SOUTHWARK FAIR.
Although Hogarth, from a fear of creating himself enemies, disclaimed individual portrait in his compositions, particularly of characters in the higher walks of life, he was evidently not so scrupulous in indulging his satire when representing more familiar scenes; and accordingly his "Harlot's Progress," "Four Times of the Day," "Industry and Idleness," "March to Finchley," etc., are found to be less peopled with ideal personages than the "Marriage à la Mode," and some others. "Southwark Fair" was an annual assemblage of remarkables, whose follies and peculiarities he could hold up to the derision of the public without the danger of retaliation; and he has availed himself of the opportunity by bringing together a number of persons then well known on the town, and placing them in the most ludicrous situations.
This Fair, the humours of which an ingenious author truly observes, "will never be forgotten while Hogarth's inimitable print of it exists," was anciently called "Our Lady Fair," and lasted fourteen days. Like most others in the kingdom, it was originally established for the purposes of trade; but having become in process of time a mere scene of low riot and debauchery, its duration was shortened to three days; and it was at length totally abolished as a nuisance to the neighbourhood, and an encouragement to vice and dissipation. It was held at the top of Blackman Street, on the open space opposite the walls of the King's Bench prison, and began yearly a fortnight after Bartholomew Tide.
The following characters in this print have been identified, in addition to others before noticed: Middle group.—The person whom the bailiffs are arresting, and who is supposed to have been playing (not Alexander the Great, but the part of Paris) in the Siege of Troy (announced for representation on one of the neighbouring show-cloths), was intended for Walker, afterwards the famous Macheath in the Beggars' Opera, whose portrait it exactly resembles. It is introduced in this place with strict propriety, as we learn that Walker kept a great theatrical booth in Southwark Fair, as did Penkethman. "He also acted," says one of his biographers, "in the same way at Bartholomew Fair, where Booth saw him playing the part of Paris in the Siege of Troy."[121] The painter probably placed him in the ridiculous situation we see him, on account of his known extravagancy and consequent embarrassments, which often procured him a visit from the bailiffs.
Figg, the prize-fighter, who in another part of the print is making his triumphal entry on a blind horse, and brandishing his sword in defiance, was a native of Thame in Oxfordshire, and attained so high a celebrity as a master of the "noble science of defence," that we find him praised in the Tatler, Guardian, Craftsman, and almost all the periodical works of the time. The mezzotinto portrait of him by Faber represents him exactly as here—with a bald head and open collar. His own school was in Oxford Road, but he was probably accustomed to exhibit his skill at fairs, or he may be introduced here merely as a well-known character. The Bear Garden, a famous place for prize-fighting, anciently stood in this neighbourhood, and had then been but recently demolished. The manner of the combatants at this place, parading the streets previous to their encounters, as described by a French traveller in 1672, and the way in which Figg is represented, strictly agree. "Commonly," says he, "when any fencing-masters belonging to the Bear Garden are desirous of showing their courage and their great skill, they issue mutual challenges; and before they engage, parade the town on horseback, with drums and trumpets sounding, to inform the public there is a challenge between two brave masters of the science of defence, and that the battle will be fought on such a day." Figg's public challenges were the very acme of bombast. This extraordinary character died in the year 1734.
Miller, the tall man, whose effigies are exhibited on a show-cloth, was a native of Saxony, and probably came into England in the reign of George I. This gigantic personage was eight feet high, the stature, within a few inches, of the late O'Brien. He died in 1734, aged 60. Boitard engraved a portrait of him the year before his death.
The two jugglers in senatorial wigs, who are displaying their magic wonders with cups and balls, etc., seem to have been intended likewise for two real characters (Fawkes and Neve), the Breslaw and Katterfelto of their day. Fawkes is most certainly introduced in the print of "Burlington Gate," where, on a board, the "Long Room" is announced, and "Fawkes' dexterity of hand." Portraits of these worthies still exist, and bear a sufficient resemblance to identify them with their representatives in the plate. Neve in a wood print prefixed to his "Merry Companion, teaching tricks in legerdemain;" and Fawkes in a large sheet print by Sutton Nichols, where he stands in the midst of his performances. Fawkes was no indifferent wit. When Breslaw, a more modern performer of the same kind, was at Canterbury, the former requested permission to display his cunning a little longer, promising Mr. Mayor that if he was indulged with permission, he would give such a night (naming a particular one) for the benefit of the poor. The benevolent magistrate acceded to the proposition, and he had a crowded house. Hearing nothing about the money collected on the specified evening, the Mayor waited on the man of trick, and in a delicate way expressed his surprise. "Mr. Mayor, I have distributed the money myself." Still more surprised, "Pray, Sir, to whom?" "To my own company; none can be poorer." "This is a trick." "We live, Sir, by tricks."