Having incautiously repaired to a
Scene of amusement, without proper protection,
Was brutally violated and murdered
On the 27th of October, 1817.”
The artist who paints the patterers’ boards, must address his art plainly to the eye of the spectator. He must use the most striking colours, be profuse in the application of scarlet, light blue, orange—not yellow—that not being a good candle-light colour—and must leave nothing to the imagination. Perspective and back-grounds are things but of minor consideration, everything must be sacrificed for effect. These paintings are in water colours, and are rubbed over with a solution of gum-resin to protect them from the influence of rainy weather.
The charge of the popular street-artist for the painting of a board is 2s. or 3s. 6d., according to the simplicity or elaborateness of the details; the board itself is provided by the artist’s employer. The demand for this peculiar branch of street art is very irregular, depending entirely upon whether there has or has not been perpetrated any act of atrocity, which has rivetted, as it is called, the public attention. And so great is the uncertainty felt by the street-folk whether “the most beautiful murder will take or not,” that it is rarely the patterer will order, or the artist will speculate, in anticipation of a demand, upon preparing the painting of any event, until satisfied that it has become “popular.” A deed of more than usual daring, deceit, or mystery, may be at once hailed by those connected with murder-patter as “one that will do,” and some speculation maybe ventured upon, as it was in such cases as Greenacre, Rush, Tawell, and the Mannings, but these are merely exceptional, so uncertain, it appears, is all that depends, without intrinsic merit, on mere popular applause.
It is stated that Catnach cleared over £500 by Weare’s murder and Thurtell’s trial and execution, and was so loth to leave it, that when a wag put him up to a joke, and showed him how he might set the thing a-going again, he could not withstand it, so about a fortnight after Thurtell had been hanged “Jemmy” brought out a startling broad-sheet, headed “WE ARE ALIVE AGAIN!” He put so little space between the two words “we” and “are,” that it looked at first sight like “WEARE.” Many thousands were bought by the ignorant and gullible public, but those who did not like the trick called it a “CATCHPENNY,” and this gave rise to this peculiar term, which ever afterwards stuck to the issues of the “Seven Dials Press.”
For the use of the first two wood cuts in our collection of “Cocks” and “Catchpennies” we are indebted to the kindness of Messrs. Charles Griffin and Co., of Stationers’ Hall Court, the present proprietors of Mayhew’s London Labour and the London Poor—a work which, of all others, gives by far the best description of London Street-Folk; and is of itself a complete cyclopædia of the condition and earnings of—those that will work, those that cannot work, and those that will not work. We had intended to have used the originals of “Jemmy” Catnach, but Mr. W. S. Fortey, his successor, writes to inform us that, after a lengthened and active service, the cuts in question were worked and worked until they fell to pieces.
With these remarks we now introduce our readers to a genuine Catnachian “Cock,” and one that is said to have “fought well in its day,” entitled, “Horrid Murder Committed by a Young Man on a Young Woman.”