Numerous illuminations of manuscripts in the Harleian collection, many of which were reproduced in Strutt’s work on the sports and pastimes of the English people, having established the fact that itinerant professors of the art of amusing were in the habit of tramping from town to town, and village to village, for at least two centuries before the Norman Conquest of this country, there can be no doubt that the fairs were so many foci of attraction for them at the times when they were respectively held. As we are told that the minstrels and glee-men flocked to the towns and villages which grew up under the protection of the baronial castles when the marriage of the lord, or the coming of age of the heir, furnished an occasion of popular revelry, and also when the many red-letter days of the mediÆval calendar came round, we may be sure that they were not absent from Bartlemy fair even in its earliest years.

Glee-men was a term which included dancers, posturers, jugglers, tumblers, and exhibitors of trained performing monkeys and quadrupeds; and, the masculine including the feminine in this case, many of these performers were women and girls. The illuminations which have been referred to, and which constitute our chief authority as to the amusements of the fairs during the middle ages, introduce us to female posturers and tumblers, in the act of performing the various feats which have been the stock in trade of the acrobatic profession down to the present day. The jugglers exhibited the same feats with balls and knives as their representatives of the nineteenth century; what is professionally designated “the shower,” in which the balls succeed each other rapidly, while describing a semi-circle from right to left, is shown in one of the Harleian illuminations.

Balancing feats were also exhibited, and in one of these curious illustrations of the sights which delighted our fair-going ancestors, the balancing of a cart-wheel is represented—a trick which might have been witnessed not many years ago in the streets of London, the performer being an elderly negro, said to have been the father of the well-known rope-dancer, George Christoff, who represented the Pompeian performer on the corde elastique, when Mr. Oxenford’s version of The Last Days of Pompeii was produced at the Queen’s Theatre.

Performing monkeys, bears, and horses appear in many of the mediÆval illuminations, and were probably as popular agents of public amusement in the earliest years of Bartlemy fair as they can be shown, from other authorities, to have been in the sixteenth century. That monkeys were imported rather numerously for the amusement of the public, may be inferred from the fact of some Chancellor of the Exchequer of the middle ages having subjected them to an import duty. Their agility was displayed chiefly in vaulting over a chain or cord. Bears were taught to feign death, and to walk erect after their leader, who played some musical instrument. Horses were also taught to walk on their hind legs, and one drawing in the Harleian collection shows a horse in this attitude, engaged in a mimic fight with a man armed with sword and buckler.All these performances seem to have been continued, by successive generations of performers, down to the time of Elizabeth. Reginald Scot, writing in 1584, gives a lengthy enumeration of the tricks of the jugglers who frequented the fairs of the latter part of the sixteenth century. Among them are most of the common tricks of the present day, and not the least remarkable is the decapitation feat, which many of my readers have probably seen performed by the famous wizards of modern times at the Egyptian Hall. Three hundred years ago, it was called the decollation of St. John the Baptist, and was performed upon a table, upon which stood a dish to receive the head. The table, the dish, and the knife used in the apparent decapitation were all contrived for the purpose, the table having two holes in it, one to enable the assistant who submitted to the operation to conceal his head, the other, corresponding to a hole in the dish, to receive the head of another confederate, who was concealed beneath the table, in a sitting position; while the knife had a semi-circular opening in the blade to fit the neck. Another knife, of the ordinary kind, was shown to the spectators, who were prevented by a sleight of hand trick from observing the substitution for it of the knife used in the trick. The engraving in Malcolm’s work shows the man to be operated upon lying upon the table, apparently headless, while the head of the other assistant appears in the dish.

That lusus naturÆ, and other natural curiosities, had begun to be exhibited by showmen in the reign of Elizabeth, may be inferred from the allusions to such exhibitions in The Tempest, when Caliban is discovered, and the mariners speculate upon his place in the scale of animal being. It seems also that the practice of displaying in front of the shows large pictures of the wonderful feats, or curious natural objects, to be seen within, prevailed in the sixteenth century, and probably long before; for it is distinctly alluded to in a passage in Jonson’s play of The Alchymist, in which the master of the servant who has filled the house with searchers for the philosopher’s stone, says,

“What should my knave advance
To draw this company? He hung out no banners
Of a strange calf with five legs to be seen,
Or a huge lobster with six claws.”

Some further glimpses of the Bartlemy fair shows of the Elizabethan period are afforded in the induction or prologue to another play of Jonson’s, namely, the comedy of Bartholomew Fair, acted in 1614. “He,” says the dramatist, speaking of himself, “has ne’er a sword and buckler-man in his fair; nor a juggler with a well-educated ape to come over the chain for the King of England, and back again for the Prince, and sit still on his haunches for the Pope and the King of Spain.” The sword and buckler-man probably means a performer who took part in such a mimic combat of man and horse, as is represented in the illumination which has been referred to. The monkey whose Protestant proclivities are noted in the latter part of the passage is mentioned in a poem of Davenant’s, presently to be quoted.

We cannot suppose absent from the metropolitan fairs the celebrated performing horse, Morocco, and his instructor, of whom Sir Walter Raleigh says, “If Banks had lived in older times, he would have shamed all the enchanters in the world; for whosoever was most famous among them could never master or instruct any beast as he did.” That Shakspeare witnessed the performances of Morocco, which combined arithmetical calculations with saltatory exercises, is shown by the allusion in Love’s Labour Lost, when Moth puzzles Armado with arithmetical questions, and says, “The dancing horse will tell you.” Sir Kenelm Digby states that the animal “would restore a glove to the due owner after the master had whispered the man’s name in his ear; and would tell the just number of pence in any piece of silver coin newly showed him by his master.”

Banks quitted England for the Continent with his horse in 1608, and De Melleray, who witnessed the performance of the animal in the Rue St. Jacques, in Paris, says that Morocco could not only tell the number of francs in a crown, but knew that the crown was depreciated at that time, and knew the exact amount of the depreciation. From Paris, Banks travelled with his learned horse to Orleans, where the fame which they had acquired brought him under the imputation of being a sorcerer, and he had a narrow escape of being burned at a stake in that character. Bishop Morton says that he cleared himself by commanding his horse to “seek out one in the press of the people who had a crucifix on his hat; which done, he bade him kneel down unto it, and not this only, but also to rise up again, and to kiss it. ‘And now, gentlemen,’ (quoth he), ‘I think my horse hath acquitted both me and himself;’ and so his adversaries rested satisfied; conceiving (as it might seem) that the devil had no power to come near the cross.”

We next hear of Banks and his horse at Frankfort-on-the-Maine, where Bishop Morton saw them, and heard from the former the story of his narrow escape at Orleans. Their further wanderings cannot be traced; and, though it has been inferred, from a passage in a burlesque poem by Jonson, that Banks was burned as a sorcerer, the grounds which the poet had for assigning such a dreadful end for the famous horse-charmer are unknown, and may have been no more than an imperfect recollection of what he had heard of the Orleans story.

A hare which played the tabor is alluded to by Jonson in the comedy before mentioned; and this performance also was not unknown to earlier times, one of the illuminations copied by Strutt showing it to have been exhibited in the fifteenth century. When Jonson wrote his comedy, the amusing classes, encouraged by popular favour, were raising their heads again, after the sore discouragement of the Vagrancy Act of Elizabeth’s reign, which scheduled jugglers and minstrels with strolling thieves, gipsy fortune-tellers, and itinerant beggars. Elizabeth’s tastes seem to have inclined more to bull-baiting and bear-baiting than to dancing and minstrelsy, juggling and tumbling; and, besides this, there was a broad line drawn in those days, and even down to the reign of George III., as will be hereafter noticed, between the upper ten thousand and the masses, as to the amusements which might or ought to be permitted to the former and denied to the latter.

In the succeeding reign the operation of the Vagrancy Act was powerfully aided by the rise of the Puritans, who regarded all amusements as worldly vanities and snares of the Evil One, and indulgence in them as a coquetting with sin. As yet they lacked the power to suppress the fairs and close the theatres, though their will was good to whip and imprison all such inciters to sin and agents of Satan as they conceived minstrels, actors, and showmen to be; and Bartholomew Fair showed no diminution of popular patronage even in the reign of Charles I.

“Hither,” says the author of a scarce pamphlet, printed in 1641, “resort people of all sorts and conditions. Christchurch cloisters are now hung full of pictures. It is remarkable, and worth your observation, to behold and hear the strange sights and confused sounds in the fair. Here, a knave in a fool’s coat, with a trumpet sounding, or on a drum beating, invites you to see his puppets. There, a rogue like a wild woodman, or in an antic shape like an incubus, desires your company to view his motion; on the other side, hocus pocus, with three yards of tape or ribbon in his hand, showing his art of legerdemain, to the admiration and astonishment of a company of cockoloaches. Amongst these, you shall see a gray goosecap (as wise as the rest), with a ‘What do ye lack?’ in his mouth, stand in his booth 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 Babel 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 fair, and puts out her best clothes, with the wrong side outward, so turned for their better turning off; and Cloth Fair 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-nook, or pie-corner, where pigs are all hours of the day on the stalls, piping hot, and would cry, (if they could speak,) ‘Come, eat me!’”

The puppets and “motions” alluded to in the foregoing description were beginning to be a very favourite spectacle, and none of the puppet plays of the period were more popular than the serio-comic drama of Punch and Judy, attributed to Silvio Florillo, an Italian comic dramatist of the time. According to the original version of the story, which has undergone various changes, some of which have been made within the memory of the existing generation, Punch, in a paroxysm of jealousy, destroys his infant child, upon which Judy, in revenge, belabours him with a cudgel. The exasperated hunchback seizes another stick, beats his wife to death, and throws from the window the two corpses, which attracts the notice of a constable, who enters the house to arrest the murderer. Punch flies, but is arrested by an officer of the Inquisition, and lodged in prison; but contrives to escape by bribing the gaoler. His subsequent encounters with a dog, a doctor, a skeleton, and a demon are said to be an allegory, intended to convey the triumph of humanity over ennui, disease, death, and the devil; but, as there is nothing allegorical in the former portion of the story, this seems doubtful.

The allegory was soon lost sight of, if it was ever intended, and the latter part of the story has long been that which excites the most risibility. As usually represented in this country during the last fifty years, and probably for a much longer period, Punch does not bribe the gaoler, but evades execution for his crimes by strangling the hangman with his own noose. Who has not observed the delight, venting itself in screams of laughter, with which young and old witness the comical little wretch’s fight with the constable, the wicked leer with which he induces the hangman to put his neck in the noose by way of instruction, and the impish chuckling in which he indulges while strangling his last victim? The crowd laughs at all this in the same spirit as the audience at a theatre applauds furiously while a policeman is bonneted and otherwise maltreated in a pantomime or burlesque. The tightness of the matrimonial noose, it is to be feared, materially influences the feeling with which the murder of a faithless wife is regarded by those whose poverty shuts out the prospect of divorce. And Punch is such a droll, diverting vagabond, that even those who have witnessed his crimes are irresistibly seduced into laughter by his grotesque antics and his cynical bursts of merriment, which render him such a strange combination of the demon and the buffoon.

The earliest notices of the representation in London of ‘Punch’s Moral Drama,’ as an old comic song calls it, occur in the overseer’s books of St. Martin’s in the Fields for 1666 and 1667, in which are four entries of sums, ranging from twenty-two shillings and sixpence to fifty-two shillings and sixpence, as “Rec. of Punchinello, ye Italian popet player, for his booth at Charing Cross.”

Hocus pocus, used in the Bartholomew Fair pamphlet as a generic term for conjurors, is derived from the assumed name of one of the craft, of whom Ady, in ‘A Candle in the Dark,’ wrote as follows:—

“I will speak of one man more excelling in that craft than others, that went about in King James’s time, and long since, who called himself the King’s Majestie’s most excellent Hocus Pocus; and so was he called because at playing every trick he used to say, Hocus pocus tontus talontus, vade celeriter jubeo—a dark composition of words to blind the eyes of the beholders.”

All these professors of the various arts of popular entertainment had, at this period, to pay an annual licence duty to the Master of the Revels, whose office was created by Henry VIII. in 1546. Its jurisdiction extended over all wandering minstrels and every one who blew a trumpet publicly, except “the King’s players.” The seal of the office, used under five sovereigns, was engraved on wood, and was formerly in the possession of the late Francis Douce, by whose permission it was engraved for Chalmers’s ‘Apology for the Believers in the Shakspeare MSS.,’ and subsequently for Smith’s ‘Ancient Topography of London.’ The legend round it was, “SIGILL : OFFIC : JOCOR : MASCAR : ET REVELL : DNIS REG.” The Long Parliament abolished the office, which, indeed, would have been a sinecure under the Puritan rule, for in 1647 the entertainers of the people were forbidden to exercise their vocation, the theatres were closed, the May-poles removed, and the fairs shorn of all their wonted amusements, and reduced to the status of annual markets.

There is, in the library of the British Museum, a doggrel ballad, printed as a broad-sheet, called The Dagonizing of Bartholomew Fair, which describes, with coarse humour, the grossness of which may be attributed in part to the mingled resentment and contempt which underlies it, the measures taken by the civic authorities for the removal from the fair of the showmen who had pitched there, in spite of the determination of the Lord Mayor and the Court of Aldermen, to suppress with the utmost rigour everything which could move to laughter or minister to wonder. Among these are mentioned a fire-eating conjuror, a “Jack Pudding,” and “wonders made of wax,” being the earliest notice of a wax-work exhibition which I have been able to discover.

Whether the itinerant traders who were wont to set up their stalls in the fairs of Smithfield, and Westminster, and Southwark, found it worth their while to do so during the thirteen years of the banishment of shows, there is nothing to show; but we are not without evidence that the showmen were able to follow their vocation without the fairs. Evelyn, who was a lover of strange sights, records in his diary that, in 1654,—“I saw a tame lion play familiarly with a lamb; he was a huge beast, and I thrust my hand into his mouth, and found his tongue rough, like a cat’s; also a sheep with six legs, which made use of five of them to walk; and a goose that had four legs, two crops, and as many vents.”

Three years later, two other entries are made, concerning shows which he witnessed. First we have, “June 18th. At Greenwich I saw a sort of cat, brought from the East Indies, shaped and snouted much like the Egyptian racoon, in the body like a monkey, and so footed; the ears and tail like a cat, only the tail much longer, and the skin variously ringed with black and white; with the tail it wound up its body like a serpent, and so got up into trees, and with it wrap its whole body round. Its hair was woolly like a lamb; it was exceedingly nimble, gentle, and purred as does the cat.” This animal was probably a monkey of the species called by Cuvier, the toque; it is a native of the western regions of India, and one of the most amusing, as well as the most common, of the simial tenants of modern menageries.

“August 15th. Going to London with some company, we stept in to see a famous rope-dancer, called The Turk. I saw even to astonishment the agility with which he performed; he walked barefooted, taking hold by his toes only of a rope almost perpendicular, and without so much as touching it with his hands; he danced blindfold on the high rope, and with a boy of twelve years old tied to one of his feet about twenty feet beneath him, dangling as he danced, yet he moved as nimbly as if it had been but a feather. Lastly he stood on his head, on the top of a very high mast, danced on a small rope that was very slack, and finally flew down the perpendicular on his breast, his head foremost, his legs and arms extended, with divers other activities.

“I saw the hairy woman, twenty years old, whom I had before seen when a child. She was born at Augsburg, in Germany. Her very eyebrows were combed upwards, and all her forehead as thick and even as grows on any woman’s head, neatly dressed; a very long lock of hair out of each ear; she had also a most prolix beard, and moustachios, with long locks growing on the middle of her nose, like an Iceland dog exactly, the colour of a bright brown, fine as well-dressed flax. She was now married, and told me she had one child that was not hairy, nor were any of her parents or relations. She was very well shaped, and played well on the harpsichord.”

This extraordinary creature must have been more than twenty years of age when Evelyn saw her, for the engraved portrait described by Granger bears the following inscription:—“Barbara Vanbeck, wife to Michael Vanbeck, born at Augsburg, in High Germany; daughter of Balthasar and Anne Ursler. Aged 29. A.D. 1651. R. Gaywood f. London.”

Another engraved portrait, in the collection of the Earl of Bute, represents her playing the harpsichord, and has a Dutch inscription, with the words—“Isaac Brunn delin. et sc. 1653.” One of Gaywood’s prints, which, in Granger’s time, was in the possession of Fredericks, the bookseller, at Bath, had the following memorandum written under the inscription:—“This woman I saw in Ratcliffe Highway in 1668, and was satisfied she was a woman. John Bulfinch.” Granger describes her from the portraits, as follows:—“The face and hands of this woman are represented hairy all over. Her aspect resembles that of a monkey. She has a very long and large spreading beard, the hair of which hangs loose and flowing like the hair of the head. She is playing on the organ. Vanbeck married this frightful creature on purpose to carry her about for a show.”