and Republicanism; by a
Coalition of all which Parties this Nation is to be redeemed from the
deplorable State of Slavery, under which it at present labours?

'It would be endless to enumerate all the Mistakes and ridiculous
Conceits entertained on this occasion. Some have imagined we intended to
insinuate that the Protestant Jacobites were led by the Nose by Popery,
and spurr'd on by _France_ and the Republicans; whereas nothing can be
more certain in Fact, than that Popery and _France_, and the
Republicans, have ever been the mere Dupes and Fools of the said
Jacobites.

'Many have endeavoured to discover Resemblances to real Persons in the
figures there exhibited. By the Popish Priest, it hath been said we
design to represent the old Chevalier; and by the Figures on the Ass,
the young Chevalier his Son and the famous _Jenny Cameron_.

'Others have found out Likenesses of less Importance, and several
Squires and Country Gentlewomen of _Staffordshire_ and other Counties,
who never travel beyond the limits of a Fox chace, have been supposed to
ride, once a week, Post all over the Kingdom in this Paper.

'But the most egregious Errors have been committed in Misconstructions
concerning the Ass. Several ingenious and witty Printers of News Papers
have very facetiously taken occasion to call the Author himself an Ass;
supposing probably, that as Scripture informs us an Ass once spoke, so
certain Descendants of the same Family might write, which Faith, perhaps
something within their own Experience, might sufficiently encourage them
to receive.

'To mention no more of these absurd Conjectures, I must here inform my
Reader, that by the Body of the Ass we intend to figure the whole Body
of Jacobitical doctrine.

'Now as there was no Symbol among the Antients, of which the
Emblematical Meaning was so plain and easy to be discovered, our Party
could never have so universally mistaken it, had it not been for that
want of Learning among us, which I lamented in my last Paper. Hence
being misled by those erroneous opinions, which the Moderns have
propagated to the great disadvantage of Asses, the Jacobites have been
unwilling to discover any Resemblance between themselves and an Animal
which the wise Antients saw in so respectable a Light, and which the
ignorance of latter Ages hath highly dishonoured by odious Comparisons
with certain Individuals of the Human Species.

'Thus _Homer_ is well known to have liken'd one of his principal Heroes
to this noble Animal; which was in such Esteem among the antient _Jews_,
that he was not only an object of their Devotion, but they are said to
have preserved his Figure in massy Gold in the Temple of _Jerusalem_.

'If the Transfiguration of _Midas_ in the _Metamorphosis_ doth but
little Honour to the Ears of our Symbol, the Story of _Lotis_ which the
same Poet tells in his Fastorum, is greatly in praise of his Braying, by
which the Chastity of that Nymph was rescued from the wicked Designs of
her insidious Lover.

'In such esteem hath this noble Beast been held among the Learned, that
I have seen a Book composed in his Favour and entitled _Laus Asini_: not
to mention the celebrated performance of _Apuleius_ to which he hath
given the Name of the _Golden Ass_.

'Instead therefore of being displeased with the Emblem, our Party have
great Reason to be vain on this Occasion, nor do I think there can be a
greater Comparison than of a Protestant Jacobite to an Ass, or one more
to the Honour of the former.

'First, what can so well answer to that noble and invincible obstinacy,
which I have more than once celebrated in our Party, as the intractable
and unalterable Nature of this Animal, which gave rise to an antient
Proverb alluded to by _Horace_ in his Satires:--

                    '"---- Your Art
  As well may teach an Ass to scour the Plain
  And bend obedient to the forming Rein."

'And again in his Epistles:--

     '"Democritus would think the writers told
  To a deaf Ass their story ----"

'Which may most strictly be applied to all those writers, who have
endeavoured to convince the Jacobites by argument.

'Again what can give us a more adequate Idea of that Firmness, with
which we have supported all the ill-usage of the worst of Sovereigns
without Resentment, than the laudable Indifference which an Ass hath
for the same; whom you may beat, whip, kick, and spur as long as you are
pleased, he still trudges on without altering his Pace.

'To omit many other obvious Resemblances, such as Braying, &c, the
famous story of the Countryman and the Ass, briefly touched upon by
_Horace_ in the Epistle addressed to his own Book, is so perfect a
Picture of Jacobitism, that I have been inclined to think as the
Antients are known to have inveloped all their Mysteries in Fable and
Allegory, that no less than Jacobitism itself was intended to be couched
under this story: "A certain Countryman observing an Ass making towards
a Precipice, ran to him, and catching hold of his Tail, endeavoured with
all his Might to withhold him from Destruction; but the more the
Countryman attempted to preserve him, the more obstinately the Ass
contended against his kind Preserver, and the more eagerly was bent upon
accomplishing his fatal Purpose. The Countryman at last, wearied out
with his Endeavours to save an obstinate Beast against his own will, and
having probably received some Thanks from his Heels for his intended
kindness, instead of pulling any longer, gave the Ass a Push, and
tumbled him headlong down the Precipice which he had been so
industriously pursuing."

'I make no doubt but many of our good Enemies the Whigs, who have well
imitated this Countryman in the former part of his Behaviour, would
imitate him likewise in the latter, was it not that they cannot
precipitate us without tumbling down themselves at the same time.

'These are the Mysteries, then, which have been couched under my
Frontispiece, and which, tho' their meaning must now appear to have been
so plain, have nevertheless stood exposed so long at the Head of this
Journal, without having been, as I can find, understood by any.

'Perhaps I shall be asked, why I have now displaced them, since, after
so large and full an Explanation, they cannot fail of being highly
agreeable to that Party for whose use chiefly this Paper is calculated;
and who would, for the future, worship my Ass with the same Veneration
with which the _Jews_ of old did theirs.

'Now, tho' the Indignation which I have exprest in the Beginning of this
Essay at the many gross and absurd Misconceptions which have been vented
by the Public, would alone very well justify the Discontinuance of my
Emblem so much abused, there are, to say the Truth, two other Reasons
which have had a stronger Weight with me in producing this
Determination. The former of these is, that the Ass and his Retinue do
indeed take up too much room, and must oblige us either to suppress Part
of our Lucubrations, or some of those material articles of News which we
weekly transcribe from others; or lastly those pieces of Intelligence
called Advertisements, which tho' not always most entertaining to our
Reader, do afford very agreeable Entertainment to ourselves.

'A second and a very strong Motive with us, is to lend all the
Assistance in our Power to a very worthy and willing, tho' weak Brother,
the learned and facetious Novelist, Mr. _Carte_; whose great Romance,
tho' in our Court of Criticism, where we shall always act impartially,
we have been obliged like other Judges, to condemn, contrary to our own
Inclinations, to be grubb'd, we shall always privately esteem as a work
calculated solely for the use of our Party. As we have therefore, to our
great Concern, received very credible Information that the said work
begins already to be considered only as a Heap of Waste Paper, we have
thought proper to lend our Frontispiece to our good Brother, in order
that it may be prefixed to the future Volumes of that great Work
advising him to omit the words _London Evening Post_, and to insert
_English History_ in their stead. This will not fail of greatly
recommending his Performance to our Party, who never willingly read
anything but what an Ass may at least be supposed to have bray'd.

'I could wish, moreover, that the learned Novelist would take our Advice
in another Instance, and for the future deal forth his excellent work in
weekly Portions or Numbers; I do not mean in such a Form as the real
History of _England_ is now publishing by Mr. Waller; but in the same
manner with those true and delectable Histories of _Argalus_ and
_Parthenia_, _Guy_, Earl of _Warwick_, the _Seven Champions_, &c., in
which Form, at the price of 1d. each, when embellished by our
Frontispiece, I make no doubt of assuring him as universal a Sale as the
inimitable Adventures of _Robinson Crusoe_ formerly had throughout this
Kingdom.'

The 'Mr. Carte' to whom Fielding proposed to lend his 'Frontispiece' was
Thomas Carte, the historian, who had just brought out the first volume
of his _History of England_, in which he showed such decided Jacobite
predilections that his work was ruined in consequence. He professed to
be acquainted with the case of a person who had been cured of the King's
Evil by the Pretender, then an exile in France, and this so disgusted
many of the subscribers to his book that they withdrew their names and
abandoned the author and his work together. He, however, brought out two
more volumes, and a fourth was published after his death. It was
probably in allusion to this story of the Pretender curing the King's
Evil that Fielding speaks of Carte as 'the learned and facetious
novelist;' and doubtless the 'great Romance' referred to was intended
for his history of England. Fielding and Carte both died in the same
year, 1754.

[Illustration: PERSPECTIVE VIEW OF FORT FOURAS, AS IT APPEARED IN THE
SHIPS FROM THE CHARENTE, FROM 'OWEN'S WEEKLY CHRONICLE,' 1758.]

During the next ten years I have found no illustrations in the
newspapers of that period. In 1758 there was a newspaper published
entitled _Owen's Weekly Chronicle, or Universal Journal_, a sheet of
eight pages, size of the _Athenæum_, price two-pence halfpenny. About
this time the English Government, in carrying on the war against France,
despatched several expeditions to the French coast, none of which
redounded much to the credit of the British arms. One of these
expeditions was against Rochfort, and it turned out a failure, which
caused much dissatisfaction. _Owen's Weekly Chronicle_ for June 3, 1758,
published a long article on the subject, illustrated with a woodcut view
of Fort Fouras. The writer concludes, with true newspaper vehemence, in
the following words:--'Where is the glory of the British name? Where are
the terrors that used to accompany our fleets and armies? Let it not be
said the treasures of the country are poured forth in vain by an united
and willing people; that our enemies are become invulnerable; and every
blow our Ministers meditate impracticable. The Duke of Marlborough and
Lord George Sackville are gone with Lord Anson and Sir Edward Hawke upon
the present grand expedition; and we hope their courage and experience
will revive the sinking honour of their country; and show that France is
both vulnerable and impotent when the power of Britain is properly
exerted.' Unfortunately, the sinking honour of the country was not much
revived by the 'grand expedition' here referred to; for, after an
ineffectual attempt on St. Maloes, the Duke of Marlborough embarked in
such haste that he left his tea-spoons behind him: and these were
afterwards sent home in a cartel-ship by the Duke d'Aiguillon in polite
contempt. I have copied the woodcut above referred to, which is
entitled, 'A Perspective view of Fort Fouras as it appeared in the ships
from the Charente,' and the following description is given of
it:--'Fouras was the tower of an old parish church, which, soon after
the foundation of Rochefort, in 1688, Louis XIV. purchased of the
proprietors to make a Tour de Garde, for repeating signals from the
Isles of Oleron and Aix up to Rochefort, which is one of its present
uses. A fort and garrison being established in the isle of Aix, Fouras
was found to be the nearest and most secure communication in all
weathers with that island; so that in process of time barracks and
lodgments were built therein, and it was fortified to the sea by a
strait curtain.'

For the view of Fort Fouras _Owen's Weekly Chronicle_ must have been
indebted to some one on board one of the British ships. Naval and
military officers in all parts of the world are among the most valued
correspondents of the modern illustrated newspaper; and it is
interesting to notice that so long ago as the taking of Porto Bello and
the attack on Rochefort there were men engaged in those expeditions
whose spirit and intelligence prompted them to supply the newspapers of
the day with sketches and information. The view of Fort Fouras is the
earliest attempt I have seen in a newspaper to give a pictorial
representation of a place in connexion with news.

Wood-engraving was the only cheap method of illustration within the
reach of newspapers, but the art barely existed at this time. The few
woodcuts published in newspapers were not only coarsely and rudely
executed, but sometimes the efforts of the illustrator did not get
beyond a rough plan or map, and even this, as I have before remarked,
was not always engraved. In further confirmation of this statement I may
refer to _Lloyd's Evening Post_ of April 17, 1765, where one of the
pages is taken up with a plan representing the trial of a Peer in
Westminster Hall. This is done entirely with lines, type, and printer's
ornaments. Although there is no account given of this trial in _Lloyd's
Evening Post_, the plan must have referred to the case of Lord Byron,
who was tried in Westminster Hall for the murder of Mr. Chaworth, April
16 and 17, 1765.

In the winter of 1764-5 a strange wild beast was said to have appeared
in France, devouring women and children, and spreading dismay and terror
through the whole of Languedoc. What this ferocious creature was, or
whence it came, no one knew; but the fear inspired by its presence was
universal. The district which it specially haunted procured for it the
name of the Wild Beast of the Gévaudan, by which designation it became
famous not only in the South of France but throughout the country, and
even in foreign lands. The earliest account of this ferocious monster
appeared in the official journal of Paris in the following words:--

'A very strange wild beast has lately appeared in the neighbourhood of
Langagne and the forest of Mercoire which has occasioned great
commotion. It has already devoured twenty persons, chiefly children, and
particularly young girls, and scarcely a day passes without some
accident. The terror he occasions prevents the woodcutters from working
in the forests; so that wood has become dear. Those who have seen him
say he is much higher than a wolf, low before, and his feet are armed
with talons. His hair is reddish, his head large, and the muzzle of it
is shaped like that of a greyhound; his ears are small and straight; his
breast is wide, and of a grey colour; his back streaked with black; and
his mouth, which is large, is provided with a set of teeth so very sharp
that they have taken off several heads as clean as a razor could have
done. He is of amazing swiftness; but, when he aims at his prey, he
crouches so close to the ground, that he hardly appears to be bigger
than a large fox; and at the distance of some one or two toises, he
rises upon his hind legs and springs upon his prey, seizing it by the
neck or throat. He is afraid of oxen, which he runs away from. The
consternation is dreadful throughout the district where he commits his
ravages, and public prayers are offered up on the occasion. The Marquis
de Marangis has sent out four hundred peasants to destroy this fierce
beast; but they have not been able to do it.'

In spite of the efforts made to capture or destroy it the wild beast of
the Gévaudan continued its ravages. In a letter from Meude, dated
December 21, 1764, it is stated, 'The wild beast, which hath ravaged
several provinces, has been for some time in ours. He was seen a few
days ago near St. Flour, ten leagues from hence, and he is now in our
neighbourhood. The day before yesterday he devoured a little girl who
looked after cattle. A detachment of dragoons has been out six weeks
after him. The province has offered a thousand crowns to any person who
will kill him.' On the 8th of February, 1765, the following statement
was sent from Montpellier:--'On the 12th ultimo the wild beast attacked
seven children, five boys and two girls, none of whom exceeded eleven
years of age. The beast flew at one of the boys; but the three eldest of
them by beating him with stakes, the ends of which were iron, obliged
him to retire, after having bitten off a part of the boy's cheek, which
he ate before them. He then seized another of the children; but they
pursued him into a marsh which was close by, where he sunk in up to his
belly. By continually beating him, they rescued their companion; who,
though he was under his paw for some time, received only a wound in his
arm, and a scratch in the face. A man at last coming up, the creature
was put to flight. He afterwards devoured a boy at Mazel, and, on the
21st, flew on a girl, who, however, escaped with some dangerous wounds.
The next day he attacked a woman, and bit off her head. Captain Duhamel,
of the dragoons, is in pursuit of him, and has caused several of his men
to dress themselves in women's apparel, and to accompany the children
that keep cattle.'

The eyes of all France being fixed upon the doings of this wild beast,
the attention of Louis the Fifteenth himself was called to the bravery
of the boys in the preceding account. 'The King having been informed of
the bravery with which the young Portefaix attacked the beast on the
12th of January last, at the head of his companions, and being willing
to reward such gallant behaviour, has given him a recompense of four
hundred livres, and has ordered three hundred to be distributed among
his companions.'

The Government also offered a reward for the destruction of the wild
beast. The following placard was fixed up in all the cities and towns of
Languedoc:--'By the King and the Intendant of the province of Languedoc.
Notice is given to all persons, that His Majesty, being justly affected
by the situation of his subjects now exposed to the ravages of the wild
beast which for four months past has infested Vivarais and Gévaudan, and
being desirous to stop the progress of such a calamity, has determined
to promise a reward of six thousand livres to any person or persons who
shall kill this animal. Such as are willing to undertake the pursuit of
him may previously apply to the Sieur de la Fout, sub-deputy to the
Intendant of Meudes, who will give them the necessary instructions
agreeably to what has been presented by the ministry on the part of his
Majesty.'

A letter from Paris dated the 18th of February, 1765, gives the
following circumstantial description of the wild beast:--

'You know how I acquainted you, some months ago, that Monsieur Bardelle,
his son and I, designed going by the Diligence, and opening the New Year
at our old friend Monsieur Dura's chateau, near Babres, in Languedoc. We
spent the time very agreeably, our host and his family having done all
in their power to make us welcome. The party broke up and took leave the
first of this month, amongst whom was Monsieur Lefevre, a counsellor,
and two young ladies, who were engaged to pass a week at Monsieur de
Sante's, the curé of Vaistour, about three days' journey distant from
the chateau of Monsieur Dura. The company went away in a berlingo and
four, and the footman Michel, on a saddle-horse; the carriage, after the
manner here, being drawn by four post-horses, with two postilions, the
berlingo having no coach box. The first night the party lay at Guimpe,
and set out next morning at nine, to bait half way between that and
Roteux, being four posts, and a mountainous barren country, as all the
Gévaudan is. The parish of Guimpe had been greatly alarmed by the
frequent appearance of, and the horrid destruction made by, the fiery
animal that has so long been the terror of the Gévaudan, and is now so
formidable that the inhabitants and travellers are in very great
apprehension. The bailiff of Guimpe acquainted the party that this
animal had been often lurking about the chaussée that week, and that it
would be proper to take an escort of armed men, which would protect the
carriage; but the gentlemen declined it, and took the ladies under their
protection, and set out, on the 2nd of February, very cheerfully. When
they had made about two leagues, they observed at a distance a
post-chaise, and a man on horseback, coming down the hill of Credi, and
whipping the horses very much; and at the descent unfortunately the
wheel-horse fell down, and the postilion was thrown off; whereupon the
horseman who followed the chaise, advanced to take up the boy, in which
moment, when he had got down, we perceived the wild beast so often
described make a jump towards the horses, and on the footman's raising
his right hand to draw a cutlass and strike the creature, it pricked up
its ears, stood on its hind feet, and, showing its teeth full of froth,
turned round and gave the fellow a most violent blow with the swing of
its tail. The man's face was all over blood; and then the monster,
seeing the gentleman in the chaise present a blunderbuss at its neck,
crept on its forehead to the chaise-step, keeping its head almost under
its forelegs, and getting close to the door, reared upright, vaulted
into the inside, broke through the other side-glass, and ran at a great
rate to the adjoining wood. The blunderbuss missed fire, or it is
possible this had been the last day this brute-disturber had moved. The
stench left in the carriage was past description, and no cure of burning
frankincense, nor any other method removed, but rather increased the
stink, so that it was sold for two louis; and though burned to ashes,
the cinders were obliged, by order of a commissary, to be buried without
the town walls. We came up very well in time; for the beast would
doubtless have destroyed some one, had it not espied three of us
advancing with guns. It certainly jumped through the chaise to get away
from us.'

These accounts appear to have been received with some incredulity
abroad. In the same number of _Lloyd's Evening Post_ that contains the
plan of Lord Byron's trial there occurs the following passage about this
curious wild beast: 'One of the Dutch Gazetteers by Monday's mail
says:--"The accounts of the wild beast seen in the Gévaudan are of such
a nature that it is hardly possible to give any credit thereto, and yet
most of them have appeared in the _Paris Gazette_, a paper whose
authors, known to be men of letters, are too judicious to be suspected
of credulity, too prudent, too well informed of what passes at the Court
of the King their master, one should think, to attribute to his Most
Christian Majesty a reward for an action which never had any
existence--an action which was only a fable."' This is, no doubt, an
allusion to the reward of 400 livres bestowed upon the boys who beat off
the ferocious monster.

While the interest and excitement about this terrible wild beast was at
the highest, the _St. James's Chronicle_ published an engraving and
description of it. The _St. James's Chronicle; or the British Evening
Post_, was a folio of four pages, published three times a-week, price
twopence-halfpenny. In the number for June 6, 1765, there is printed the
following description and woodcut:--

'For the _St. James's Chronicle_.

'Of this beast, which has already devoured upwards of seventy Persons
and spread Terrour and Desolation throughout the whole Gévaudan, the
Sieur de la Chaumette, who lately wounded it, has given us the following
Description. It is larger than a Calf of a year old, strongly made
before, and turned like a Grayhound behind. His Nose is long and
pointed, his Ears upright and smaller than a wolf's, his Mouth of a most
enormous size, and always wide open; a Streak of Black runs from his
Shoulders to the Beginning of his Tail. His Paws are very large and
strong; the Hair on his Back and Mane thick, bristly, and erect; his
Tail long and terminating in a Bush, like that of a Lion; his Eyes
small, fierce, and fiery. From this description it appears that he is
neither a Wolf, Tiger, nor Hyena, but probably a Mongrel, generated
between the two last, and forming, as it were, a new Species. All the
accounts lately received agree in assuring that there are several of
them.'

[Illustration: STRANGE WILD BEAST SEEN IN FRANCE. FROM THE 'ST. JAMES'S
CHRONICLE,' 1765.]

The _St. James's Chronicle_ does not state from whence the portrait was
obtained. A representation of the wild beast of the Gévaudan was sent in
April, 1765, to the Intendant of Alençon, and a description of that
picture corresponds with the woodcut in the _St. James's Chronicle_, so
that the latter was probably a copy of the former.

About three months after the publication of the woodcut and description
in the _St. James's Chronicle_, the career of this much dreaded animal
was brought to a close. On Sept. 20th, 1765, it was encountered in the
wood of Pommières by a certain Monsieur Beauterme, a gentleman of a
distant province and noted as a successful hunter. He had come into the
district on purpose to seek out this notorious wild beast, and having
found it, shot it in the eye at the distance of about fifty paces. The
animal, however, though wounded, showed fight, and was rushing on
Monsieur Beauterme with great fury, when he was finally dispatched by a
gamekeeper named Reinhard.

Several inhabitants of the Gévaudan who had been attacked by the beast
declared it to be the same which had caused such consternation in the
country, and Monsieur Beauterme set out with the body to Versailles in
order to present it to the King. The animal was found to be thirty-two
inches high, and five feet seven and a half inches long including the
tail. The surgeon who dissected the body said it was more of a hyena
than a wolf, its teeth being forty in number, whereas wolves have but
twenty-six. The muscles of the neck were very strong; its sides so
formed that it could bend its head to its tail; its eyes sparkled so
with fire that it was hardly possible to bear its look. Its tail was
very large, broad, and thick, and bristled with black hair, and its feet
armed with claws extremely strong and singular.

In Paris it was thought that this mysterious animal was a cross between
a tiger and a lioness, and had been brought into France to be shown as a
curiosity. It is not unlikely that it had escaped from some travelling
show, and was probably a hyena. The imagination of the country people
would easily transform it into any shape suggested by their terrors.
That such fancies easily begin and rapidly grow was proved in the case
of Captain Sir Allan Young's pet Esquimaux dog, which was either stolen
or wandered from the Arctic ship _Pandora_ as she lay in Southampton
harbour after returning from the Polar regions. Quite a panic arose in
that part of Hampshire where this most valuable and harmless animal was
wandering about, and every sort of story was circulated of the ravages
and dangers the country was exposed to. The people began to think that
besides their sheep and pigs their children were in danger. Some said it
was a gigantic black fox, others that it was a Canadian wolf.
Expeditions were organized to attack it, and after being chased for some
miles by people on horseback, it was ultimately shot and exhibited at
sixpence a head in Winchester market-place. There could be no doubt
about the dog's identity, for Sir Allan Young afterwards got back his
skin.

Before concluding my sketch of illustrated journalism in the eighteenth
century I must refer to a class of publication that possessed many of
the characteristics of the newspaper, without exactly belonging to that
category. This kind of journal is represented by the _Gentleman's
Magazine_; but, although Edward Cave considered himself the inventor of
the magazine form of publication, the _Gentleman's Magazine_ was not the
first journal of the kind. Nearly forty years before it came into
existence a monthly publication was started in London with the following
title:--'_The Gentleman's Journal; or, the Monthly Miscellany_. _By way
of Letter to a Gentleman in the country, consisting of News, History,
Philosophy, Poetry, Music, Translations, &c. January_, 169½.' Its
projector and editor was a refugee Frenchman, one Peter Anthony Motteux,
and the design appears to have met with considerable success, but it did
not last more than four years.

In the second number of the _Gentleman's Journal_ appeared the
following:--'The author desires to be excused for not answering the many
ingenious letters that have been sent to him that he may have the more
time to apply himself to this journal; he judges that he answers them
enough when he follows the advice they give him, or inserts what is sent
to him, which he will always be very careful to do. But such things as
any way reflect upon particular persons, or are either against religion
or good manners, he cannot insert. He will take care to settle
correspondence both abroad and at home, to inform his readers of all
that may be most worthy their knowledge; and if anything offers itself
that deserves to be engraved, he will get it done. But it being
impossible he should know by himself a thousand things which the publick
would gladly know, such persons as have anything to communicate may be
pleased to send it to him, at the Black Boy Coffee House in Ave Maria
Lane, not forgetting to discharge the postage.'

It would appear by the above that Peter Anthony Motteux had a vague
perception that engravings might increase the attractions of his
journal; but it does not seem that much came in his way that 'deserved
to be engraved.' I have found only two small woodcuts in the
_Gentleman's Journal_. They both occur in the volume for 1694. One is a
representation of snow crystals, and the other is a diagram of a mock
sun.

Motteux tells us that his journal was patronised by the Queen, and was
much favoured by the ladies generally. He had amongst his contributors
Dryden, Matthew Prior, Sedley, and Tom Durfey. Charles Wesley, brother
of the famous John, sent serious verses, as did also Tate, of 'Tate and
Brady' celebrity. All these contributions were introduced into a long
letter, which, as the title indicates, was the shape in which the
_Gentleman's Journal_ was written, and in this respect it was modelled
upon the early manuscript newsletters.

Peter Anthony Motteux, the editor of the first English magazine, was
also the author of several songs, plays, and prologues, and he also
published a translation of _Don Quixote_. He kept a large East India
warehouse in Leadenhall Street, and afterwards obtained a situation in
the Post Office. He was found dead on the morning of his fifty-eighth
birthday, in a low drinking-house in Butchers' Row, near Temple Bar, and
had either been murdered or had lost his life in a drunken frolic. The
_London Gazette_ of the succeeding week contained the offer of a reward
of fifty pounds for the discovery of the murderer, and the King's pardon
to any but the actual criminal; but the mystery was never cleared up,
and the bones of the clever exiled Frenchman lie unavenged and forgotten
in the vaults of St. Andrew Undershaft, Leadenhall Street, celebrated
amongst City churches as the burial-place of John Stowe.[1]

Edward Cave, the early patron and friend of Dr. Johnson, projected and
brought out the _Gentleman's Magazine_ in 1731. It was printed at St.
John's Gate, Clerkenwell, a view of which place embellished its
title-page.

The full title was, '_The Gentleman's Magazine, or Monthly
Intelligencer_, containing Essays, Controversial, Humorous, and
Satirical; Religious, Moral, and Political; collected chiefly from the
Publick Papers. Select Pieces of Poetry. A Succinct Account of the most
remarkable Transactions and Events, Foreign and Domestick. Births,
Marriages, Deaths, Promotions, and Bankrupts. The Prices of Goods and
Stocks, and Bill of Mortality. A Register of Books. Observations on
Gardening.' It will thus be seen that the Magazine possessed many of the
characteristics of a newspaper. On the front page of the earlier numbers
were printed the names of the various newspapers from which it derived
its information. It was some time before illustrations began to appear.
The most important subjects were engraved on copper, and rough woodcuts
were sprinkled here and there among the type. Sometimes the most
incongruous subjects were engraved on the same plate, such as the
section of a man-of-war and the figure of a locust. There was
occasionally an illustration of news, as in the volume for 1746, where
there is a map of the country round Carlisle, showing the route of the
Scottish rebels; and in the same volume there is a portrait of Lord
Lovat. The frontispiece to this volume is a portrait of the Duke of
Cumberland, with the motto _Ecce Homo_. Portraits, plans, and bird's-eye
views are of frequent occurrence. In the volume for 1747 is a very
elaborate bird's-eye view of the city of Genoa, illustrating an account
of an insurrection there. The same volume contains a view of Mount
Vesuvius, with a description of the last great eruption. In the volume
for 1748 are views of Amsterdam, the Mansion House, London, Greenwich
Hospital, the Foundling Hospital, &c. The volume for 1749 contains an
engraving of the fireworks on the occasion of the Peace, and views of
Blenheim House and Covent Garden. In the volume for 1750 there is a
woodcut with 'J. Cave sc.' in the corner. This was probably a son or
some other relative of the proprietor, who was either in training as an
engraver, or was trying his hand merely as an amateur. His name does not
appear again, and I have never met with it elsewhere in connexion with
the art of wood-engraving.

In the number for November, 1750, there occurs the following amongst the
list of deaths:--'Mr. Edward Bright, at Malden in Essex, aged 30; he was
supposed to be the largest man living, or perhaps that ever lived in
this island. He weighed 42 stone and a half, horseman's weight; and not
being very tall, his body was of an astonishing bulk, and his legs were
as big as a middling man's body. He was an active man till a year or two
before his death, when his corpulency so overpowered his strength that
his life was a burthen, and his death a deliverance. His coffin was
three feet six inches over the shoulders, six feet seven inches long,
and three feet deep; a way was cut thro' the wall and staircase, to let
the corpse down into the shop; it was drawn upon a carriage to the
church, and let down into the vault by the help of a slider and
pulleys.' In the number for the following February there is a woodcut of
Mr. Bright, and the reader is referred back to the November number for
the above description. This seems to show that the _Gentleman's
Magazine_ did not consider it of vital importance, in illustrating news,
to follow very close upon the heels of events. I have copied this
engraving as a specimen of the woodcut illustrations of the _Magazine_.

[Illustration: EDWARD BRIGHT. WEIGHT 42½ STONE. FROM THE 'GENTLEMAN'S
MAGAZINE' FOR FEBRUARY, 1751.]

The _Gentleman's Magazine_ attracted the notice and admiration of Dr.
Johnson before he came to London as a literary adventurer. He afterwards
became a regular contributor to its pages, and for many years it was his
principal source of income. His first contribution was a complimentary
Latin poem addressed to Sylvanus Urban, and when Cave died Johnson wrote
an account of him in the magazine. Dr. Johnson told Boswell 'that when
he first saw St. John's Gate, the place where that deservedly popular
miscellany was originally printed, he "beheld it with reverence."'

Edward Cave was born at Newton, in Warwickshire, Feb. 29th, 1691; he
died Jan. 10th, 1754. 'He was peculiarly fortunate,' says Boswell, 'in
being recorded by Johnson; who of the narrow life of a printer and
publisher, without any digressions or adventitious circumstances, has
made an interesting and agreeable narrative.'

The _Gentleman's Magazine_ still exists, but retains nothing of its
original character beyond the name.

Within a year the success of the _Gentleman's Magazine_ brought into
being the _London Magazine_, and, in 1739, the _Scots Magazine_,
published in Edinburgh. In the second volume of the latter, under date
March, 1740, there is a larger version of the woodcut of the taking of
Porto Bello, already described. The account also is given, quoted,
however, from the _London Evening Post_, and not from the _Daily Post_,
where the woodcut appeared. Maps, plans, and views of places
occasionally occur in other volumes of the _Scots Magazine_. In vol.
iii. there is a plan of the harbour, city, and forts of Cartagena, and
the number for July, 1743, contains a plan of the battle of Dettingen.


FOOTNOTE:

  [1] _New Quarterly Magazine_, January, 1878.




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 _éclat_ 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.




CHAPTER VIII.

  The _Illustrated London News_--The Early Numbers--The Burning of
  Hamburgh--Facetious Advertisements--Bal Masque at Buckingham
  Palace--Attempted Assassination of the Queen--The Queen's First Trip
  by Railway--First Royal Visit to Scotland--Political Portraits--R.
  Cobden--Lord John Russell--Benjamin Disraeli--The French Revolution,
  1848--The Great Exhibition, 1851--The Crimean War--Coloured
  Pictures--Christmas Numbers--Herbert Ingram--The _Pictorial
  Times_--Other Illustrated Journals.


Having traced the idea of illustrating the news of the day from the
early 'news-book' through its various stages of growth and development,
we come to the first regular illustrated newspaper that was established.
The projector had long held the opinion, founded on his experience as a
newsvendor at Nottingham, that such a publication would succeed. He had
noticed that when the _Observer_ and the _Weekly Chronicle_ contained
engravings, there was a much larger demand for those papers than when
they were without illustrations, and he conceived the idea of starting a
paper whose chief attraction should be its _pictures_. He thought if he
could combine _art_ and _news_ together, he would be adding greatly to
the ordinary attractions of a newspaper, and would probably secure a
widely extended circle of readers. His customers at Nottingham often
asked for the 'London news' when anything of interest was astir in the
Metropolis, and his observant shrewdness led him to conclude that this
would be a good name for his paper. He accordingly called it the
_Illustrated London News_, and under that title the first number
appeared on May 14th, 1842. It contained sixteen printed pages and
thirty-two woodcuts, including all the little headings to the columns,
price sixpence, and it equalled in size the _Atlas_ which was then sold
for a shilling, without engravings. It was printed by R. Palmer (at
the office of Palmer and Clayton), 10 Crane Court, Fleet Street, and
published by J. Clayton, 320 Strand. The introductory address is written
in a florid and inflated style; but it shows a correct perception of the
wide and varied range that would have to be taken by an illustrated
newspaper.

[Illustration: THE BURNING OF HAMBURGH. FROM THE FIRST NUMBER OF THE
'ILLUSTRATED LONDON NEWS,' MAY 14, 1842.]

[Illustration: HEADING TO 'COURT AND HAUT TON,' COLUMN, 'ILLUSTRATED
LONDON NEWS,' MAY 14, 1842.]

The well-known engraved heading represents a view of London from the
Thames, as it was then,--St. Paul's towering in the centre, and the Lord
Mayor's procession in State barges passing up the river. The first
engraving is a 'View of the Conflagration of the City of Hamburgh,'
which began on May 5th, and continued for several days. A great part of
the city was destroyed, and more than one hundred lives were lost. As
marking an epoch in the history of the Pictorial Press, I reprint this
engraving and some others from the early numbers. The next cut is
apparently a view of some town in Italy or France; but there is no name
to the engraving or any reference to it in the surrounding text, which
is all about the dreadful railway accident between Paris and Versailles
which had then just occurred, whereby fifty persons were killed, and one
hundred and fifty were more or less injured. On the next page are views
of the city of Cabul and the fortress of Ghuznee, just then the seat of
stirring events. The columns of 'Foreign Intelligence,' 'The Court and
Haut Ton,' 'Births, Marriages, and Deaths,' were each headed by a small
woodcut, an example of which is given here. There is also an
illustration of ladies' fashions, accompanied by a gushing, descriptive
letter from Paris, beginning: 'Dear Mr. Editor, I feel an inexpressible
delight in inditing my first communication to your lady readers, upon
the fashions of the _haut ton_ of this _ville de gaitè_. So suddenly and
with such power has the sun lately shot forth, that there is no end to
invention in our spring fashions.'

[Illustration: FASHIONS FOR MAY, 1842. FROM THE 'ILLUSTRATED LONDON
NEWS,' MAY 14, 1842.]

It would appear that illustrated police reports were to have formed part
of the attractions of the paper, and several small cuts dealing with
humorous subjects are scattered through the early numbers. The cases
were evidently selected with a view to provoke merriment rather than to
indulge a morbid taste for criminal records, and seem to show that the
paper in its early days possessed something of the frolicsomeness of
youth, and did not consider a joke beneath its dignity. It had its wild
oats to sow, and was not indisposed to emulate its contemporary _Punch_,
then also a young joker. The first illustrations of the kind relate to a
case at the Mansion House before Sir Peter Laurie, where the manager of
a matrimonial institution sought to defend his establishment from the
strictures of that celebrated 'putter-down.' A few pages further on we
come upon two facetious advertisements, one of them professing to have
been called forth by the report of the above case at the Mansion
House:--

'MATRIMONY.--A _professional_ gentleman, who has for some time past
enrolled the category of his multitudinous graces, accomplishments, and
_prospects_, in the portfolio of the "Matrimonial Alliance
Establishment," fearing that, under the influence of Sir Peter Laurie's
recent animadversion they will waste their sweetness unseen--unknown in
the rose-tinted volume of the modern Hymen, avails himself of the
glorious opportunity afforded to advertisers by the proprietors of the
_Illustrated London News_, "and boldly and unhesitatingly submits his
picture in little," to the approving smiles of the fair daughters (and
_widows_) of Albion's Isle, conscious of his perfect sincerity in
stating that he has no _insurmountable_ objection to fortune being
combined with beauty, taste, lively disposition, and cheerful temper; he
feels assured that the lovely creature whose eyes shall be fortunate
enough, first to meet this advertisement (and then the advertiser), will
secure to herself a perfect amenity, if truth be truth, and manners--not
money--make the man. Address, with portrait (miniature set in gold,
pearls, or other precious stones, not refused), A. Donis Slim, Esq., 320
Strand.'

[Illustration: A. DONIS SLIM, ESQ. FROM THE 'ILLUSTRATED LONDON NEWS,'
MAY 14, 1842.]

The other advertisement referred to is of an entirely different
character, being addressed to the commercial world:--

'CAPITAL SPEC! Safe as the Bank!--Wanted a partner in a snug, genteel
little concern, with an airy and pleasant corner situation in one of the
most densely crowded thoroughfares of the Metropolis, and doing a good,
ready-money business, without much risk; which an increase of capital
would considerably extend. The returns exceed the outlay, and the Sunday
custom alone covers the rent. The taxes are redeemed, and there is a
long unexpired term of the lease, which is held at a lolly-pop. The
coming into a half-share, including plant and stock, very moderate--say
a trifle above 0000_l._ Any person who can command the above sum will
not only find this a decided bargain, but a very desirable opportunity
of commencing business, and well worthy the attention of an industrious
person of small means and less family. References exchanged. Address,
prepaid, to B. B. (Brandy Ball), Pieman's Alley.'

[Illustration: PARTNERSHIP WANTED. FROM THE 'ILLUSTRATED LONDON NEWS,'
MAY 14, 1842.]

The principal engravings in this first number illustrate the first Bal
Masque given by Queen Victoria at Buckingham Palace. They were drawn by
Sir John Gilbert, then at the beginning of his career, and it was most
fortunate for the new enterprise that an artist of such great and varied
abilities was found at the very outset to give his powerful aid to the
undertaking. His wonderful facility and bold picturesqueness were
exactly suited to the requirements of an illustrated newspaper. The
first enabled him to do his work with marvellous quickness, and the
second was an excellent counterpoise to the damaging effects of hurried
engraving and rapid printing. The illustrations of the Queen's Bal
Masque are eight in number, including character portraits of Her Majesty
and the Prince Consort. There are two cuts from a book under review, and
the last illustration in the number represents a long line of men
carrying advertising boards 'to proclaim the advent of this important
publication.'

The first number sold well, probably because the public was curious to
see what the new paper was like. Twenty-six thousand copies were
disposed of, but there was a great falling-off in the sale of the second
number, which opened with a leading article explaining the principles
that were to guide the paper in its future career. The cut on the front
page represents the ceremony of taking the veil, and was evidently drawn
by Gilbert. The next engravings illustrate Waghorn's Overland Route to
India, then recently organized, followed by an illustrated account of
the sale at Strawberry Hill, and a portrait of a then notorious
criminal, Daniel Good, which is accompanied by an editorial apology
disclaiming all intention of joining the 'raw-head and bloody-bones'
school, but in the interests of science commending the portrait to the
disciples of Lavater. This is the only instance of such an engraving
being inserted in the paper (with the exception of the portrait of
MacNaghten, who shot Mr. Drummond), and it is evident the editor's
better feeling revolted against it, although he was only following the
example of the _Observer_ and the _Weekly Chronicle_.

[Illustration: HER MAJESTY AS QUEEN PHILIPPA. FROM THE 'ILLUSTRATED
LONDON NEWS,' MAY 14, 1842.]

The first engraving in No. 3 is a portrait of Mehemet Ali, which is
given in connexion with further illustrations of the Overland Route to
India. But the most important picture in this number is a portrait of
the Queen with the baby Prince of Wales in her lap, drawn by Gilbert.
There is also the first example of a sporting illustration--a portrait
of Attila, the winner of the Derby, which accompanies an account of
Epsom Races, with several other engravings.

[Illustration: THE QUEEN'S FIRST RAILWAY JOURNEY. FROM THE 'ILLUSTRATED
LONDON NEWS,' JUNE 19, 1842.]

[Illustration: ATTEMPTED ASSASSINATION OF THE QUEEN. FROM THE
'ILLUSTRATED LONDON NEWS,' JUNE 5, 1842.]

[Illustration: MR. R. COBDEN, M.P. FROM THE 'ILLUSTRATED LONDON NEWS,'
JULY 2, 1842.]

An event now occurred which afforded the first important opportunity of
illustrating the news of the hour. This was the attempt on the life of
the Queen, who was fired at as she was driving up Constitution Hill by a
young man named Francis. The public excitement on this occasion was very
great, and it is a little surprising that the _Illustrated London News_
did not make more of it. In No. 4 there are two illustrations in
connexion with this event, one representing the attempted assassination,
the other the examination of the prisoner before the Privy Council. The
engravings are not very imposing, but large blocks had not then come
into use; and as the event occurred on a Monday there was not too much
time, with the limited means then at command, to produce them on a large
scale. In No. 6 there is a small cut entitled 'The Queen's first trip by
Railway,' which illustrates an account of her Majesty's first journey by
railway from Windsor to London. With the exception of the drawings by
Gilbert most of the illustrations in these first six numbers are of an
inferior character, and show that the conductors of the paper had not
yet obtained the best artistic help. Indeed it was a long time before
the higher class of artists and engravers would believe that an
illustrated newspaper was worthy of their professional attention.
Illustrations of the Police Reports continued to be scattered through
the early numbers, mingled with such subjects as a ballet at Her
Majesty's Theatre, a public dinner, a launch, a horserace, and sketches
of the Chartist riots at Preston. The Queen's first visit to Scotland
was very copiously illustrated, and a series of 'Popular Portraits' was
begun which included most of the prominent politicians of the day. In
No. 11 the fatal accident to the Duke of Orleans is illustrated; and
further on the hand of Gilbert is visible in the drawings representing
the funeral of the Duke of Sussex, the Lord Mayor's Show, and the grand
Polish Ball at Guildhall. With No. 19 the office was removed to 198
Strand, where it has remained ever since. The first Cattle Show
illustrations occur in No. 31, and it is evident that the artists by
whom they were executed had not made that kind of art their special
study. The approach of Christmas is heralded by the introduction of
various laughable sketches; the Pantomimes are illustrated by Alfred
Crowquill, and Christmas himself is welcomed in a 'Song of the Wassail
Bowl.' Kenny Meadows finishes the volume with a party of Cupids carrying
the _Illustrated London News_ through the air, while a literary and
artistic Cupid, cap in hand, makes his bow to the reader.

The first volume ends with the year 1842, and it has for a frontispiece
a large view of London, a title-page drawn by Gilbert, and headings to
preface and index by Kenny Meadows. The preface is written in the florid
style of the introductory address in the first number; but the following
passage refers, not inappropriately, to the value and interest of the
work to the future historian:--

'What would Sir Walter Scott or any of the great writers of modern times
have given--whether for the purposes of fiction or history, or political
example or disquisition--for any museum-preserved volume such as we have
here enshrined. The life of the times--the signs of its taste and
intelligence--its public monuments and public men--its
festivals--institutions--amusements--discoveries--and the very
reflection of its living manners and costumes--the variegated dresses of
its mind and body--what are--what _must_ be all these but treasures of
truth that would have lain hid in Time's tomb, or perished amid the sand
of his hour-glass but for the enduring and resuscitating powers of
art--the eternal register of the pencil giving life and vigour and
palpability to the confirming details of the pen. Could the days of
Elizabeth or others as bright and earlier still be unfolded to us
through such a mirror, what a mint of wisdom might we gather in from
such dazzling periods of the past! Of just as much captivating value
then is such a book to the future. It will pour the lore of the
Antiquarian into the scholar's yearning soul, and teach him truth about
those who have gone before him, as it were, with the Pictorial Alphabet
of Art! It is in this sense that we regard the greatness of our design,
and are proud of its envied and unexampled success; and it is for this
end that we shall strain every nerve to perfect it into order and
completeness that may accord with the beauty and brilliancy which many
episodes of its execution have already been fortunate to display. Scott
might carry Elizabeth to Kenilworth through the regions of his fine
imagination, backed and supported by books, and we may take _cum grano
salis_ the Antiquarian's and the Poet's word, but the year two thousand
will be ten times better assured of all the splendid realities of our
own Victoria's visit to the native land of the Northern Magician who
enshrined in fiction the glories of Queen Bess. This volume is a work
that history _must_ keep.'

At the end of the preface is printed the following 'Dedicatory
Sonnet:'--

  'To the great public,--that gigantic soul
     Which lends the nation's body life and light,
     And makes the blood within its veins grow bright
   With gushing glory,--we this muster-roll
   Of all the deeds that pass 'neath its controul
     Do dedicate,--the page of simple news
   Is here adorned and filled with pictured life,
   Coloured with thousand tints--the rainbow strife
     Of all the world's emotions--all the hues
   Of war--peace--commerce;--agriculture rife
   With budding plenty that doth life infuse
     And fair domestic joy--all--all are here
     To gild the _new_, and from the bygone year
   Present a gift to take--to cherish and to use.'

The second volume began with several improvements. A 'Romance of Real
Life,' by Henry Cockton, illustrated by Kenny Meadows, was the first
attempt to infuse a new interest into newspaper literature by the
introduction of fiction. Stories by Thomas Miller and others followed.
This feature of the paper was continued for some time until _fiction_
was crowded out by _fact_. The popular portraits were done on a larger
scale and were of a more ambitious character. In No. 40 there is one of
Lord John Russell, which is reprinted here as an example of the improved
portraiture of the period.

[Illustration: PORTRAIT OF LORD JOHN RUSSELL. FROM THE 'ILLUSTRATED
LONDON NEWS,' 1843.]

In the following year was commenced a series of 'Parliamentary
Portraits,' one of which I have selected to accompany the portrait of
Lord John Russell. It is that of Mr. Disraeli, and it will perhaps
interest the reader to compare the present estimate of Lord Beaconsfield
with what was said of Mr. Disraeli in 1844. The following is a portion
of the article which accompanies the portrait:--'The most remarkable
speeches in the recent debates have been those of Mr. Disraeli, the
Member for Shrewsbury. He has lately made himself more prominent in the
sphere of literature and politics as the expounder of the views and
opinions of that section of the Conservative party which has received
the name of "Young England." His opinions however are too peculiar, have
too much individuality ever to become those of a party. We scarcely
think "Young England" capable of holding as points of belief the
startling paradoxes to which Mr. Disraeli occasionally gives utterance.
His speeches abound with happily turned sentences, in which a clever
sarcasm is thrown into the antithetical form; they also contain a
large amount of historical information, on which he draws almost as
often as Macaulay himself. He rarely announces a positively new
principle, but he often places old ones in a strange and startling
light, and states the most extraordinary inconsistencies with an air of
such perfect earnestness and conviction that his auditors are sometimes
puzzled whether to admire or laugh at him. But he is not one of those
men who can be laughed at; we have seen him turn the laugh most sorely
against those who thought themselves securely trenched behind form and
precedent. He can hit hard, and none have suffered more from his sarcasm
than the present Premier and the Home Secretary. He seems to mangle them
with peculiar gusto, and deals with them as if he was annihilating the
Tadpole or Taper of his own "Coningsby." His speeches have not much
metaphor, nor does he indulge in rhetorical glitter and ornament; we
cannot call him impassioned, nor say he is eloquent; but he interests,
informs, and amuses. A speech from Disraeli is sure to command
attention. His manner is not calculated to set off his matter to the
best advantage. His delivery is heavy, and of action he has none
whatever. He thrusts his hands deep into his side-pockets, leans forward
a little, or turns from side to side according to whom he may be
addressing. But that is all. Though he sets the House cheering or
laughing for minutes together, his countenance remains impassive; he
says a good thing as if perfectly unconscious of it.'

The paper rapidly advanced in public favour and soon reached a
circulation of 66,000. It celebrated the completion of the first year of
its existence by the publication of a double number, profusely
illustrated by Gilbert, Harvey, and Kenny Meadows.

[Illustration: BENJAMIN DISRAELI, M.P. FROM THE 'ILLUSTRATED LONDON
NEWS,' JUNE 22, 1844.]

The _Illustrated London News_ was not established without many
misgivings as to its ultimate success. Its founder probably did not at
first realise all the difficulties that lay in his way, but as fast as
they appeared he met them with characteristic courage and energy, and
overcame them by perseverance. He seized on every opportunity to
consolidate the strength of the paper, and paid a great amount of
personal attention to its management, often denying himself sleep one or
two nights a-week. As the profits increased he kept on increasing the
scope and number of its attractive features. He made it a rule to spare
no expense in every department of the journal; whatever money could
command for its success he resolved to have. After a time he was able to
act on this wise resolve to the fullest extent, and in the end he
achieved a great success.

In describing the _Illustrated London News_ during the first year of its
existence, I have directed attention chiefly to the pictorial portion of
its contents, that being the characteristic feature of the paper by
which it was distinguished from its purely literary contemporaries. The
engravings I have reprinted from it are given as curiosities and not as
specimens of excellence. The succeeding volumes contain abundant
evidence that the highest talent was afterwards employed in producing
the best examples of art as well as in the illustration of news. In its
sixth year the course of public events opened up new and stirring scenes
for its pages. So great was the interest felt in the exciting events of
the year 1848, that the sale of the _Illustrated London News_ was more
than doubled in three months. The vigorous sketches of the French
Revolution published week after week were so eagerly bought that the
publisher was not always able to meet the demand. On one occasion he was
freely pelted with flour and other harmless missiles because the London
'trade' could not get their supply soon enough to satisfy their
impatience. The noisy newsboys, in mocking imitation of the Paris mob
which was then making the streets of that city ring with cries of 'à bas
Guizot!' vented their indignation against the publisher of the
_Illustrated London News_ by shouting 'à bas Little! à bas Little!'

But though the year of revolutions was so rich in materials for
pictorial journalism, the year of the Great Exhibition was yet more
fruitful. The Great Exhibition of 1851 was a perfect novelty, and was
hailed as the harbinger of peace on earth and good-will among men.
Coming so soon after the convulsions of 1848, the peaceful display was
more enchanting from the contrast. Such a golden opportunity was not
lost upon the pictorial press, and every stage of the construction of
the first Crystal Palace was represented. The very plan of the building
was first made public in the pages of the _Illustrated London News_, the
first design adopted by the Commissioners having been superseded by Sir
Joseph Paxton's Palace of Glass. The building was shown in progress from
the raising of the first column, and its removal was illustrated to the
clearing away of the foundations. In this 'Festival of Labour' the
_Illustrated London News_ took a prominent place. An edition was printed
in the Exhibition building by one of Applegarth's vertical
printing-machines, then the quickest method of printing in use. At this
time the paper was distinguished by the number and excellence of its
illustrations, and the '_London News_' printing-machine was one of the
attractions of the 'World's Fair.'

In three years more the dreams of universal peace created by the Great
Exhibition were rudely swept away by the declaration of war with Russia
and subsequent invasion of the Crimea. The long and disastrous siege of
Sebastopol, the assaults on the Redan and the Malakoff, the battles of
Balaclava and Inkermann, supplied the most exciting subjects for
illustration. It was the first great war since Waterloo, and the
national excitement being intensified by the maladministration of the
Government, the British public eagerly bought the war sketches. The sale
of the paper at this time was very great, yet it is a curious fact that
it never reached so high a figure as during the peaceful exhibition of
1851,--a proof that, after all, the arts of peace are more attractive
than the excitement of war.

At Christmas, 1855, a novel feature was introduced into the _Illustrated
London News_. For some years a Christmas number had been published, and
it was now for the first time printed in _colours_. It is true the
coloured pictures were little more than ordinary woodcuts with tints
printed over them, but their imperfections were principally owing to the
breakdown of machinery and the great hurry in which they were produced.
In after years much better things were done, and the coloured Christmas
pictures which have been for many years produced at the chromatic press
of Leighton Bros. take rank among the best work of the kind. They have
proved exceedingly popular, and always sold well. That of 'Little Red
Riding Hood,' after J. Sant, R.A., published in 1863, was reprinted
again and again, until the blocks were utterly worn out. They were then
re-engraved, and again reprinted. The Christmas picture issued in 1882
('Cinderella') was specially painted by Mr. Millais, R.A., at the price
of 3000 guineas. When it is noted that the large coloured reproduction
of this picture, together with seventeen highly finished full-page
engravings by some of the best artists of the day, were sold for a
shilling, it will be seen that the pictorial press is no unimportant
factor in diffusing the purifying and softening influence of art.

During the forty-two years that have elapsed since the first illustrated
newspaper was founded, there has never been any long interval of peace.
War of some kind, big or little, has broken out, like a volcano, on some
part of the earth's surface, and kept the Argus-eyed newspaper editor on
the alert. From Alma to Tel-el-Kebir and the desert warfare of the
Soudan, there has been a succession of conflicts, with only a short
interval of a few years between; so that the food on which picture
newspapers thrive best has been abundantly supplied, and this remarkable
offspring of the printing-press has consequently increased and
multiplied, and is now found in every corner of the earth, 'from China
to Peru.' The reader may form some idea of the magnitude of the
operations in connexion with illustrated journalism when I state that at
the marriage of the Prince of Wales the _Illustrated London News_ of
that week consisted of three sheets, and 930,000 sheets were printed of
that issue in one week. These sheets, if placed side by side, would
cover 660 miles, so that, as they were printed on both sides, they
represent a printed surface of, after deductions for margin, more than
1115 miles in length. Nearly eighty tons of paper and twenty-three
hundredweight of printing-ink were used in the production of that
number. Larger quantities have been printed of some issues, but the
production was spread over a longer period of time. 930,000 sheets is
the largest quantity ever printed _in one week_. It will thus be seen
what an amount of business this represents to the paper-maker, the
ink-maker, the wood-draughtsman, the engravers, the electrotypers, the
compositors, printers, machine-men, roller-makers, warehousemen, and the
numerous other workers in a newspaper printing-office.

The first editor of the _Illustrated London News_ was Mr. Bailey, who
was nicknamed 'Alphabet Bailey' on account of the great number of his
Christian names, and the consequent multiplicity of his initials. He was
also called 'Omnibus Bailey' from his having edited a periodical called
the _Omnibus_. These names were given to him to distinguish him from Mr.
Thomas Haynes Bayley, the sentimental song-writer, author of 'I'd be a
Butterfly,' 'The Soldier's Tear,' &c. Dr. Charles Mackay became the
literary and political editor of the paper in 1848, and in 1852 he took
its entire management and control, in which position he continued till
1859, when he resigned. The late John Timbs was for many years on the
editorial staff, and his familiar figure is well remembered in the old
room at 198 Strand, where he sat with paste and scissors, undisturbed by
the noises which surrounded him both inside and outside the house, for
in this one room the whole business of the paper was at one time
conducted. Here the young literary or artistic aspirant, who thought he
saw in the new journal an opening for his hitherto unappreciated
talents, had to explain his proposals before the eyes and in the hearing
of rivals who were waiting for their turn. The place was open to all
comers, and was at once the centre of managerial, financial, and
editorial affairs. But the founder of the paper received all who came
with good-humour and generous feeling, and never disregarded a useful
hint or refused the proffered assistance of a good man.

Herbert Ingram, the founder of the _Illustrated London News_, was born
at Boston, Lincolnshire, on the 27th of May, 1811. He lost his father
very early, and being sent to the Boston Free School, he there obtained
all the school education he ever received. The course of instruction
through which he passed was of the most circumscribed character, making
his success in after-life all the more remarkable. At the age of
fourteen he was apprenticed to Mr. Jos. Clarke, then a printer living in
the Market Place, Boston. His master soon found that he possessed
industry, patience, and perseverance in a high degree, qualities which
unquestionably lay at the root of his subsequent success in life. He was
always ready to work all night when orders were plentiful, and was
unwilling to abandon anything he began until it was entirely complete.
He established a character for punctuality and trustworthiness, while he
carefully looked after the interests of his employer. At the expiration
of his apprenticeship he came to London and worked for about two years
as a journeyman printer. He then settled in Nottingham, and commenced
business as a printer, bookseller, and newsagent.

It was at this time Mr. Ingram was struck with the evident partiality of
the public for _illustrated news_. He found such an extraordinary demand
for the numbers of the _Weekly Chronicle_ containing the engravings of
the Greenacre murder that he set seriously to work on the scheme of an
illustrated newspaper, and put himself in communication with Mr.
Marriott, who was then the manager of the _Weekly Chronicle_. But at the
outset it appeared impossible to overcome the difficulty of producing
pictures quick enough and in such numbers as would furnish forth a paper
while the news was fresh. In the gradual development of the first
illustrated newspaper it was, however, found that the draughtsmen and
engravers of the day were fully equal to the demands made upon them, and
a system of quick production was soon established which kept the paper
on a level with current events.

Mr. Ingram, who had settled in London before he started the _Illustrated
London News_, entered heart and soul into his new enterprise. He had
much to learn, and many things to do that were neither easy nor
pleasant, but he had the rare faculty of picking out the right men to
help him. It was his wise policy to employ the best talent, and in order
to have it to pay its possessor munificently. He was brought closely
into connexion with the artistic and literary world, by whom he was
sincerely respected, and with whom his dealings were uniformly marked by
kindness and liberality. Though he had not himself received the
advantages of literary or artistic culture, he was able to do much in
diffusing a knowledge and love of art amongst the people. His enterprise
helped to change the character of public taste, and allured it into
channels which were previously open only to the wealthy and the refined.
His practical knowledge as a printer and newsagent were of infinite
value in organizing and conducting the varied details of newspaper
business. He was ever on the watch, and made opportunities where other
men would have been indifferent and inactive. When a new Archbishop of
Canterbury was installed the number of the paper containing an engraving
of the ceremony was sent to every clergyman in England, and this was
followed by a large and permanent increase in the number of
subscribers--the first large rise in the sale since the paper began. At
a much later date--long after the paper had become firmly
established--the French authorities stopped the sale of the _Illustrated
London News_ in Paris on account of some article reflecting on the
Emperor Napoleon. Mr. Ingram happened to be in Paris at the time, and he
immediately showed that the old energy and perseverance of the
Nottingham newsvendor had not forsaken him. He used great exertions to
get the paper released, in which he at length succeeded, and he himself
afterwards went round in a cab and delivered the numbers to the various
subscribers. When he was at Nottingham he walked five miles (and of
course five miles back) to supply a gentleman with a single paper; and
on one occasion he got up at two in the morning, and travelled to London
to get some papers, the ordinary post not arriving soon enough to
satisfy the curiosity of his customers. His exertions were rewarded by
the sale of more than 1000 copies of that paper in Nottingham alone.
This was probably one of the occasions which struck him so forcibly when
the Nottingham public manifested such an eager interest in _illustrated
news_.

Throughout his life Mr. Ingram was devoted to the interests of his
native town, and in return the people of Boston, in 1856, elected him as
their representative in Parliament. At the general election which
occurred after the dissolution in 1857 he was returned again. Amongst
other social and political questions in which he took an active interest
he was prominent in the agitation for the repeal of the stamp duty on
newspapers. He also exerted himself zealously for the repeal of the
paper duty, but he died before that important movement was brought to a
successful issue. In 1848 Mr. Ingram started a cheap daily paper--the
_Morning Telegraph_--upon which he spent a large amount of money. He
was, however, before the time in this instance. The era of cheap daily
papers had not begun, and after a time the new speculation was
abandoned. He was one of the original shareholders of the _Great
Eastern_ steamship, and was on board the giant vessel when the accident
occurred on her trial trip from the Nore to Portland Harbour. It is a
remarkable circumstance that the dreadful catastrophe in which he lost
his life happened on the anniversary of this accident on board the
_Great Eastern_.

[Illustration: HERBERT INGRAM, FOUNDER OF THE 'ILLUSTRATED LONDON
NEWS.']

In 1860 Mr. Ingram visited America accompanied by his eldest son. They
left Liverpool in the _North American_ on the 9th of August, and landed
at Quebec in time to witness, after traversing the Lower St. Lawrence,
the knocking in of the 'last wedge' of the Victoria Bridge at Montreal
by the Prince of Wales. They then went on to Niagara, where they stayed
some days. From Niagara Mr. Ingram proceeded to Chicago, intending to
cross the prairies, and to follow the Mississippi to New Orleans, and
thence to New York, but more especially to Boston, which old
associations of history had determined him to make the conclusion of his
sojourn in the United States. He altered his plans, however, and decided
to visit Lake Superior, and to prolong his stay in America, proposing to
return to England about the end of October.

Mr. Ingram left Chicago at midnight on the 7th of September, accompanied
by his son, in the _Lady Elgin_ steamer, bound on an excursion up Lakes
Michigan and Superior. Nearly four hundred persons were on board. The
wind blew hard from the north-east, and a heavy sea was running, but no
one thought of danger, and there was music and dancing in the saloon.
Thirty miles from Chicago and ten miles from land, about two o'clock on
the morning of the 8th, there came a sudden crash. The schooner
_Augusta_, sailing at the rate of eleven knots an hour, had struck the
_Lady Elgin_ on the midships gangway, and then, having her sails set,
and the wind blowing freshly, drifted off in the darkness. At first it
was not thought that any serious damage had been done to the steamer,
but those on board soon found that she was settling fast. The captain
ordered parts of the woodwork of the vessel to be cut adrift to serve as
rafts, and made such other provisions as the hurry would allow. In less
than half-an-hour the hurricane deck floated off, and the hulk with the
machinery went to the bottom with a tremendous noise. When the vessel
parted all lights were extinguished, and the unfortunate passengers were
left struggling amid the waves in total darkness. The steamer sank in
three hundred feet of water, the sea was running high, and the land was
ten miles away. Some of those who survived to see the dawn were drifted
towards the shore on pieces of the wreck, and were drowned in the surf
in the sight of hundreds of spectators. Out of 393 persons on board
only 114 were saved. Among the drowned were Mr. Ingram and his son. The
body of Mr. Ingram was washed ashore about sixteen miles from Chicago,
and every effort was used to restore animation, but in vain. The body of
his son was never found.

The citizens of Chicago were profoundly impressed by the melancholy fate
of father and son, so far away from home and friends. Mr. Ingram's
remains were escorted from the Brigg's House Hotel to the railway
station by a procession of more than eight hundred of the British
residents in the neighbourhood. The body was taken to Quebec and
conveyed on board the _Bohemian_ steamer, which arrived at Liverpool on
the 2nd of October. From thence the remains were removed to Boston, and
interred in the new cemetery at Skirbeck, about a mile from the centre
of the town. On the day of the funeral all the shops and places of
business in Boston were closed, the inhabitants filled the streets and
followed the procession up to the gates of the cemetery. It was in every
sense a public funeral, and afforded the strongest testimony of the
respect in which the memory of the deceased was held by his
fellow-townsmen. Two years afterwards, on October 6th, 1862, a statue of
Mr. Ingram, raised by public subscription, was unveiled in the
market-place at Boston. The life that began in the quaint old
Lincolnshire town and ended amid the stormy waters of Lake Michigan, has
now an enduring memorial standing not far from the spot where Herbert
Ingram was born.

The _Illustrated London News_ no sooner became an assured success than
it was imitated. The _Pictorial Times_ was the first competitor that
entered the field, and a very strong literary staff was collected to
contend for the new path that had been opened. Douglas Jerrold wrote the
leading articles; Thackeray was critic and reviewer, in which capacity
he reviewed Macaulay's _Essays_ and Disraeli's _Coningsby_; Mark Lemon
was dramatic critic, Peter Cunningham art critic, while Gilbert
A'Beckett was the humorous contributor; the managing editor was Henry
Vizetelly, and Knight Hunt, author of the _Fourth Estate_, afterwards
editor of the _Daily News_, was the sub-editor. One man who has since
become famous as a journalist was amongst the artists employed on the
new paper. Those who only know Mr. George Augustus Sala as a brilliant
writer will be surprised to learn that he is also a facile draughtsman,
and was on the artistic staff of the _Pictorial Times_ in 1847. The
_Pictorial Times_ was continued for several years, but it never achieved
such a measure of success as to become permanently established. A story
used to be told in connexion with it which gave some countenance to the
popular belief that some of the sketches in illustrated newspapers were
evolved from the inner consciousness of the artists. I cannot answer for
the truth of the anecdote, but I know it served to amuse the world of
Bohemia at the time. When the Queen and Prince Albert went first to
Scotland, the newspapers in recording the movements of the royal party
related, among other things (quoting a Scottish contemporary), that Her
Majesty and the Prince had gone one day to 'see the shearing.' The
conductors of the _Pictorial Times_ seeing this, and being anxious to
present their readers with a perfect record of the royal doings,
forthwith set an artist to work to produce a pleasant pastoral scene,
with a group of shepherds _shearing their sheep_--not knowing that
'shearing' in Scotland means _cutting the corn_, and forgetting for the
moment that sheep-shearing is not usually done in the autumn.

Much energy and capital have been expended on several other attempts to
found pictorial journals in London, but most of them failed to secure a
profitable footing. _Pen and Pencil_ contained some capital cuts by
Linton; and the _Illustrated Times_, a threepenny paper, was well done.
The _Illustrated News of the World_, in addition to numerous woodcuts,
issued portraits engraved on steel. _The Ladies' Newspaper_ was started
to fill a supposed void in journalism, but was ultimately absorbed by
the _Queen_, in which connexion it still flourishes. The _Illustrated
Midland News_ was brought out in Manchester, but it could not find in
that city and its neighbourhood sufficient sustenance to subsist beyond
a brief period. The _Illustrated London and Provincial News_ in its
title endeavoured to attract both town and country, but it only had a
short career. While these different ventures were in progress, the
_Penny Illustrated Paper_ appealed to a lower stratum of the public with
great success, and it has now a very large sale, having combined the
_Illustrated Times_ with its original title. In some of these
enterprises the promoters appear to have been unable to shake off, in
choosing their titles, the fascinating influence of the word
'illustrated.' A joint-stock company broke the spell, and started a
paper with the very original title of the _Graphic_ on the eve of the
great war between France and Germany. It was a most favourable time for
establishing a new paper, and the conductors handled the opportunity
with great ability and success. The printing and general _get-up_ of the
_Graphic_ are excellent, and it has earned for itself a wide popularity.
The _Pictorial World_ was started as a threepenny paper, and after
existing several years at that price it became the property of a company
and was raised to sixpence. During the Egyptian War it made strenuous
efforts to obtain a footing on the same platform with the _Illustrated
London News_ and the _Graphic_. The large lithographic portraits
published by the _Pictorial World_ were very good. As the public taste
improved under the influence of the pictorial press new fields were
opened up for cultivation by the enterprising journalist. The
_Illustrated Sporting and Dramatic News_ addressed itself not only to
the sportsman and actor, but also to that section of the public which
finds amusement in the incidents and humours of the sporting world and
the stage. It has deservedly obtained a good position. The last new
comer on the journalistic stage is the _Ladies' Pictorial_, which has
recently been enlarged and greatly improved. Its light and elegant
contents are well suited to the tastes of its numerous patrons. All the
existing illustrated papers in London have their publishing offices in
the 'Line of Literature,' as Fleet Street and the Strand have been
called. In the streets and courts in the neighbourhood are housed
numbers of engravers and draughtsmen, who find it mutually convenient to
work in the vicinity of the head-quarters of pictorial journalism. Many
of the same fraternity consume the midnight oil in distant suburbs,
their work gravitating to the great centre in the morning.

All the countries of Europe, the United States, some of the cities of
South America, the Colonies of Canada and Australia, have now their
illustrated newspapers. Some of them supplement their own productions by
reproducing the engravings from the English papers, and many have
attained a high degree of artistic merit. The American journals are
especially noteworthy for their excellent engravings.

[Illustration]




CHAPTER IX.

  How an Illustrated Newspaper is
  Produced--Wood-engraving--Boxwood--Blocks for Illustrated
  Newspapers--Rapid Sketching--Drawing on the Block--Method of Dividing
  the Block for Engraving--Electrotyping--Development of the Printing
  Machine--Printing Woodcuts--Machinery for Folding Newspapers--Special
  Artists--Their Dangers and Difficulties--Their Adventures in War and
  Peace.


In describing the production of a modern pictorial newspaper, I take the
_Illustrated London News_ as the type of its class, because it was the
first paper of the kind that was ever established. The art of
wood-engraving, to which the illustrated newspaper owes its existence,
has been fully described by competent authors. The best work on the
subject is that produced by the late John Jackson in 1839; but since
that date the resources of the art have been greatly developed, chiefly
through the influence of illustrated newspapers.

The material used for wood-engraving is box-wood, which is preferred to
all other kinds of wood on account of its close grain, hardness, and
light colour. It admits of finer and sharper lines being cut upon it
than any other wood, and great quantities are consumed in producing the
engravings of an illustrated newspaper. According to Mr. J. R. Jackson,
Curator of the Kew Museum, the box-tree is at the present time widely
distributed through Europe and Asia, being found abundantly in Italy,
Spain, Southern France, and on the coast of the Black Sea, as well as
China, Japan, Northern India, and Persia. The box of English growth is
so small as to be almost useless for commercial purposes. What is called
Turkey box-wood is the best, and this is all obtained from the forests
that grow on the Caucasus, and is chiefly shipped at Poti and Rostoff.
The forests extend from thirty to a hundred and eighty miles inland, but
many of them are in the hands of the Russian Government and are closed
to commerce. Within the last few years a supply of box-wood has been
obtained from the forests in the neighbourhood of the Caspian Sea; but
Turkey box is becoming dearer every year and inferior in quality. After
the wood is cut in the forest, it is brought down on horseback to the
nearest river, put on board flat-bottom boats, and floated down to the
port of shipment. It arrives in this country either at Liverpool or
London, chiefly the former, and is usually in logs about four feet long
and eight or ten inches across.

[Illustration: BACK OF A BLOCK, SHOWING THE WAY IN WHICH THE PARTS ARE
FASTENED TOGETHER.]

The wood intended for engraving purposes is first carefully selected and
then cut up into transverse slices about an inch thick. After being cut,
the pieces are placed in racks something like plate-racks, and
thoroughly seasoned by slow degrees in gradually heated rooms. This
seasoning process ought to last, on an average, four or five years; but
the exigencies of trade seldom allow of so long a time. They are then
cut into parallelograms of various sizes, the outer portion of the
circular section near the bark being cut away, and all defective wood
rejected. These parallelograms are then assorted as to size, and fitted
together at the back by brass bolts and nuts. By this means blocks of
any size can be made, and they possess the great advantage of being
capable of being taken to pieces after a drawing is made, and
distributed among as many engravers as there are pieces in the block.
This invention of making bolted blocks was brought forward just about
the time the _Illustrated London News_ was started, when large blocks
and quick engraving came to be in demand. In the days of the _Penny
Magazine_, blocks were made by simply glueing the pieces of wood
together, or they were fastened by means of a long bolt passing through
the entire block.

The cut given on the opposite page represents the back of a half-page
block of the _Illustrated London News_, and shows the way in which the
bolts and nuts are used for fastening the different parts of the block
together.

For the production of a pictorial newspaper a large staff of draughtsmen
and engravers is required, who must be ready at a moment's notice to
take up any subject, and, if necessary, work day and night until it is
done. The artist who supplies the sketch has acquired by long practice a
rapid method of working, and can, by a few strokes of his pencil,
indicate a passing scene by a kind of pictorial shorthand, which is
afterwards translated and extended in the finished drawing. The sketch
being completed on paper, the services of the draughtsman on wood come
into requisition, for it is not often that the drawing on the block is
made by the same person who supplies the sketch. Sometimes the sketch to
be dealt with is the production of an amateur, or is so hastily or
indifferently done that it has to be remodelled or rearranged in drawing
it on the wood. Faulty or objectionable portions have to be left out or
subdued, and perhaps a point in the sketch that is quite subordinate, is
brought forward and made to form a prominent part of the picture. All
this has to be done without doing violence to the general truth of the
representation, and with due consideration for the particular conditions
of the moment, such as the amount of finish and distribution of light
and shade suitable for rapid engraving and printing.

[Illustration: FACSIMILE OF SKETCH: SURRENDER OF SEDAN.]

[Illustration: THE SURRENDER OF SEDAN. FROM THE 'ILLUSTRATED LONDON
NEWS,' SEPT. 17, 1870.]

An example of the adaptation of a rapid sketch occurs in the engraving
of the surrender of Sedan, published in the _Illustrated London News_,
September 17, 1870. This sketch, which carries with it the strongest
evidence of being taken 'under fire,' came to hand a few hours before
the engravings for the current week were to be ready for the printer.
The cream or heart of the sketch, representing an officer waving a white
flag over the gate of Sedan attended by a trumpeter, was taken for the
subject, while the comparatively unimportant part of the sketch was left
out. The drawing was rapidly executed and as rapidly engraved, and was
ready for press at the usual time. I give a reduced copy of the
engraving, together with a facsimile reduction of the original sketch,
which will show the reader the way in which hurried sketches are
sometimes adapted to the purposes of a newspaper without at all
impairing their original truth.

Sometimes more than one draughtsman is employed on a drawing where the
subject consists of figures and landscape, or figures and architecture.
In such a case, if time presses, the two parts of the drawing are
proceeded with simultaneously. The whole design is first traced on the
block; the bolts at the back of the block are then loosened, the parts
are separated, and the figure-draughtsman sets to work on his division
of the block, while another draughtsman is busied with the landscape or
architecture, as the case may be. Occasionally, when there is very great
hurry, the block is separated piece by piece as fast as the parts of the
drawing are finished--the engraver and draughtsman thus working on the
same subject at the same time. Instances have occurred where the
draughtsman has done his work in this way, and has never seen the whole
of his drawing together. The double-page engraving of the marriage of
the Prince of Wales in the _Illustrated London News_, March 21, 1863,
was drawn on the wood by Sir John Gilbert at 198 Strand, and as fast as
each part of the drawing was done it was separated from the rest and
given to the engraver. Considering that the artist never saw his drawing
entire, it is wonderful to find the engraving so harmonious and
effective. Photographing on the wood is now in general use for
portraits, sculpture, architecture, and other subjects where there is a
picture or finished drawing on paper to work from.

The drawing on wood being completed, it passes into the hands of the
engraver, and the first thing he does is to cut or set the lines across
all the joins of the block before the different parts are distributed
among the various engravers. This is done partly to ensure as far as
possible some degree of harmony of colour and texture throughout the
subject. When all the parts are separated and placed in the hands of
different engravers each man has thus a sort of _key-note_ to guide him
in the execution of his portion, and it should be his business to
imitate and follow with care the colour and texture of the small pieces
of engraving which he finds already done at the edge of his part of the
block where it joins the rest of the design. The accompanying cuts
represent a block entire and the same subject divided.

[Illustration: A BLOCK BEFORE IT IS TAKEN TO PIECES.]

[Illustration: THE SAME SUBJECT DIVIDED.]

Though this system of subdividing the engraving effects a great saving
of time, it must be admitted that it does not always result in the
production of a first-rate work of art as a whole. For, supposing the
subject to be a landscape with a good stretch of trees, the two or three
engravers who have the trees to engrave have, perhaps, each a different
method of rendering foliage; and when the whole is completed, and the
different pieces are put together, the trees perhaps appear like a piece
of patchwork, with a distinct edge to each man's work. To harmonise and
dovetail (so to speak) these different pieces of work is the task of the
superintending artist, who retouches the first proof of the engraving
and endeavours to blend together the differences of colour and
texture. This is often no easy task, for the press is generally waiting,
and the time that is left for such work is often reduced to minutes
where hours would scarcely suffice to accomplish all that might be done.
Or the block to be engraved may be a marine subject, with a stormy sea.
In this case, like the landscape, two or three engravers may be employed
upon the water, each of them having a different way of representing that
element. Here it is even more difficult than in the landscape to blend
the conflicting pieces of work, and requires an amount of 'knocking
about' that sometimes astonishes the original artist. All this is the
necessary result of the hurry in which the greater part of newspaper
engravings have to be produced. When the conditions are more favourable
better things are successfully attempted, and of this the illustrated
newspapers of the day have given abundant proofs.

It is obvious that when a block is divided and the parts are distributed
in various hands, if any accident should occur to one part the whole
block is jeopardised. It is much to the credit of the fraternity of
engravers that this rarely or ever happens. I only remember one instance
of a failure of this kind within my own experience. An engraver of
decidedly Bohemian character, after a hard night's work on the tenth
part of a page block, thought fit to recruit himself with a cheering
cup. In the exhilaration that followed he lost the piece of work upon
which he had been engaged, and thereby rendered useless the efforts of
himself and his nine compatriots.

When the block is finished the parts are screwed together by means of
the brass bolts and nuts at the back of the block. It is then delivered
to the electrotyper, who first takes a mould of the block in wax, which
mould is then covered with a thin coating of blacklead, that being a
good conductor of electricity. The mould is then suspended by a brass
rod in a large bath filled with a solution of sulphate of copper and
sulphuric acid. A strong current of electricity, obtained from a
dynamo-electric machine close at hand, is conducted to the wax mould in
the bath and also to a sheet of copper which is placed near the mould.
The electricity decomposes the copper and deposits it in small particles
on the mould, on which a thin coating of copper is gradually formed,
producing an exact facsimile of the original engraved block. This copper
reproduction of the woodcut is filled in at the back with metal, mounted
on wood, and is then ready for the printer, who has his 'overlays' all
ready, and the business of printing begins.

There is nothing more wonderful in the history of printing than the
rapid development of the printing machine and the extraordinary increase
of its productive power. The ordinary press, though greatly improved,
was found quite inadequate to the demands made upon it; and, the
attention of practical men being directed to some more rapid means of
production, the steam printing machine was invented. As early as 1790
Mr. W. Nicholson obtained letters patent for a machine very similar to
those since in use; but it was not till 1814 that any practical use was
made of the steam printing machine. In that year a German named König
constructed a machine for the _Times_ newspaper, which worked
successfully; but, though highly ingenious, the machine was very
complicated, and it was soon superseded by the invention of Messrs.
Applegarth and Cowper, possessing several novel features. This machine,
again, was replaced by another where the type was arranged vertically.
Then came Hoe's American machines, and finally the Walter Press, the
principle of which last invention has, in the Ingram Rotary Machine,
been successfully applied to the printing of cheap illustrated
newspapers. By the old 'two-feeder' machines the engravings were printed
on one side of the sheet, and, by a second printing, the type on the
other side. They turned out 1500 impressions of the engravings in an
hour, while the type side was printed (by a six-feeder American machine)
at the rate of 12,000 impressions an hour. The _Penny Illustrated Paper_
is printed by the Ingram Rotary Machine at the rate of 6500 an hour. It
prints both sides of the sheet at once, cuts each number to its proper
size, folds it, and turns it out complete. It occupies no more space
than an ordinary perfecting machine, and only requires four men to
attend to it, while thirty men and five 'two-feeders' would be required
to do the same amount of work by the old system.

If a block be well engraved and carefully used in printing there is
practically no limit to the number of impressions that may be taken from
it. The blocks in the Christmas number of the _Illustrated London News_
of 1882 had 425,000 impressions taken from them, and they are still good
for a new edition of the like number.

After the paper is printed each sheet is neatly folded by folding
machines, which fold the entire edition in a few hours. One
double-action folding machine will fold fifty sheets in a minute. As it
is found that machinery for folding newspapers works much better at a
moderate speed, in the case of the Ingram Rotary Machine it has been
arranged in duplicate, so that each folder only works at half the speed
of the printing machine. The folding machine completes its work by
inserting the paper in its cover; but as the _Illustrated London News_
has not sufficient space for machines to carry out the whole of this
part of the business, a number of women and girls are employed, whose
nimble fingers supplement the work of the folding machines.

[Illustration: THE EVE OF A BATTLE: NEWSPAPER CORRESPONDENTS SLEEPING ON
THE FIELD.]

In these days of electric telegraphy Puck's notion of putting 'a girdle
round about the earth in forty minutes' is not so very far from being
realised. The London citizen as he sips his coffee at his villa in the
suburbs runs his eye over the pages of his morning paper, and reads of
events that took place yesterday many thousand miles away. Before he
starts for business he is informed of what is passing on every side of
the inhabited earth. This rapid transmission of intelligence is somewhat
damaging to the illustrated newspaper, for by the time it can publish
sketches of interesting events in far distant countries the freshness
of the news is gone, and the public mind is occupied with later
occurrences. Until some method is invented of sending sketches by
electricity the pictorial press must endure this disadvantage, but in
the meantime it spares no pains to overtake the march of events.
Wherever there is any 'moving accident by flood or field' the 'special
artist' of the illustrated newspaper is found 'takin' notes.' No event
of interest escapes his ever ready pencil. He undergoes fatigues,
overcomes formidable difficulties, and often incurs personal danger in
fulfilling his mission. On the eve of a battle he will sleep on the bare
ground wrapped in a blanket or waterproof sheet, and he will ride all
night through a hostile country to catch the homeward mail. He is
equally at home in the palace and the hovel, and is as ready to attend a
battle as a banquet. He thought nothing of stepping over to China to
attend the nuptials of the celestial Emperor; and on that occasion
extended his travels until he had completed the circuit of the globe,
winding up with a run on the war-path among the American Indians. He
assisted at the laying of the telegraph cable between Europe and
America, and diversified his labours, and showed the versatility of his
powers by taking part in an impromptu dramatic entertainment which he
and his comrades got up for the occasion, and which they appropriately
called 'A Cable-istic Extravaganza.' He was at the opening of the Suez
Canal, and he passed with the first railway train through the Mont Cenis
tunnel. In pursuing his vocation the special artist has to encounter the
perils of earth, air, fire, and water. Now he is up in a balloon, now
down in a coal-mine; now shooting tigers in India, now deer-stalking in
the Highlands. Dr. Schliemann no sooner announced that he had discovered
the site of Troy than the special artist was down upon the spot at once.
He is found risking his life in the passes of Afghanistan, and in
Zululand assisting at the defeat and capture of Cetywayo. Now he is at
the bombardment of Alexandria, and now facing the savage warriors of
the Soudan at El-Teb and Tamasi. At the present time (November, 1884),
he is on his way up the Nile with the expedition for the relief of
General Gordon at Khartoum, and he is in India with the Boundary
Commissioners exploring the dangerous passes of the Afghan frontier. In
peace or war the special artist pursues his purpose with stoical
self-possession in spite of cold, hunger, and fatigue.

[Illustration: A CABLE-ISTIC EXTRAVAGANZA, PERFORMED BY NEWSPAPER
CORRESPONDENTS ON BOARD THE _GREAT EASTERN_, AT SEA, JULY, 1866.]

The special artist may be said to have commenced his career with the
Crimean War. While the signs of the coming storm were yet distant the
_Illustrated London News_ sent the late Mr. S. Read to the expected
scene of action, and during the whole course of the war special artists
were on the shores of the Black Sea and in the Baltic to chronicle the
great events of the time. The world had scarcely forgotten Balaklava and
Inkerman when the war between Italy, France, and Austria broke out.
Solferino and Magenta were fought, Garibaldi conquered Sicily, and
wherever the interest was greatest there the special artist was found.
Special artists went with the contending armies when Denmark opposed
herself single-handed to the united forces of Prussia and Austria, and
delineated every important incident of the campaign. When the present
Emperor of Germany was crowned King of Prussia at Königsberg special
artists travelled to that ancient city to furnish sketches of the
ceremony. The gigantic civil war in America, and the brief struggle
between Prussia and Austria in 1866, gave active employment to the
special artist; and when a British force advanced into Abyssinia a
special artist was with that most romantic expedition, and sent home
numerous sketches of the remarkable scenery of the country, as well as
of all the principal events of the campaign. The assault on Magdala, the
dispersion of King Theodore's broken army, the customs and dwellings of
the people, were all noted and illustrated. When the great war of 1870,
between France and Prussia, broke out, the illustrated newspapers had
special artists on both sides, who encountered all sorts of hardships,
and passed through all kinds of adventures in fulfilling their duties.
Besides being frequently arrested as spies, and undergoing the
privations of beleagured places, they had also to run the risk of shot
and shell, and sometimes they were obliged to destroy their sketching
materials under fear of arrest. One of them was in custody as a spy no
less than eleven times during the war. The danger of being seen
sketching or found with sketches in their possession was so great that
on one occasion a special artist actually swallowed his sketch to avoid
being taken up as a spy. Another purchased the largest book of cigarette
papers he could obtain, and on them he made little sketches, prepared in
case of danger to smoke them in the faces of his enemies.

[Illustration: HEADQUARTERS OF SPECIAL ARTIST IN ASIA MINOR, 1877.]

[Illustration: ARREST OF NEWSPAPER CORRESPONDENTS AT METZ, DURING THE
FRANCO-GERMAN WAR.]

The following extract from a letter I received from a special artist
during the war, will give some idea of the trouble and danger of
sketching:--

'Of the trouble I have taken to get these sketches you can have no
conception. The plan I have been obliged to adopt is this. I walk about
quietly, apparently noticing only the goods in the shop-windows. When I
see anything, I make memoranda on small bits of tissue paper, perhaps in
a café, or while appearing to look at the water from the top of a
bridge, or on the side of an apple, with a big knife in my hand
pretending to peel it. These little mems I roll up into pills, place
them handy in my waistcoat pocket to be chewed up or swallowed if "in
extremis." When I get home at night, first making sure that I am not
overlooked by way of the window, I unroll these little pills, and from
those mems make a complete outline on a thin piece of white paper. Then
I paste these sketches face to face, trim the edges, and it looks like a
plain piece of paper, but hold it up to the light and the sketch shows.
So I make memoranda all over it,--the times of trains starting, prices
of articles, or extracts from newspapers. When I get to a place of
safety, I soak these pieces of paper in water, pull the sketches apart,
and from them have made the sketches I have forwarded to you. If I could
not get into a place of safety to make the sketches, I don't know what
I should do, in fact I don't think I could do anything, for I would not,
for any consideration _be found making a sketch, nor with a sketch in my
possession_; nor should I dare post a sketch at the "Bureaux de poste,"
but I might get it into a street box.'

Another special artist being at Metz, found himself in the midst of a
population infected with what he called the 'spy-fever.' About a dozen
English newspaper correspondents were there, and they became a united
body through persecution. There was always about a fourth of their
number in prison, and what most persons would have considered to be
clear evidence that they were not spies, was in the minds of the French
clear evidence that they were. If they were told that the correspondent
of an English newspaper could not possibly be a spy, the reply was that
that was just the character that a _cochon_ of a Prussian spy would
assume. The townspeople of Metz became quite wild when they heard of the
French defeats at Wörth and Forbach, and when they saw an artist
sketching the Emperor's carriage, they pounced upon him as a Prussian
spy, and he and his companions were marched off in custody, amid the
hootings of the mob. The following account of this affair is extracted
from the _Illustrated London News_ of August 20, 1870: 'Three of the
representatives of London papers, Mr. Simpson, Mr. Henry Mayhew and his
son, went to the railway station, having heard a rumour that the Emperor
was about to start for the front, and also that a train full of the
wounded was expected to arrive. At the station they met Mr. Stuart,
another newspaper correspondent, who had just come from Italy, having
travelled all night. They found the Emperor's carriage and horses
waiting to be forwarded by a train on the railway towards St. Avold. Our
artist thought it would be doing no harm to employ the few minutes of
his waiting at the station in making a slight sketch of the carriage and
horses, which might be useful as materials for an illustration of some
future scene where the same equipage might figure. He took a small
sketch-book and pencil out of his pocket and quickly finished this
little drawing. There was no attempt at concealment; he even showed his
sketch to one of the bystanders who was close to him, and who seemed to
watch his movements with some curiosity. Mr. Simpson then rejoined his
three English companions, but had scarcely done so before they were
surrounded by a large party of artillery soldiers, who wore undress
jackets and had not their arms with them. They were taken into custody,
each one placed between two soldiers, and thus were marched through the
streets of Metz to the Place de la Cathedral. A mob of people followed,
increasing as they went on, and reviling the foreigners as "Sacrés
Prusses," or "Cochons de Prusses," threatening vengeance upon them,
which might probably have been taken if their violence had not been
restrained by the presence of the soldiers. The whole party were then
brought into the guard-room, where several persons came forward as their
accusers to denounce them as spies of the enemy, lurking about Metz with
a hostile and insidious purpose. The chief evidence against one of them
was that he had bought three copies of a Metz local newspaper; another
was suspected because he had been seen four days successively in the
same café, "and always sitting in the same seat;" a third could be no
true man, because, while he said he belonged to a London paper, he
confessed that he had just come from Florence. The main charge against
Mr. Simpson was that he did not lodge at an hotel, but in a private
house. These particulars were repeated to the crowd outside, which
filled the whole Place, and was in a state of raging fury; till at last
the officers in charge made their appearance and commenced a more
regular examination. Our artist produced his passport, which was
approved as in due order; but his little sketch-book, with its scraps of
notes and bits of outline, seemed to contain matter for serious
investigation. In spite of his awkward and rather alarming position, he
was struck with the absurdity of viewing such innocent scrawls as proof
of heinous guilt. He endeavoured, however, with the assistance of Mr.
Mayhew, to explain what they were, and to persuade the officers that
they could do no harm. After a tedious detention, they were permitted to
write a note to a friend, who instantly went to the Provost-Marshal, and
at once got an order for their immediate release. Their private letters
and papers were examined. Several other persons, Frenchmen as well as
foreigners, including one who was the artist employed by a Paris
illustrated paper, were arrested at Metz on the same day; and more than
one of them suffered rough usage at the hands of the mob. On the next
day they were all ordered to leave the town.' The following is a
facsimile of the sketch that produced all this commotion.

[Illustration: THE EMPEROR'S CARRIAGE AT METZ.]

The same artist who made his sketches into pills, being at Bremerhafen,
found himself so watched and dogged by the police and others who had
observed he was a stranger, that he could not make the sketch he wanted.
After much walking about he at length returned to the place where he
desired to sketch, and sitting down at the edge of the harbour he began
to draw lines with his umbrella on the mud, as if in a fit of
abstraction, and soon had sketched in this way the principal points of
the scene before him. This he repeated several times, until the view
was fixed in his memory, when he retired to the railway-station, and
there, unobserved, committed the scene to his sketch-book. On another
occasion, in the neighbourhood of Mezières, he was driven at nightfall
to seek a lodging in a very lonely and villainous looking inn. The
occupants of the place looked upon him with evil eyes, and dreading lest
one more should be added to the numerous graves already near the
cabaret, he betook himself to a neighbouring wood, where he spent the
whole night surrounded by the carcases of dead horses. At Lyons he
penetrated into the theatre where the people were storing corn and flour
in anticipation of a siege. He had made some hasty notes in his
sketch-book, when he was observed and obliged to retreat, followed,
however, by several men. He had noticed an umbrella shop round the
corner in the next street, and into this shop he rushed, seized an
umbrella, opened it, and kept it expanded between himself and the door,
as if examining the quality of the silk, while his pursuers ran past,
when he demanded the price of the umbrella, paid the money, and walked
off, glad to escape at so small a cost. Sometimes his adventures had a
more amusing termination. When the spy-fever prevailed very strongly
both in France and Germany, he was one day looking into a shop-window
when he became conscious that he was watched by two officers. 'Now,'
thought he, 'I am in for it again, and shall certainly be arrested.'
This feeling was confirmed as one of the officers advanced towards him,
and raising his hand as if to seize him by the collar, addressed him
thus: 'Permit me, monsieur, to adjust the string of your shirt collar,
which has escaped from behind your cravat.'[1] This gentleman was
somewhat old-fashioned in his costume, and during his wanderings was
sometimes mistaken for a sea-captain. He had even received confidential
proposals to discuss the question of freight.

The _Illustrated London News_ had five artists in the field during the
Franco-German war: W. Simpson, R. T. Landells, G. H. Andrews, C. J.
Staniland, and Jules Pelcoq. From the fact of Landells being already
known to the Crown Prince of Prussia and several of his staff, it was
settled that his destination should be Germany, and I remember that
before his departure he expressed to me just the slightest shade of
discontent that he should be selected to go on what he thought would be
the losing side. He was destined, however, to be present at the
proclamation of the German Emperor in the palace of Versailles, and he
was one of the first to enter Paris after it capitulated to the German
army. Soon afterwards he very nearly experienced the unpleasant
consequences of being taken for a German spy. Landells himself was of a
dark complexion, and might very well have passed for a Frenchman, but on
the occasion referred to he was in the company of a brother artist (Mr.
Sidney Hall, of the _Graphic_), who, being fair, might easily be
mistaken for German. The excited mob of Paris had just vented their rage
on a suspected spy by drowning him in the Seine, and the two special
artists were loitering on the outskirts of the crowd, when Mr. Hall
imprudently took out his sketch-book, which was no sooner perceived than
a cry was raised of 'Prussian spy!' and they too would probably have
been pitched into the river had they not managed, with great difficulty,
to escape from the crowd.

[Illustration: NEWSPAPER CORRESPONDENTS ON THEIR WAY TO THE FRONT.
SISTOVA, 1877.]

When the German armies were closing round Paris M. Jules Pelcoq
consented to be shut up in the devoted city for the purpose of supplying
the _Illustrated London News_ with sketches. During the hardships of the
siege he was quite unable to obtain fuel to warm his apartment, and was
compelled to retire to bed, where, wrapped in a blanket, he finished up
the rough sketches he had made out of doors, which were then
photographed and sent off by balloons to London. These balloons were
regularly despatched during the prevalence of winds that would carry
them to the provinces unoccupied by the Germans. They were followed by
Prussian light cavalry as long as they were in sight, and some were
captured. Afterwards, as the city became more closely invested, and the
danger increased, the precaution was taken of despatching the balloons
at night, and the time fixed on was kept concealed from all save those
immediately concerned, in order to avoid, as far as possible, the
chances of its being communicated to the enemy, and thereby exposing the
aëronauts to the fiery rockets and other projectiles with which the
Germans were prepared to favour them. The railway-stations were
generally chosen as the starting-places, for they not only offered large
open spaces in which to fill the balloons, but, being situated away from
the centre of Paris, there was less risk, in ascending, of coming in
contact with buildings.

To provide against the loss of sketches so sent, photographic copies
were despatched by other balloons. In some cases two, and even three,
copies of the same sketch reached my hands by balloon-post during the
German investment of Paris. Considering the danger and difficulty of
this mode of communication, the intercourse between the _Illustrated
London News_ and its artist in Paris was kept up pretty regularly during
the whole siege.

[Illustration: SKETCHING UNDER DIFFICULTIES. HERZEGOVINA, 1876.]

The requirements of special artists when on the 'war path' vary
according to circumstances. Mr. Simpson, in France during the
Franco-German war, found no scarcity of food, but could seldom get a bed
to sleep in. On the other hand, Mr. Melton Prior, in South Africa and
other hot countries, found that he was never sure of obtaining either
food or drink. During the war in Herzegovina in 1876 the newspaper
correspondents had to rough it pretty considerably. Sometimes, when the
special artist got to a resting-place for the night, he would have to
work up his sketches by the light of a single candle, which he kept in
an upright position by holding it between his feet as he sat on the
ground, while the correspondent of a London 'daily' scribbled his notes
beside him. The difficulty of obtaining sleeping accommodation was
experienced by another artist in Servia, who was obliged one night to go
to rest in a sort of diligence or covered waggon which stood in the inn
yard. It was the only 'spare bed,' and the tired 'special' was very glad
to coil himself up within its recesses. These hardships, however, belong
to the past. Just as the combatants in modern warfare fight their
battles with the most scientific weapons, so the newspaper correspondent
now goes to the field armed with the latest appliances against cold,
fatigue, hunger, and thirst. He provides himself with an abundant
supply of tinned meats and champagne, plenty of clothing, the latest
improvements in saddlery; and when he arrives at the scene of action he
buys as many horses as he wants for himself and servants. Acting on the
experience of former campaigns, Mr. Prior was able in the Zulu War to
travel much more comfortably than any member of the staff, not even
excepting Lord Chelmsford himself. 'I had then no fewer than five
horses: two in the shafts of my American waggon, one for myself, one for
my servant, and one spare horse. I followed the army through all its
marches in my travelling carriage, and on the eve of the Battle of
Ulundi I was the only man who had a tent; all the others lay down in the
open.'

[Illustration: THE SPARE BED.]

While recording the progress of events--the deeds of war mingling with
the works of peace--the pictorial press is not unmindful of what is done
in the cause of humanity. One of the recent experiences of the special
artist was in making a journey across Siberia in search of the survivors
of the crew of the American exploring ship _Jeanette_. Mr. J. Gordon
Bennett, the proprietor of the _New York Herald_, having sent out a
commissioner to search for the missing expedition, he was joined by the
special artist of the _Illustrated London News_. They had before them
a journey of two or three thousand miles, and they travelled in one of
the covered sledges used in Siberia in the winter time. It was their
travelling carriage by day and their sleeping apartment at night.
Sometimes they had to turn out and defend themselves from the wolves
which followed them over the snowy waste. The artist on this occasion
was Mr. Larsen, of Copenhagen, who proved himself a first-rate special.

[Illustration: SPECIAL ARTIST'S TENT.]

When the effects of a deadly climate are added to the usual chances of
war, the courage and endurance of the newspaper correspondent are doubly
tried. The 'specials' of the principal London journals joined the
Ashantee expedition with as much alacrity as if they had been going to a
review in Hyde Park. Among them was Mr. Melton Prior, the artist of the
_Illustrated London News_, who landed at Cape Coast Castle before the
arrival of the British troops, marched with them to Coomassie, and
remained in that place till it was destroyed by the victors. But the
long march in such a climate had exhausted the strength of many, and the
special artist was among the number. On nearing Coomassie he could no
longer trust to his own unaided powers of locomotion, so he laid hold on
the tail of a mule which he saw ambling before him, and so was helped
forward. The gentleman who was riding the mule turned round, when it
proved to be Sir Garnet Wolseley himself, who, in answer to the
exhausted artist's apologies, good-humouredly told him to 'hold on!'

While coolness and courage are indispensable qualifications for the
special artist, if he can sometimes accomplish a little harmless
dissimulation he finds it very useful. In 1877, during the war between
Russia and Turkey, a special artist overcame the difficulties he
encountered in getting to the front by assuming the character of a
camp-follower, and professing to sell composite candles, German
sausages, Russian hams, dried fish, Dutch cheese, &c., and when passing
Cossacks became importunate they were propitiated with a candle or two,
a slice of cheese, or a packet of Roumanian tobacco. In like manner
the artist who went to the port of Ferrol to accompany Cleopatra's
Needle to London shipped on board the tug _Anglia_ as a coal-trimmer,
and signed the usual articles as one of the crew, there being no room
for passengers. After the successful voyage of the tug the artist left
her at Gravesend, being anxious to bring his sketches to head-quarters;
but until he was legally discharged from service he ran the unpleasant
risk of being taken up for absconding from his ship.

[Illustration: NEWSPAPER CORRESPONDENTS STARTING FOR SIBERIA.]

Not the least of a special artist's troubles is to get his sketches sent
home without loss of time. Mr. Simpson, who has had a large and varied
experience as a special artist, having been all round the world in that
capacity, gives it as his opinion that the first duty of a special
correspondent when he arrives at the scene of action is to find out the
post-office, if he happens to be in a part of the world where such a
civilised institution exists. He should take care to post all his
packets himself, and never trust to any one else. He says, 'In all my
various travels I never lost a packet but once, and that was during the
week's fighting at the time of the Commune in Paris. There were three
sketches in the packet. I was very dubious about letting them out of my
hands, but I had been all the week with the correspondent of the
_Times_, who had spent a considerable sum of money upon messengers to
get his letters taken through the lines outside Paris and off to London.
I ventured to let my packet go with his, thinking it was safe, but
neither of them ever reached their destination.' In connexion with this
subject I may quote the following story related by Mr. Prior to the
editor of the _Pall Mall Gazette_:--'I remember one time when I was
attached to Mehemet Ali's head-quarters in Bulgaria during the
Russo-Turkish war. The Turkish censor stopped no fewer than six weeks of
my sketches. Things were getting desperate. Our people were telegraphing
out to know whether I was alive or dead; and, finding that something
must be done, I determined to see the thing through or leave the camp.
It so happened that I had been the witness of some peculiarly
atrocious deeds perpetrated by Turks upon Bulgarians, so I set to work
and drew half-a-dozen faithful representations of the sufferings which I
had witnessed. Armed with these I went up to the censor's office and
asked that they might be stamped for transmission home. The censor
looked at the first and said it was ridiculous. Couldn't pass that; no
such atrocities had ever been committed; and so forth. The second was
condemned in the same way, and so on until the last was reached. When he
had rejected that also I said to him very deliberately, "You are going
to pass every one of these sketches!" "On the contrary," said he, "I am
going to tear them up." "If you do," said I, "I shall draw not only six
but twelve pictures worse than these, and send them home by my own
messenger." "I will have him arrested then," said the censor. "Very
well, then, in that case I shall leave the camp at once, and in London I
will draw twenty pictures all worse than these, and they will all be
published, so that people may see the real truth about how you are
behaving here." The censor, like a sensible man, saw that it was no use
carrying things with too high a hand, and came to terms. He admitted he
had stopped all my sketches, promised to do so no more, and I left him
with my atrocity pictures in my pocket, assuring him that the first
sketch of mine that he stopped again the whole series should go to
London by the next steamer. I never had any more trouble with him in
that respect, though he paid me out by having me arrested some months
later.'

[Illustration: CAMP OF THE 'TIMES' AND 'ILLUSTRATED LONDON NEWS''
CORRESPONDENTS ATTACKED BY WOLVES. BULGARIA, 1877.]

During the Franco-German War Mr. Simpson often proved the advantage of
his plan of always posting his sketches himself. At the fall of
Strasburg he was in the advanced trench when the white flag was
displayed from the tower of the cathedral. It was late in the evening
when he got home to bed, but he was up with the first streak of dawn
finishing his sketch of the historical event he had witnessed the day
before. He then walked five miles to General Werder's head-quarters to
post the sketch. He wasted no time in trying to get a horse or
carriage, in which he might have failed, nor would he trust the packet
to a messenger. He knew that the slightest delay would postpone the
publication of the sketch for a whole week. The sketch arrived in time,
as he had calculated, for the next publication, and he had the
satisfaction of knowing that on this occasion, as on many others, his
promptitude and energy had well served the interests of the journal he
represented.

[Illustration: NEWSPAPER CORRESPONDENTS' HUTS ON THE BATTLE-FIELD OF
KACELJEVO, 1877.]

A special artist has to encounter many troubles and vexations apart from
the dangers and difficulties of war time. When Mr. Simpson was at
Brindisi, on his way to the opening of the Suez Canal, wishing to sketch
the town and fortifications, he ensconced himself in a snug corner, well
sheltered from the 'Bora,' or cold wind that was blowing, and had
settled down comfortably to work, when he was interrupted by a man who
addressed him in Italian, a language Simpson did not understand. He,
however, made out that the man's 'padre' or master would not like
Simpson to be there; but the latter replied in plain English that he
cared nothing for his 'padre,' that he had the permission of the
Commandant to go where he pleased, and so he went on with his sketching.
After much unintelligible talk the man attempted to stop the sketcher's
view by standing between him and the town, but finding the sketching
went on just the same, he suddenly went away and then returned with a
gun, pointing it in a threatening manner towards Simpson, who thought
the gun was perhaps not loaded, or at all events that the man would
never be such a fool as to shoot him, so he merely gave a majestic wave
of his hand and went on with his work. The man's rage then increased to
such a degree that he seized the butt end of his gun, uttering a volley
of curses, and from the word 'testa' Simpson supposed the man wanted to
smash his head. However he never flinched, and the man, lowering his
gun, muttered something about the 'Cani,' and went off again. Presently
he returned dragging with him a huge dog. Simpson felt more afraid of
the dog than the man, but it turned out that the dog had more sense than
his master and refused on any terms to attack the artist. He bolted,
the man after him, and Simpson then armed himself with two stones in
case the attack should be renewed, resolving, like Tell when he devoted
one of his arrows to Gessler, that one stone should be for the dog and
the other for his oppressor. The man however could not get the dog to
return to the attack. He had exhausted the whole of his resources, and
was evidently astonished and annoyed to find he had failed to frighten
the artist, so he finished off with a torrent of curses and then
gradually calmed down. He remained watching the completion of the
sketch, and then obligingly favoured the artist with some criticisms on
his work. He pointed out that a ship in the harbour had been forgotten,
and could not understand that it had been purposely left out because it
interfered with one of the principal buildings. In this instance it was
perhaps best for both parties that they did not understand each other's
language; but the special artist is occasionally placed at a
disadvantage by not understanding the language of the country where he
happens to be. However it rarely leads to more than a temporary
embarrassment, and is often the cause of more amusement than vexation.
Mr. G. H. Andrews on one occasion desired to have a couple of eggs for
breakfast, but could not make the maid of the inn comprehend his
meaning. He tried all he knew of French, Flemish, and German, but the
girl shook her head. At length a bright idea struck the artist. He drew
from his pocket a pencil and note-book, and sketched a couple of oval
forms, meaning them for eggs, and explained by gestures that _that_ was
what he wanted. The girl's face brightened at once when she saw the
sketch, and with a nod of intelligence she tripped away. In a few
minutes she returned and presented the hungry artist with--_a pair of
spectacles!_

The late Mr. S. Read, who was one of the first special artists employed
on the pictorial press, travelled much abroad, yet he knew little or
nothing of any language save his mother tongue. Germany, Italy, Austria,
Spain, France, Belgium, Switzerland, were all visited by him, and he got
on very well without speaking the language of any of those countries. He
was a man of genial humour, accustomed to make the best of everything,
and not easily put out by trifles. He was once travelling in the south
of France when a fellow-passenger in the train accosted him in French,
and was much surprised to find he was not understood.

'Vat!' said the Frenchman; 'you travel and speak no French! Speak you
German?'

'No.'

'Nor Italian?'

'No.'

'Spanish?'

'No.'

'Ah, mon Dieu! you travel and speak noting!' and with a pitying grimace
and shrug of the shoulders he looked round at the other passengers.
Presently our artist took his revenge. As they were passing a town with
a ruined castle on a hill he said, with much fervour, addressing the
Frenchman,--

'How beautifully that old tower is relieved by the dark foliage! What a
splendid contrast is the cold grey of the hill behind! How harmoniously
the distance is blended with the middle distance, and the middle
distance with the foreground, by means of the bridge across the river!'
The Frenchman stared, stammered, and confessed he did not comprehend.

'What!' said our artist; 'you travel and do not understand English!'

'Ver leetle.'

'Do you speak Scotch?'

'Non, m'sieur.'

'Nor Irish!'

'Non.'

'Welsh?'

'Non.'

'Suffolk?'

'Non, non, m'sieur.'

With an exact imitation of the Frenchman's contemptuous shrug our friend
turned to their fellow-travellers amid the loud laughter of those who
understood the joke.

When the special artist exercises his vocation at home, though he lacks
the excitement of danger, he meets with many amusing incidents. An
artist who attended the meeting of the British Association at Lincoln
many years ago desired to sketch the house which was reputed to have
been the residence of John o' Gaunt, and asked the waiter at the hotel
if he could direct him to it. 'Johnny Gaunt, Sir?' said the waiter,
evidently puzzled; 'I don't know him, Sir, but I'll inquire.' In a few
minutes he returned and said he had inquired at the bar, but that no
such person as Johnny Gaunt resided thereabouts. Another, who was
something of a wag, was once making a sketch in the heart of St.
Giles's; there were no School Boards in those days, and numbers of idle
street boys surrounded our sketcher, performing all manner of
bewildering gymnastics. Not at all disturbed, however, he amused himself
by asking his young friends numerous questions, all of which were
answered with rapid pertness. At last he inquired of one active imp if
he could read. 'No, I can't read,' said the young gentleman, 'but I can
stand on my head and drink a quartern o' gin.'

The methods pursued by special artists in obtaining their sketches are
as various as the methods of painters in producing their pictures, or of
authors in writing their books. One man uses a very small sketch-book,
another prefers a large one, but they all require to supplement their
hurried sketches with marginal notes. When there is not time to sketch a
complete cow, it is good to write underneath the sketch, 'This is a
cow.' Many events have to be sketched that last only a few minutes, and
in such cases some little mistakes will occur even with old
practitioners. Literary correspondents are liable to the same
misfortune. At a certain royal marriage in St. George's Chapel, Windsor,
the Lord Chamberlain obligingly sent a gentleman to attend the members
of the press, and inform them as to the name and rank of the
distinguished guests as they entered the chapel. The correspondents
courteously allowed the artists of the pictorial press to take front
places, so that some of their number were unable to see what was going
on, and had to trust to their comrades for information. When the Duke of
A----, in full Highland costume, entered the chapel, there was a general
inquiry, 'Who is that?' 'That,' said the gentleman from the Lord
Chamberlain's department, 'is the Duke of A----, the great Mac Callum
More.' 'Who is it?' cried some of the gentlemen in the background, and
the name was passed on, but by the time it reached the outer fringe of
correspondents it was changed into 'The Duke of A---- with the Great
Claymore,' and under that style and title his grace's name figured in at
least one newspaper next day.

What may be called the shorthand notes for a sketch are sometimes
difficult to make out without explanation. On one occasion a sketch was
under consideration, when the editor made certain suggestions to the
artist, who was very good natured, and of a most pliant disposition. 'I
think, you know,' said the editor, 'if you were to add two or three more
figures in the foreground it would improve the composition and help to
detach the principal group from this windmill.' 'Well, the fact is,'
replied the artist, 'what you call a windmill I intended for a man on
horseback, but if you think it will come better as a windmill I'll alter
it with pleasure.'

[Illustration: THE SPECIAL ARTIST ON THE ROAD.]


FOOTNOTE:

  [1] This incident was illustrated in _Punch_, and lest I should be
    accused of using up old material, I must explain that the hero of the
    adventure, on his return to England, told the story to one of the
    _Punch_ artists, who made a sketch of the incident, which was
    afterwards published.




CHAPTER X.

  Artists who have assisted in founding the Pictorial Press--Sir John
  Gilbert, R.A., G. H. Thomas, and others--Wood-Engraving and its
  Connexion with the Pictorial Press--Other Methods of producing
  Illustrations--Wood-Engraving in England before and after Bewick's
  time--Its wide Diffusion owing to the kindred Art of Printing--The
  resources of the Art developed by Pictorial Newspapers--Conclusion.
  Newspapers a Necessity of Civilised Life--The _Acta Diurna_ of the
  Romans--Early Newspapers in Venice, Germany, and the Low
  Countries--List of Illustrated Newspapers published Abroad.


The establishment of the pictorial press as an English institution was
greatly aided by the active co-operation of many distinguished artists,
the very foremost in this connexion being Sir John Gilbert. Other Royal
Academicians and eminent painters have drawn on wood for the illustrated
newspapers, but Gilbert stands out pre-eminently the great popular
illustrator of the Victorian era. He it was who first gave a distinctive
character to the illustration of news. He seemed to possess an inborn
knowledge of the essentials of newspaper art, and could express by a few
freely drawn lines and touches the hurried movement of street crowds or
the state and dignity of Court ceremonies. Whether he had to draw a knight
in armour or a gentleman in a paletôt he did it in a way exactly suited to
rapid engraving and printing. The feeling which, in his pictures, makes
him delight in battle-fields, blazoned banners, velvet and gold, made his
drawings on wood brilliant in handling and always picturesque. It was most
fortunate that the commencement of his career was coincident with the
foundation of the pictorial press. William Harvey and other artists were
already in the field, but Gilbert's style was better adapted to newspaper
work. His quickness and versatility made him just the man that was
wanted. Harvey had drawn some of the subjects published in the _Observer_,
but his style was not suited to the illustration of current events.
Nothing came amiss to Gilbert, who supplied the pictorial press for twenty
years with a constant succession of effective drawings, embracing all
kinds of subjects, and he never failed in that most essential quality of a
newspaper artist--_punctuality_. It is as the popular illustrator that the
name of Gilbert stands at the head of that numerous band of artists who
contributed to the foundation of illustrated journalism in this country.

The late George H. Thomas was not less successful than Gilbert in the
spirit and vigour of his drawings. His bold and eminently artistic
pencil alternated with Gilbert's in portraying the exciting events
following the revolutionary period of 1848-49. His contributions to the
_Illustrated London News_ during the Crimean war were marked by great
force and truthfulness, and procured him the notice and patronage of her
Majesty Queen Victoria. Mr. Thomas's premature death in 1868 was a great
loss to the world of art in general, and to the pictorial press in
particular.

It is remarkable that many of our distinguished artists should have
begun their careers as engravers or draughtsmen on wood. The production
of works in black and white, whether as engravings or drawings, is no
doubt good artistic practice in the study of light and shade, and the
young artist who draws on wood as a means of helping him to live while
he is waiting for fame, is at the same time pursuing a useful branch of
his art education. Luke Fildes, A.R.A., Birket Foster, W. Small, R. C.
Woodville, C. Gregory, A.R.A., and many others began in this way, and
among deceased artists occur the names of S. Read, E. Duncan, and F. W.
Topham. The two last were both engravers. All these men have done good
work on the pictorial press, and some of them first won distinction
through its medium. Both the _Illustrated London News_ and the _Graphic_
may claim to have done good service to art and artists in this respect.
Their pages have always been open to young artists of ability, and while
they have helped forward struggling genius they have opened up new
sources of enjoyment to the general public.

The pictorial press has hitherto been mainly dependent on the art of
wood-engraving for its illustrations, but latterly several inventions
have been used, not unsuccessfully, in the production of blocks in
relief, to be printed in the same manner as woodcuts. The great
improvements that have been made in surface printing render it probable
that in the future these _process_ blocks may be extensively used in
illustrated newspapers. They are recommended by their cheapness and
rapid production; and as the intermediate process of engraving is
dispensed with, they retain the exact touch of the artist, and are not
liable to be mutilated by careless or hasty engraving. It may be said of
all these inventions, however, that they are best suited for slight
sketches, and should not be applied to the production of highly-finished
subjects. For the latter there is nothing better than a woodcut, which,
when well executed and carefully printed, has a richness superior to any
other method of engraving. But in the present day competition is so
great and the march of events is so rapid that cheapness and rapidity of
production will override artistic excellence, and _process_-engraving,
as it is called, will probably be the method adopted for the _daily_
pictorial press, the era of which is approaching.

Wood-engraving, as an art, scarcely existed in this country before the
time of Thomas Bewick. To him we owe its revival, and he was thus
indirectly concerned in the creation of the pictorial newspaper. Though
we have seen that the _Grub Street Journal_ and the _Observer_ on a few
occasions used copperplate illustrations, it is perfectly certain that
an illustrated newspaper, properly so-called, never could have existed
but for the art of wood-engraving. It was an essential agent in bringing
into life this novel offspring of the printing press, just as it
assisted in the birth of the old 'block books.' When Caxton brought the
art of printing into this country the woodcuts printed at his press were
probably executed by the printers whom he brought with him. His
successors illustrated their books in the same way, and even after
wood-engraving was practised in England as a distinct profession many of
the illustrations in books and pamphlets were the work of printers. When
something of superior design and finish was wanted, ready-made woodcuts
were procured from Nuremberg or Lyons, then the chief marts for such
productions. The blocks so obtained were sometimes used without much
regard to the book in which they were printed. Cuts originally designed
for an edition of _Ovid_ appeared in the Bible, and no notice was taken
of this mixture of sacred and profane things. Albert Dürer's influence
on the art of wood-engraving was very great, but it never extended to
this country. Hans Holbein, who came to England two years before Dürer's
death, made a few designs for the wood-engravers during his long
residence here. His transient use of the art, however, did not raise it
to a better condition, and printers continued to be the chief producers
of woodcuts. In the time of Queen Elizabeth there flourished a printer
and engraver of the name of John Day, who took for his mark an
emblematic device of the day-spring of the reformed religion, with the
motto, 'Arise, for it is Day.' The best illustrated books of that period
were produced by him. About this time the art was rapidly declining in
other countries, but in England it was in a better condition than at any
previous period. It soon, however, declined in this country also, but
was kept alive by Edward Kirkall, John Baptiste Jackson, and others,
until it was revived by Thomas Bewick.

The low condition of the art of wood-engraving in this country was
chiefly owing to the want of good designers, and it was not until a man
arose who possessed the power to _draw_ as well as to _engrave_ that an
English school of wood-engraving was created. Bewick possessed the
artistic faculty as a direct gift from nature; and though it was from
accidental circumstances that he was led to exercise this innate power
in drawing and engraving on wood, he soon discovered of what the art was
capable, and devoted his chief attention to it. He drew such things as
he understood and had studied from nature, and thoroughly comprehending
the scope and power of wood-engraving, he was able, with little labour,
to produce the best results.

At the time of Bewick's death, in 1828, England had scarcely recovered
from the exhausting wars of Napoleon, trade was stagnant, and taxation
was heavy. The mass of the people had no money to spend on such luxuries
as illustrated books, and the enterprise of publishers was confined to
the production of the well-known 'Annuals' of that day; but they were
illustrated with steel engravings, and were only purchased by the
wealthier classes. Such works as _Robinson Crusoe_ and the _Pilgrim's
Progress_, for which there is always a demand, were illustrated by
Cruikshank and Harvey. There was _Northcote's Fables_, on which all the
best engravers of the day were employed; but it was not until the
Society for the Diffusion of Useful Knowledge began its operations, and
Charles Knight took the lead in illustrated literature, that
wood-engraving began to be extensively used. The art was so little known
that when the woodcuts of the _Penny Magazine_ began to attract
attention a nobleman of that day spoke of them as the productions of a
new art. Illustrations were so seldom used that the preparation of even
a small woodcut was of much moment to all concerned. I have heard the
late William Harvey relate that when Whittingham, the well-known
printer, wanted a new cut for his 'Chiswick Press' series, he would
write to Harvey and John Thompson, the engraver, appointing a meeting at
Chiswick, when printer, designer, and engraver talked over the matter
with as much deliberation as if they were about to produce a costly
national monument, and after they had settled all points over a snug
supper, the result of their labours was the production, months
afterwards, of a small woodcut measuring perhaps two inches by three. At
this time only about a dozen persons, besides Bewick's pupils, were
practising the art of wood-engraving in England, and in France the art
was so low that a few years later the blocks for the _Magazin
Pittoresque_ were sent from Paris to London to be engraved. In Germany,
the cradle of the art, it languished as in other countries, while in
America, a country which is now taking a leading part in the cultivation
of wood-engraving, the art was almost unknown as a native production. It
is now in use all over the civilised world, and there is scarcely a
capital city without its newspaper illustrated with woodcuts. It has
even penetrated to the sunless regions of ice and snow. In the Library
of the South Kensington Museum there is a book with illustrations drawn
and engraved on wood by Esquimaux!

The cause of this wide diffusion and extended employment of the art of
wood-engraving is undoubtedly its close alliance with the kindred art of
printing. No other method of engraving lends itself so easily to the
rapid productions of the printing-press. From the earliest days of
printing the two arts have advanced hand in hand, aiding in the growth
of knowledge and the spread of civilisation. The application of steam to
the art of printing revolutionised the world of typography, and
wood-engraving was not slow in adapting itself to the new conditions.
The advancing spirit of education created a demand for cheap knowledge.
Penny magazines and pictorial newspapers came into existence. The steam
printing-press spread them far and wide, and wood-engraving since the
time of Bewick has shown that it possesses capabilities which that
genuine old artist would have rejoiced to behold.

In tracing the origin and progress of the pictorial press I have
confined my researches to British journalism, but the subject might be
widely extended. From the days of the _Acta Diurna_ of the Romans
something in the shape of a newspaper appears to have been a necessity
of civilised life. Soon after the invention of printing small
news-sheets appeared in various towns of Germany and in Venice. In the
Low Countries an illustrated war gazette was published as early as 1605.
It was called the _Niewetijdinghe_, and it was the precursor of the
_Gazette van Antwerpen_, which survived till 1805. During the Spanish
and Austrian rule in Belgium each town had its privileged newspaper. As
the printers of those days were well acquainted with the art of
wood-engraving, it is not unlikely that some of these early newspapers
contained illustrations. The earlier newspapers of Holland were chiefly
devoted to commercial intelligence, and afforded little scope for
illustration, but illustrated broadsides were not uncommon. In Germany
the first regular newspaper appeared in 1615, when the art of
wood-engraving had greatly declined; and when the physician Renaudot
started the first newspaper in France, in 1631, if the idea of
illustrating it had occurred to him he would have had to rely on his
printer for the production of the woodcuts. As, however, the low
condition of illustrative art in the seventeenth century did not deter
English printers of 'News-books' from seeking such pictorial aid as they
could obtain, it is highly probable their Continental brethren did the
same, however insufficient might be the means at their command.

When the history of our own age comes to be written the pictorial
newspapers will form an inexhaustible store-house for the historian. The
following list of cities in Europe, America, and the English colonies,
with the names of the illustrated newspapers published by them, will
convey some idea of the extent to which pictorial journalism has spread
during the last forty years:--

PARIS:

  _L'Illustration._
  _Le Monde Illustré._
  _L'Univers Illustré._
  _La République Illustrée._
  _La France Illustrée._

BERLIN:

  _Deutsche Illustrirte Zeitung._

STUTTGART:

  _Uber Land und Meer._
  _Das Buch für Alle._

LEIPZIG:

  _Illustrirte Zeitung._

VIENNA:

  _Neue Illustrirte Zeitung._

MILAN:

  _L'Illustrazione Universale._
  _L'Illustrazione Italiana._

MADRID:

  _La Illustracion Espanòla._

BARCELONA:

  _La Illustracion Catòlica._

WARSAW:

  _Klosy._
  _Tycodnik Powszechny._

AMSTERDAM:

  _De Hollandsche Illustratie._

ST. PETERSBURG:

  _Universal Illustration._

COPENHAGEN:

  _Illustreret Tidende._

CHRISTIANIA:

  _Nu Illustreret Tidende._

NEW YORK:

  _Harper's Weekly._
  _Harper's Bazaar._
  _Frank Leslie's Illustrated Newspaper._
  _Spirit of the Times._
  _The Daily Graphic._
  _Illustrirte Zeitung_ (printed in German).

WASHINGTON:

  _Illustrated Washington Chronicle._

MONTREAL:

  _Canadian Illustrated News._
  _Le Monde Illustré_ (French).

SYDNEY:

  _Illustrated Sydney News._

MELBOURNE:

  _Illustrated Australian News._
  _Australian Sketcher._

MEXICO:

  _Revista Universal._

MONTEVIDEO:

  _La Illustracion Uruguaya._

RIO DE JANEIRO:

  _A Illustraçao._

CAPE TOWN:

  _South African Illustrated News._




THE END.


[Illustration]


London Printed by STRANGEWAYS AND SONS Tower Street Upper St Martin's
Lane








