Jack Sheppard Of Spitalfields
Spitalfields’ most notorious son, Jack Sheppard, was born in Whites Row on 4th March 1702 and christened the very next day at St Dunstan’s in Stepney, just in case his infant soul fled this earth as quickly as it arrived. Unexceptionally for his circumstances and his time, death surrounded him – named for an elder brother that died before his birth, he lost his father and his sister in infancy.
When his mother could not feed him, she gave him to the workhouse in Bishopsgate at the age of six, from where he was indentured to a cane chair maker, until he died too. Eventually at fifteen years old, he was apprenticed to a carpenter in Covent Garden, following his father’s trade, but at age twenty he met Elizabeth Lyon, his partner in crime, at the Black Lion in Drury Lane, a public house frequented by criminals and the infamous Jonathan Wild, known as the “Thief-taker General.”
On the morning of 4th September 1724, at age twenty-two, Jack was to be hung at Tyburn for stealing three rolls of cloth, two silver spoons and a silk handkerchief. But instead of the routine execution of another worthless felon, London awoke to the astonishing news that he had escaped from the death cell at Newgate. With the revelation that this was the third prison break in months by the handsome boyish twenty-two year old Jack Sheppard, he flamed like a comet into the stratosphere of criminality – embodying the role of the charismatic desperado to such superlative effect that his colourful reputation for youthful defiance gleams in the popular imagination two centuries later.
In the Spring, he broke out through the roof of St Giles Roundhouse, tossing tiles at his guards. In the Summer, with his attractive companion Elizabeth, he climbed through a barred window twenty-five feet above the ground to escape from New Bridewell Prison, Clerkenwell. And now he had absconded from Newgate too, using a metal file smuggled in by Elizabeth and fleeing in one of her dresses as disguise. Sheppard was a popular sensation, and everyone was fascinated by the inexplicable mystery of his unique talent for escapology.
On 10th September 1724, Sheppard was rearrested after his break-out from Newgate and returned there to a high security cell in the Stone Castle, where he was handcuffed and fettered, then padlocked in shackles and chained down in a chamber that was barred and locked. Yet with apparent superhuman ability – inspiring the notion that the devil himself came to Sheppard’s assistance – he escaped again a month later and enjoyed a very public fortnight of liberty In London, eluding the authorities in disguise as a dandy and carousing flamboyantly with Elizabeth Lyon, until arrested by Jonathan Wild, buying everyone drinks at midnight at a tavern in Clare Market, Lincoln’s Inn Fields.
Back in Newgate – now the most celebrated criminal in history – hundreds daily paid four shillings to visit Sheppard in his cell, where he enjoyed a drinking match with Figg the prizefighter and Sir Henry Thornhill painted his execution portrait.
Two hundred thousand people turned out for Jack Sheppard’s hanging on 16th November, just two months since he came to prominence, and copies of his autobiography ghostwritten by Daniel Defoe were sold. Four years later, John Gay’s “The Beggar’s Opera,” with the character of Macheath modelled upon Sheppard and Peachum based upon his nemesis Jonathan Wild, premiered with spectacular success.
Biographical pamphlets and dramas proliferated, with Henry Ainsworth’s bestseller of 1839 “Jack Sheppard” – for which George Cruikshank drew these pictures – outselling “Oliver Twist.” Taking my cue from William Makepeace Thackeray, who wrote that, “George Cruikshank really created the tale and Mr Ainsworth, as it were, merely put words to it,” I have published these masterly illustrations here as the quintessential visual account of the life of Spitalfields’ greatest rogue.
And what was the secret of his multiple prison breaks?
There was no supernatural intervention. Sheppard had outstanding talent as a carpenter and builder, inherited from his father and grandfather who were both carpenters before him and developed during the six years of his apprenticeship in Covent Garden. With great physical strength and a natural mastery of building materials, he possessed an intimate understanding of the means of construction of every type of lock, bar, window, floor, ceiling and wall – and, in addition to this, twenty-two year old Jack Sheppard had a burning appetite to wrestle whatever joy he could from his time of splendour in the Summer of 1724.
Mrs Sheppard refuses the adoption of her little son Jack
Jack Sheppard exhibits a vindinctive character.
Jack Sheppard committing the robbery in Willesden church.
Jack Sheppard gets drunk and orders his mother off.
Jack Sheppard’s escape from the cage at Willesden.
Mrs Sheppard expostulates with her son.
Jack Sheppard and Blueskin in Mr Wood’s bedroom.
Jack Sheppard in company with Elizabeth Lyon escapes from Clerkenwell Prison.
The audacity of Jack Sheppard.
Jack Sheppard visits his mother in Bedlam.
Jack Sheppard escaping from the condemned cell in Newgate.
The first escape.
Jack Sheppard tricking Shortbolt, the gaoler.
The second escape.
Jonathan Wild seizing Jack Sheppard at his mother’s grave in Willesden.
Jack Sheppard sits for his execution portrait in oils by Sir James Thornhill – accompanied by Figg the prizefighter (to Jack’s right), John Gay, the playwright (to Jacks’s left), while William Hogarth sketches him on the right.
Jack Sheppard’s irons knocked off in the stone hall in Newgate.
Jack Sheppard of Spitalfields (Mezzotint after the Newgate portrait by Sir James Thornhill, 1724) – “Yes sir, I am The Sheppard, and all the gaolers in the town are my flocks, and I cannot stir into the country but they are at my heels baaing after me…”
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So Long, Angela Flanders
Today I publish Kate Griffin’s profile of Angela Flanders as a tribute to a celebrated perfumer who practised in the East End for thirty years and died on 26th April.
Angela Flanders
There is something magical about Angela Flanders‘ secret workshop. Her little room in Bethnal Green is lined with bottles full of scented oils, the contents of each one carefully inscribed in silver ink. It does not take a huge leap of imagination to see Angela as a modern-day alchemist, mixing potions and precious substances together until they are transmuted into something miraculous.
Small and neat with bright grey eyes and an inquisitive – almost academic – spirit, she could easily have been transported back in time into the orbit of Spitalfield’s most famous herbalist Nicholas Culpeper. She referred to her bottles of essential oils as “my library of ingredients.” The air of Angela’s workroom – a private, experimental space – was heady with the scent of flowers, spices and resins from all over the world. If you could capture it in a bottle, you could almost carry the globe in your pocket.
She surveyed the bottles and vials lined up on the shelves behind her. “I don’t think you could call what I do remotely conventional or scientific, I just follow my instincts. Sometimes I spend the whole day here mixing and trying different combinations to see what happens. I always start with the base notes because an old ‘nose’ in France once told me: ‘You wouldn’t build a house from the roof down; you must always start with the foundations’. So that’s what I do”.
“I play with layering separate ingredients here in the workshop, other times I’ll carry the idea of a scent around with me for several days, wondering where to take it. Then something pops into my head – a new ingredient to add to the mix that blends and lifts. Usually those flashes are absolutely right. To be honest, I don’t know why it works, but I think it must be a happy combination of instinct, inspiration and experience.”
She smiled, “I suppose you could relate it to good food? I think it’s a little bit like that programme Ready Steady Cook where people brought a bag full of the most unlikely ingredients to the TV studio and a chef would produce something mouth-watering. Creating perfume is similar – you develop an olfactory palette.”
Angela has been based in Columbia Rd since 1985 and, appropriately, given that London’s best-loved flower market is on her doorstep, for much of that time, she has worked with scent. When she first found her premises – a former shoe shop dating from around 1850 – it had been closed up and forgotten for 25 years. “We had to get a locksmith to let us in,” she recalls, “It was in quite a state. The roof was shot and there was a terrible smell, but it was full of all its original features and I was determined to keep as much as I could. I saw it as somewhere in need of care and attention. I fell in love with it.”
I was fascinated to learn that The Society for the Protection of Ancient Buildings where I work, was Angela’s first port of call – nearly thirty years ago – when trying to find information about the right things to do to care for her lovely old premises
“The walls were painted a dark blue-grey and I wanted to keep it,” she explains, “I wasn’t sure what to do, but SPAB advised me to leave the paintwork alone and to simply scrub it, wash it down and then wax-polish it. So that’s exactly what I did and it brightened up beautifully.”
Initially, Angela intended to run her own decorative paint business from Columbia Rd. A graduate of Manchester School of Art, she worked in theatre design and as a costume designer at the BBC. Subsequently, she attended courses in Interior Design at the Inchbald School and at Hackney Building College and her plan was to work primarily with furniture. But remember that “terrible smell” mentioned earlier? It was finding something to remedy the problem that set Angela on the perfume trail. She began to buy and then to make her own pot pourri, using essential oils and dried flowers – and people liked what she made.
“It was something that just grew,” she says, “I suppose I loved doing it because I’d always enjoyed making things and transforming things. With the pot pourris I think I was enjoying conjuring up atmospheres for rooms – scents that might suggest the past or a mood. At first I’d go to Spitalfields Market and buy the odd box of flowers and I’d dry them out by hanging them all round this building. Then I went to Covent Garden and bought a few more things from a merchant and within a year the business had expanded so much that I was taking in van-loads of flower deliveries. It was then that I realised that I couldn’t take on any more furniture commissions, because this was clearly the right thing to do.”
The perfume business was a direct result of Angela’s early experiments with essential oils and dried flowers. “I’ve got this theory that if you are on the right path people help you and that certainly happened to me,” Angela confided.
Sometimes assistance came out of the blue. “It was odd,” she said,“One day I was in an antiques shop and I felt myself guided, literally, to the back shelf where there was a book by a nineteenth century perfumer called Septimus Piesse. It’s mainly him holding forth on scent and his opinions and it includes some of his formulas too, one of which I have used. It has become one of my bibles.”
Although she readily admitted that she was entirely self-taught, perfumes by Angela Flanders have won international acclaim. Precious One – a rich floral created to celebrate the fifth anniversary of her daughter Kate’s elegant boutique, Precious in Artillery Passage – wafted off with the award for Best New Independent Fragrance at the annual Fragrance Foundation Awards Ceremony. Known as the Fifis, this is the scent industry equivalent of the Oscars. The decision, based on a blind ‘nosing’ by eminent fragrance writers and journalists was unanimous and Angela was clearly delighted by her success. “We didn’t for a moment think we would win, because we were up against such stiff competition. It was marvellous.”
Intriguingly, since working with scent, she discovered that the East End has a history of perfume manufacture. Essential oil distillers Bush, Boake & Allen traded from premises near Broadway Market and today, the offices of Penhaligons are situated near Artillery Passage, Spitalfields, where Angela’s second shop is situated just along from her daughter’s.
“There’s a strong tradition of perfume making in this part of London. In fact, historically, a lot of the scents made here were sold in the City and in the West End.” She grinned ruefully. “That’s the old story, isn’t it? The West End made its money off the talents of the East End, but it’s always been true. Think of the furniture makers, the gilders and the wood carvers who worked here for generations – all of them making a living as artisan craftsmen. I like to think that’s what I do – make things.”
When Angela moved into Columbia Rd she was in the vanguard of the new wave of small artisan businesses that now make it such a destination. “The flower market had flourished for one hundred and fifty years when we arrived, but it was a very different place then. At the time, as well as me, there was Jones’ Dairy, a deli and the Fred Bare hat shop. But slowly, slowly it took off. Someone once said to me, ‘If you can run a shop in Columbia Road, you can run a shop anywhere.’ I think that’s quite right!”
Angela paused and looks at the glittering bottles surrounding around us in her shop. The colours of the liquids range from pale greens and delicate aqua shades to the deep golden tones of the darker woody fragrances that have become an Angela Flanders signature.
After a moment she nodded and continued. “I also think I’m very lucky because I don’t have to satisfy the concerns of the big companies. I can play, I can have fun and I can make very small amounts of a scent. Being tiny, you can afford to be brave! Very often perfumers are forced to work to a commercial brief and it can be difficult for them. I’m not bound by that – I can explore and I treat myself to that freedom every day. Really, I just pootle along here in Bethnal Green and it’s wonderful.”
Angela Flanders and her daughter, Kate Evans.
Photographs copyright © Jeremy Freedman
Angela Flanders, 96 Columbia Rd (Sunday only, 10am to 3pm) & 4 Artillery Passage (Monday to Friday 11am to 6.30pm)
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An Audience With Viscountess Boudica
The Gentle Author interviews Viscountess Boudica, Trendsetter of Bethnal Green and one of the East End’s most cherished personalities, on 23rd May at 7pm Monday at The Society Club, 3 Cheshire St, E2 6ED. Click here for tickets
This is your chance to meet Viscountess Boudica in person over cocktails at The Society Club as she gives a rare public appearance in Spitalfields, telling her life story to The Gentle Author and answering questions from the audience.
Celebrated for her colourful outfits, her historic collection of domestic appliances, her devotion to seasonal festivals and her phenomenal art work, the Viscountess is also a formidable raconteuse with candid and amusing tales to tell of her astonishing experiences.
Be sure to follow Viscountess Boudica’s blog There’s More To Life Than Heaven & Earth
Take a look at
Viscountess Boudica’s Domestic Appliances
Viscountess Boudica’s Halloween
Viscountess Boudica’s Christmas
Viscountess Boudica’s Valentine’s Day
Read my original profile of Mark Petty, Trendsetter
and take a look at Mark Petty’s Multicoloured Coats
Microcosm Of London, 1809
Billingsgate Market
(click on this plate or any of the others to enlarge and examine the details)
In 1897, Charles Gosse, Archivist at the Bishopsgate Institute, was lucky enough to buy a handsome 1809 edition of Thomas Rowlandson & Augustus Pugin’s ‘Microcosm of London’ from Quaritch booksellers in Piccadilly with just one plate missing, yet it took him until 1939 to track down a replacement to fill the gap and complete his copy – and the single plate cost him more in 1939 than the entire three volumes in 1897. Then the volumes were stolen in the nineteen-eighties but, thankfully, returned to the Bishopsgate years later as part of Operation Bumblebee, tracking art thefts back to their owners – and just waiting on the shelf there for me to come upon them.
Augustus Charles Pugin, the architectural draftsman (and father of Augustus Welby Pugin who designed the Palace of Westminster) had the idea to create a lavish compendium of views of London life but it was the contribution of his collaborator Thomas Rowlandson who brought another dimension, elevating these images above the commonplace. While Pugin created expansive and refined architectural views, Rowlandson peopled them with an idiosyncratic bunch of Londoners who take possession of these spaces and who, in many cases, exist in pitifully unsentimental contrast to the refinement of their architectural surroundings.
How very pleasant it is to be a tourist in the metropolis of 1809, thanks to the magnificent plates of the ‘Microcosm of London.’ Here are the wonders of the capital, so appealingly coloured and so satisfyingly organised within the elegant classical architecture that frames most social activity, while also conveniently ignoring the domestic reality of the greater majority of the populace.
In only a few plates – such as Carlton House and the House of Commons – does Thomas Rowlandson submit to the requirement of peopling these spaces with slim well-dressed aspirational types that we recognise today from those familiar mock-ups used to sell bad architecture to the gullible. Yet the most fascinating plates are those where he has peopled these rationally conceived public spaces with the more characterful and less willowy individuals who illustrate the true diversity of the human form, and he satisfies our voyeuristic tendencies by celebrating the grotesque and the theatrical. In Billingsgate Market, Rowlandson takes a composition worthy of Claude and peoples it with fishwives fighting, revealing affectionate delight in the all-too familiar contrast exemplified by aspirational architecture and the fallibility which makes us human.
While the first impression is of harmony and everyone in their place – whether it be church, masquerade, asylum, theatre, prison or lecture hall – examining these pictures close-up reveals the genius of Thomas Rowlandson which is unable to resist introducing grotesque human drama or adding comic specimens of humanity to these idealised urban visions. Just like an early nineteenth century version of ‘Where’s Wally?’, Rowlandson implicitly invites us to seek the clowns.
Even if in some plates, such as the Drawing Room in St James, he appears to acquiesce to a notion of mannequin-like debutantes, Rowlandson more than makes up for it at the Bank of England where – surprise, surprise – the buffoons take centre stage. Spot the duffer in a stripy waistcoat with a girl on each arm in Vauxhall Gardens, or the dolts all robed up in coats of arms at Herald’s College, or the Masquerade where – as characters from Commedia dell’Arte – the funsters seem most in their element.
Meanwhile at the Post Office, in cubicles not so different from those in call centres of our own day, clerks are at work in identical red uniforms which deny them the individuality that is the vain prerogative of the rich in this vision of London. Equally, at the asylum nobody gets to assert themselves, while the prison inmates are diminished both in size and colour by their environment.
In the ‘Microcosm of London,’ Augustus Pugin portrayed an architect’s fantasy vision of a city of business, of politics, of religion, of education, of entertainment, of punishment and reward, but – thankfully – Thomas Rowlandson populated it with life.
Fire in London – the dreadful fire which took place on 3rd March 1791 at the Albion Mills on the Surrey side of Blackfriars Bridge. We have selected this from many objects of a similar nature which frequently occur in this great metropolis, because the representation afforded an opportunity of a more picturesque effect, the termination of the bridge in front and St Paul’s in the background contribute interesting parts to a representation which is altogether great and awful.
Pillory, Charing Cross. A place chosen very frequently for this kind of punishment, probably on account of its being so public a situation. An offender thus exposed to public view is thereafter considered infamous. There are certain offences which are supposed to irritate the feelings of the lower classes more than others, in which case a punishment by Pillory becomes very serious.
Guildhall. Examination of a bankrupt before his creditors, Court of King’s Bench Walk. The laws of England, cautious of encouraging prodigality and extravagance allow the benefits of the bankruptcy laws to none but the traders. If a trader is unable to pay his debts it is misfortune and not a fault.
Leaden Hall Market is a large and extensive building of considerable antiquity, purchased by the great Whittington in 1408 and by him presented to the City.
Astley’s Amphitheatre. Mr Rowlandson’s figures are here, as indeed they invariably are, exact delineations of the sort of company who frequent public spectacles of this description. With respect to teaching horses to perform country dances, how far thus accomplishing such an animal renders him more happy or a more valuable member of the horse community is a question I leave to be discussed by the sapient philosophers.
Bartholomew Fair, a spirited representation of this British Saturnalia. To be pleased in their own way, is the object of all. Some hugging, some fighting, others dancing, while many are enjoying the felicity of being borne along with the full stream of the mob.
Bow St Office, giving an accurate representation of this celebrated office at the time of an examination. The police of this country has hitherto been very imperfect, until Henry Fielding, by his abilities, contributed the security of the public, by the detection and prevention of crimes.
Covent Garden Market. The plate represents the bustle of an election for Westminster. The fruit and vegetable market certainly diminishes the beauty and effect of this place as a square, but perhaps the world does not furnish another instance of another metropolis supplied with these articles in equal goodness and profusion.
Christie’s Auction Room. The various effect which the lot – A Venus – has on the company is delineated with great ability and humour. The auctioneer, animated by his subject, seems to be rapidly pouring forth such a string of eloquence as cannot fail to operate on the feelings of his auditors.
The House of Commons is plainly and neatly fitted up, and accommodated with galleries, supported by slender iron capitals adorned with Corinthian capitals, from the ceiling hangs a handsome branch.
Drawing from life at the Royal Academy, Somerset House
The College of Physicians. There is nothing remarkable in the interior of the building except the library and the great hall – which is handsomely represented in this print is a handsome well-proportioned room. The eager disputatious attitude of the figure which is represented as leaning forward in the act of interrogating the candidate, is finely contrasted with two figures on the right hand, one of whom seems to have gathered up his features in supercilious indifference.
Exhibition Room, Somerset House. It would not be easy to find ay other artist, except Mr Rowlandson who was capable of displaying so much separate manner in the delineations placed upon the walls and such an infinite variety of small figures, contrasted with each other in a way so peculiarly happy. To point out any number of figures as peculiarly entitled to attention, would be an insult to the spectator, as very many would necessarily be left out of the catalogue, and everyone of taste will discern them at a glance.
Pass-Room, Bridewell. An interesting and accurate view of this abode of wretchedness. It was provided that paupers, claiming settlement in distant parts of the kingdom should be confined for seven days, prior to being sent of their respective parishes. This is the room apportioned by the magistrate for one class of miserable females.
Royal Cock Pit. It is impossible to examine this picture with any degree of attention, and not enjoy the highest degree of satisfaction at this successful exertion of the artists’ abilities. The regular confusion which this picture exhibits, tells a tale that no combination of words could possibly have done so well.
The Hall, Carlton House. Conceived with classic elegance that does honour to the genius of the late Mr Holland who as the architect, the tout-ensemble is striking and impressive.
The Custom House, in the uppermost of which is a magnificent room running the whole length of the building. On this spot is a busy concourse of nations who pay their tribute towards the support of Great Britain. In front of this building, ships of three hundred and fifty tons burthen can lie and discharge their cargoes.
The Post Office
The Royal Circus
The Great Hall, Bank of England
Dining Room, Asylum
Royal Geographic Society
Drawing Room, St James
St Martin in the Fields
Pantheon Masquerade
King’s Bench Prison
Sadler’s Wells Theatre
Coal Exchange
Herald’s College
Surrey Institution
Fleet Prison
Watercolour Exhibition, Old Bond St
Drury Lane Theatre
Coldbath Prison
Hall and Staircase, British Museum
Common Council Chamber, Guildhall
Vauxhall Gardens
Images courtesy Bishopsgate Institute
A Night On Liverpool St Station
When I was callow and new to London, I once arrived back on a train into Liverpool St Station after the last tube had gone and spent the night there waiting for the first tube next morning. With little money and unaware of the existence of night buses, I passed the long hours possessed by alternating fears of being abducted by a stranger or being arrested by the police for loitering. Liverpool St was quite a different place then, dark and sooty and diabolical – before it was rebuilt in 1990 to become the expansive glasshouse that we all know today – and I had such an intensely terrifying and exciting night then that I can remember it fondly now.
Old Liverpool St Station was both a labyrinth and the beast in the labyrinth too. There were so many tunnels twisting and turning that you felt you were entering the entrails of a monster and when you emerged onto the concourse it was as if you had arrived, like Jonah or Pinocchio, at the enormous ribbed belly.
I was travelling back from spending Saturday night in Cromer and stopped off at Norwich to explore, visiting the castle and studying its collection of watercolours by John Sell Cotman. It was only on the slow stopping-train between Norwich and London on Sunday evening that I realised my mistake and sat anxiously checking my wristwatch at each station, hoping that I would make it back in time. When the train pulled in to Liverpool St, I ran down the platform to the tube entrance only to discover the gates shut, closed early on Sunday night.
I was dressed for summer, and although it had been warm that day, the night was cold and I was ill-equipped for it. If there was a waiting room, in my shameful fear I was too intimidated to enter. Instead, I sat shivering on a bench in my thin white clothes clutching my bag, wide-eyed and timid as a mouse – alone in the centre of the empty dark station and with a wide berth of vacant space around me, so that I could, at least, see any potential threat approaching.
Dividing the station in two were huge ramps where postal lorries rattled up and down all night at great speed, driving right onto the platforms to deliver sacks of mail to the awaiting trains. In spite of the overarching vaulted roof, there was no sense of a single space as there is today, but rather a chaotic railway station criss-crossed by footbridges, extending beyond the corner of visibility with black arches receding indefinitely in the manner of Piranesi.
The night passed without any threat, although when the dawn came I felt as relieved as if I had experienced a spiritual ordeal, comparable to a night in a haunted house in the scary films that I loved so much at that time. It was my own vulnerability as an out-of-towner versus the terror of the unknowable Babylonian city, yet – if I had known then what I knew now – I could simply have walked down to the Spitalfields Fruit & Vegetable Market and passed the night in one of the cafes there, safe in the nocturnal cocoon of market life.
Guilty, and eager to preserve the secret of my foolish vigil, I took the first tube to the office in West London where I worked then and changed my clothes in a toilet cubicle, arriving at my desk hours before anyone else.
Only the vaulted roof and the Great Eastern Hotel were kept in the dramatic transformation that created the modern station, sandwiched between new developments, and the dark cathedral where I spent the night is gone. Yet a magnetism constantly draws me back to Liverpool St, not simply to walk through, but to spend time wondering at the epic drama of life in this vast terminus where a flooding current of humanity courses through twice a day – one of the great spectacles of our extraordinary metropolis.
Shortly after my night on the station experience, I got a job at the Bishopsgate Institute – and Liverpool St and Spitalfields became familiar, accessed through the tunnels that extended beyond the station under the road, delivering me directly to my workplace. I noticed the other day that the entrance to the tunnel remains on the Spitalfields side of Bishopsgate, though bricked up now. And I wondered sentimentally, almost longingly, if I could get into it, could I emerge into the old Liverpool St Station, and visit the haunted memory of my own past?
A brick relief of a steam train upon the rear of the Great Eastern Hotel.
Liverpool St Station is built on the site of the Bethlehem Hospital, commonly known as “Bedlam.”
Archive images copyright © Bishopsgate Institute
Punch & Judy In Covent Garden
One of my favourite annual events in London is the Punch & Judy Festival which is always held on the second Sunday in May at the churchyard of St Paul’s Covent Garden. Here I have supplemented my account with Henry Mayhew’s interview with a Punch & Judy man from the nineteenth century.
Carmen Baggs with figures made by her father
On 9th May 1662, Samuel Pepys wrote in his diary “Thence to Covent Garden… to see an Italian puppet play that is within the rayles there, which is very pretty, the best that ever I saw, and a great resort of gallants …” It was the first record of a Punch & Judy show in London and, as a consequence, May 9th has become celebrated as Mr Punch’s birthday – when the all Punch & Judy “professors” gather each year upon the leafy green behind the church.
After an early morning shower on the day of my visit, the sun broke through to impart a lustre to the branches of may blossom growing in the churchyard, which create an elegant foliate surround to the freshly sprouting lawn, where the Punch & Judy booths were being assembled as the centrepiece of the Covent Garden May Fayre. As they set up their booths, the professors were constantly interrupted by the arrival of yet another member of their clan, and emotional greetings were exchanged as they reunited after another year on the road. Yet before long, a whole line of booths encircled the lawn and vibrant red stripes filled my vision whichever direction I chose to turn.
Peter Batty, a Punch & Judy professor of forty years, who has been coming here for thirty years, could not help feeling a touch of melancholy in the churchyard in spite of the beauty of the morn. “We go from one box to another,” he said, reaching up with the hand that was not holding Mr Punch to touch his booth protectively, and recalling those professors who will not be seen upon this green again. “I think of Joe Beeby, Percy Press – the first and the second, Hugh Cecil and Smoky the Clown,” he confided to me regretfully – “People keep getting old.”
Yet Peter works in partnership with his youthful wife, Mariake, and their fourteen year old son, Martin, who is just starting out with his own shows. “It’s such a lovely way of life, we’re really lucky when so many people have to do proper jobs, and it’s a brilliant way to bring up children.” she assured me, cradling Judy, while Martin nodded in agreement, holding the Policeman. “We play together and have a fantastic time – it suits us very well and it’s completely stress free.” she declared. They were an appealing paradox, this contented family who had found happiness in performing Mr Punch and his bizarre drama of domestic violence.
“I was just a bored housewife,” recalled Mrs Back to Front, a lively Punch & Judy professor with her brightly coloured clothes reversed, “twenty-nine years ago, I had a six month old baby and a three year old son, and I was asked to do a puppet show for a fete at his school and I was converted to it. I came here to Covent Garden and I bought a set of Punch & Judy puppets, and I got a swozzle too and found I could use it straightaway.” Then, with a chuckle of satisfaction at the exuberant life she has invented for herself and batting her glittery eyelashes in pleasure, she announced – “My six month old baby is now Dizzy Lolly – she does magic and she’s very good with a monkey puppet too.”
My next encounter was with Geoff Felix, an experienced puppeteer with a background in film, television and theatre who has been doing Punch & Judy since 1982.“I was influenced by Joe Beeby,” he explained, revealing his source of inspiration, “he saw a show in 1926, which the player learnt from someone in the nineteenth century, and Joe kept it going. And that’s how the oral tradition has been preserved.” Geoff explained that the Punch & Judy characters we recognise today, both in appearance and in the story, are based upon those of Giovanni Piccini whose play was transcribed by John Payne Collier in 1828 and illustrated by George Cruikshank. Casting his eyes around at his peers, “It is the swozzle that unites us,” he whispered to me, as if it were a sacred bond, when referring to the metal instrument in the mouth used to make the shrill voice of Mr Punch – “it forces us to create shows based in action.”
Then, Alix Booth, a feisty Scotswoman in a top hat, who has been a Punch & Judy professor for thirty-seven years, told me, “When I was eleven, I inherited a set of paper mache figures. I started working with them and in the end I was doing small shows in Lanark. I still have the figures, over a hundred years old, and although I had to replace Mr Punch’s coat, his waistcoat and trousers are perfect. My figures are based on the Piccini book of 1828, they have their mouths turned down at the ends and huge staring eyes – nowadays Mr Punch is sometimes given a smile, but I prefer him with his mouth turned down, it’s more realistic.”
“I have learnt my craft, and I can keep a children’s party happy for an hour and a half without any trouble at all.” she informed me plainly. “But it was very much for adults originally – entertainment for the Georgian man in the street and it’s full of laughs – it’s all in the timing.”
After my conversations with the professors, I was delighted to stand and enjoy the surreal quality of all the booths lined up like buses at a terminus when I have only ever seen them alone before – yet what was fascinating were the differences in spite of the common qualities. There were short fat ones and tall skinny ones, plain and fancy, with the height defined by the reach of each individual puppeteer. And while the red and white theatres standing under the great chestnut tree awaited their audiences, the professors enjoyed the quiet of the morning to catch up and swap stories.
“It has established a club, brought us all together and kept the tradition alive,” Alix asserted, turning impassioned in her enthusiasm, “And that’s so important, because every year new young performers come along and join us.” But then we were interrupted by the brass band heralding the arrival of Mr Punch and we realised that, as we had been talking, crowds of people had gathered. It was a perfect moment of early Summer in London, but for Punch & Judy professors it was the highlight of the year.
Professor David Wilde has the largest collection of Punch & Judy puppets – over six hundred.
Professor Geoffrey Felix, scenery based upon a design by Jesson and Mr Punch in the style of Piccini.
Professor James Arnott restores and repaints old figures.
Mrs Back To Front
Professor Alix Booth, thirty-seven years doing Punch & Judy professionally.
The Batty Family of Puppeteers, Mariake, Martin and Peter.
Professor Brian Baggs, also known as “Bagsie.”
Professor Paul Tuck – “I’ve only been let out for today – I’m really a ladies’ hairdresser.”
Parade to celebrate the arrival of Mr Punch in Covent Garden.
“Ladies & Gentlemen, I’m now going to exhibit a performance worthy of your notice, and far superior to anythink you hever had an hopportunity of witnessing before”
HENRY MAYHEW’S PUNCH & JUDY MAN
Henry Mayhew set out to find a Punch & Judy man in Spitalfields for his interviews that were first published – appropriately enough – in Punch magazine before they were collected in three volumes as “London Labour & the London Poor” in 1851. As the Punchman that Mayhew spoke with explained, “The boys is the greatest nuisance we have to contend with, and many parts is swarming with boys, such as Vitechapel. Spitalfields, that’s the worst place for boys I ever come a-near, they’re like flies in Summer there, only much more thicker. They’ll throw one another’s caps into the frame and, do what we will, we can’t keep ’em from poking their fingers through the baize and making holes to peep through. But the worst of all is, most of ’em ain’t got a farthing to bless themselves with.”
Yet the City of London was not much better for Punch & Judy either -“People ‘as their heads all full of business there and them as is greedy arter the money ain’t no friend of Punch’s.” Then, as now, it was the West End that was the preferred location for street performers. “The best pitch of all in London is Leicester Sq, there’s all sorts of classes you see passing there.” confirmed the Punchman, “Then comes Regent St, the corner of Burlington St is uncommon good and there is a good publican there besides.” And I have no doubt that he was grateful of refreshment because, as this engaging testimony reveals, the life of a Punchman constituted thirsty and demanding work.
“The performer of Punch that I saw was a short, dark, pleasant looking man, dressed in a very greasy and very shiny green shooting jacket. He was very communicative and took great delight in talking like Punch, with his call in his mouth, while some children were in the room, and who, hearing the well-known sound of Punch’s voice, looked all about for the figure.
“I am the proprietor of a Punch’s show,” he said. “I goes about with it myself, and performs inside the frame behind the green baize. I have a pardner what plays the music – the pipes and drum, him as you see’d with me. I have been five-and-twenty year now at the business. I wish I’d never seen it, though it’s been a money-making business – indeed the best of all, street hexibitions I may say. I am fifty years old. It’s a business that once you’ve got into it you can never get out. It’s a great annoyance being a public kerrackter, I can assure you, sir. Go where you will, it’s, ‘Punchy, Punchy!’ Something else might turn up, to be sure. We can’t say what the luck of the world is. I’m obliged to strive very hard – very hard indeed, sir, now, to get a living and at times, compelled to go short often. It’s the march of hintellect wot’s a doing all this, sir.
But I was a going to tell you about my first jining the business. The first time I ever went out with Punch was in the beginning of August, 1825. My dignity was being hurt at being hobligated to take to the streets for a living. I used to stand outside and patter to the figures. There was not much talk, to be sure, required then, and what little there was consisted merely in calling out the names of the figures as they came up and these my master prompted me from inside the frame. I know I could never have done it, if it hadn’t been for the spirits (a little drop of gin), as my master guv me in the morning. Yet the first time I ever made my appearance in public I collected as much as eight shillings, and my master said after the performance was over, ‘You’ll do!’
I kept on going with my master for two years and at the end of that time I had saved enough to start a show of my own. I bought the show off old Porsini, the man who first brought Punch into the streets of England. I’ve heard tell that old Porsini used to take very often as much as ten pounds a-day, and he used to sit down to his fowls and wine, and the very best of everything. But he never took care of a halfpenny he got. He didn’t study the world nor himself neither. At last, he reduced himself to want, and died in the St Giles’s Workhouse. He was past performing when I bought my show of him and werry poor. I gave him thirty-five shillings for the stand, figures and all. I bought it cheap, you see, for it was thrown on one side and of no use but such as myself.
The great difficulty in performing Punch consists in the speaking, which is done by a call or whistle in the mouth. Porsini brought the calls into this country with him from Italy and I larnt the use of mine from Porsini himself. I was six months in perfecting the use of it and now I’m reckoned one of the best speakers in the whole purfession. When I made my first appearance as a regular performer of Punch on my own account, I did feel uncommon narvous, to be sure, though I know’d the people couldn’t see me behind the baize, still I felt as if the eyes of the country were upon me. It was as much as ever I could do to get the words out, and keep the figures from shaking. The fust person who went out with me was my wife. She used to stand outside and keep the boys from peeping through the baize and she used to collect the money afterwards as well. She’s been dead these five years now.
Take one week or another, throughout the year, I should say I made then five pounds regular. You can see Punch has been good work, a money making business. Twenty years ago, I have often got eight shillings for one hexhibition in the streets, and many times I’d perform eight or ten times in a day. We didn’t care much about work then, for we could get money fast enough. Arter performing in the streets of a day we used to attend private parties in the hevening. I have performed afore almost all the nobility.
There are altogether as many as sixteen Punch & Judy frames in England, and to each of these frames there are two men. We are all acquainted with one another, are all sociable together. If two of us happen to meet in one town, we jine and share the money. We all know one another, and can tell in what part of the country the others are. We have intelligence by letters from all parts. There’s a Punch I knows is either in the Isle of Man or on his way to it.”
Punch: What Toby, are you cross this morning?
Scaramouch: You have been beating and ill-using my poor dog, Mr Punch!
Judy: Here’s the child. Pretty dear! It knows its Papa. Take the child.
Punch: What is the matter with it? Poor thing! It has got the stomach ache, I dare say.
Punch: Get away, nasty baby.
Judy: I’ll teach you to drop my baby out the window!
Punch: How do you like my teaching, Judy, my pretty dear?
Punch: Stand still, can’t you, and let me get my foot up to the stirrup.
Punch: Oh Doctor! Doctor! I have been thrown, I have been killed.
Punch: Now Doctor, your turn to be physicked!
Blind Man: Pray Mr Punch, bestow your charity upon a blind man.
Jack Ketch: Mr Punch, you’re a very bad man.
Jack Ketch: Come out and be hanged!
Punch: Only shew me how and I will do it directly.
Punch: Here’s a stick to thump Old Nick!
Punch: Pray Mr Devil, let us be friends.
Punch: Huzza, huzza! The Devil’s dead!
Drawings by George Cruikshank, 1827, illustrating Giovanni Piccini’s “The Tragical Comedy or Comical Tragedy of Punch & Judy.”
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Spinach & Eggs From The City Farm
The May blossom at the Spitalfields City Farm was still in bloom under a blue sky to welcome me when I arrived in search of spinach & eggs, in anticipation of one of my all-time favourite lunches. At the far end of the farmyard, I was greeted by Helen Galland, the animals’ manager, whom I interrupted from her mucking-out duties to sell me half a dozen freshly laid eggs. I deliberated between hens’ and ducks’ eggs so Helen kindly gave me three of each, £1 for the lot.
The Spitalfields flock is a mixture of rare breeds (Marsh Daisies and Buff Orpingtons) and rescued chickens, bought by a charity from battery farms that would otherwise destroy the hens after a year’s life of producing an egg a day, when they still have another four to five years of life left laying eggs. “When they arrive they have to learn to be chickens because they have never seen anything but the inside of a cage before, so the first thing they do when they arrive is lie in the sun.” explained Helen with maternal sympathy, as the flock ran around our ankles pecking in the yard, “In factory farms, they have no nesting materials but they soon get the hang of it here.”
I stowed the half-dozen eggs in my bag and walked over to the other end of the farm where the vegetables are grown. Here, Chris Kyei-Balffour, a community gardener, led me into the humid atmosphere of one of the polytunnels to admire a fine patch of spinach that he grew, glowing fresh and green with new leaves in the filtered sunlight. To my delight, Chris picked me a basket of the most beautiful fresh spinach I ever saw and presented it to me. We shook hands and it was my privilege to buy this spinach for £1. Thanks to Helen and Chris, I carried my ingredients of spinach & eggs away for a mere £2. Anyone can buy produce at the city farm, you just have to go and ask. Let me admit, I was pulling out spinach leaves from the bag and eating them in the street, unable to resist their tangy sweet flavour, as I walked home, hungry to cook lunch.
Although spinach & eggs is one of the simplest of meals, careful judgement is required to ensure both ingredients are cooked just enough. It is a question of precise timing to ensure the perfect balance of the constituents. I steamed the spinach lightly while I poached the eggs in salted water. The leaves need to be blanched but must not become slushy because texture is everything with spinach, it needs to be gelatinous yet chewy.
Once the spinach was on, I broke three hens’ eggs, slipping them gently into a pan of simmering water and poached them until the white of the egg was cooked but the yolk remained runny. Be aware, you have to be careful not to break the yolks when you drop the eggs into the water and some concentration is required to master the knack of scooping then out intact too. I have ruined the aesthetics of my spinach & eggs on innumerable occasions with a casual blunder at this stage, though I can assure you the meal still remains acceptable to the taste buds even if you top your spinach with pitiful fragments of poached egg.
I served a generous portion of my delicious spinach in an old soup dish and – blessed with good luck – I balanced all three eggs on top, perfectly intact and wobbling like jellies. With eggs freshly laid that morning and spinach picked half an hour before I ate it, the ingredients could not have been fresher. No vocabulary exists to explain fully why I like this combination so much, it is something about what happens when you recklessly slice through the egg and the hot golden yolk runs down into the slippery seaweed green spinach. You have to try it for yourself because the combination of the sweet yolk and almost-bitter spinach is astounding.
With the addition of a little ground black pepper and grated parmesan on the top, I carried the spinach & eggs outside into the garden triumphantly, enjoying my lunch in the sunshine for the first time this year. The anachronism of eating my meal of ingredients fresh from the local farm, here in the secret green enclave of my garden in the heart of Spitalfields only served to amplify the pleasure. It was an unforgettable moment of Spring.
Chris Kyei-Balffour and his fine crop of spinach
A Buff Orpington
Kellogg the cockerell and a Marsh Daisy hen
A refugee from a factory farm
A Buff Orpington Bantam
My lunch
