Beggary, of late, particularly for the last six years, had become so dreadful in London, that the more active interference of the legislature was deemed absolutely necessary; indeed, the deceptions of the idle and sturdy were so various, cunning, and extensive, that it was in most instances extremely difficult to discover the real object of charity from the impostor.

Concluding, therefore, from the reduction of the metropolitan beggars, that several curious characters would disappear by being either compelled to industry, or to partake of the liberal parochial rates provided for them in their respective workhouses, it occurred to the author of the present publication, that likenesses of the most remarkable of them, with a few particulars of their habits, would not be unamusing to those to whom they have been a pest for several years.

In order to convince his readers that he does not stand alone as a delineator of mendicants, he begs leave to observe, that several of the very first-rate artists have studied from them.

Michael Angelo Buonarotti often drew from beggars; and report says, that in the early part of his life, when he had not the means of paying them in money, he would make an additional sketch, and, presenting it to the party, desire him to take it to some particular person, who would purchase it. Fuseli, in his life of Michael Angelo, says that "a beggar rose from his hand the patriarch of poverty." The same artist, in one of his lectures, delivered at the Royal Academy, also observes, that "Michael Angelo ennobled his beggars into Patriarchs and Prophets, in the ceiling of the Sistini Chapel."

Annibal Caracci frequently drew subjects in low life. His "Cries of Bologna," etched by Giuseppe Maria Mitelli, pub. 1660, in folio, are evidently from real characters. It will also be recollected, that some of the finest productions of Murillo, Jan Miel, and Drogsloot, are beggars. Callot's twenty-four beggars are evidently from nature; and among Rembrandt's etchings are to be found twenty-three plates of this description.

Sir Joshua Reynolds frequently painted from beggars, and from these people have originated some of his finest pictures, particularly his "Mercury as a Pickpocket," and "Cupid as a Link-boy." His Count Ugolino, was painted from a pavier, soon after he had left St George's Hospital from a severe fever. Mr West painted the portrait of a beggar, on the day when he became a hundred years old; and considered him as a pensioner for several years afterwards. The same person was used also as a model by Copley, Opie, &c. Who can forget the lovely countenance of Gainsborough's Shepherd's Boy, that has once seen Earlom's excellent engraving from it? He was a lad well known as a beggar to those who walked St James's Street thirty years ago. The model for the celebrated picture of the Woodman, by the same artist, is now living in the Borough, at the venerable age of 107.

Mr Nollekens, in 1778, when modelling the bust of Dr Johnson, who then wore a wig, called in a beggar to sit for the hair. The same artist was not equally fortunate in the locks of another great character, for on his application to a beggar for the like purpose, the fellow declined to sit, with an observation that three half-crowns were not sufficient for the trouble.

The late Mr Nathaniel Hone, in the year 1850, painted the portrait of James Turner, a common beggar, who valued his time at a shilling an hour. Captain Baillie has made an etching of this picture.

That truly spirited painter, Mr Ward, made similar overtures to a lame sailor, who thought fit to reject them and prefer his begging occupation.

One of the many fine things produced by Flaxman, is a figure of a blind sailor, Jack Stuart, mentioned in page 19 of this work. The artist has introduced him in a beautiful monument, erected in Campsal Church, to the memory of Misses Yarborough.

Beggars have not only been useful to artists as models, but serviceable to them in other instances. Francis Perrier, who was born of poor parents, when a boy entered into the service of a blind beggar, for the express purpose of getting from France to Rome to pursue his studies in that city; and Old Scheemaker, the sculptor, Nollekens's master, absolutely begged his way from Flanders to Rome for the same purpose.

Though the biographical part of this publication exhibits some curious customs of the London beggars which have fallen within the author's observations, and though it may in some instances be deemed original, yet he confesses that he has adopted the usual craft of the common vender, who invariably puts the best sample into the mouth of the sack. Such, he needs not state the truly interesting Introduction to be; it was written and presented to him by his honoured and valuable friend, Francis Douce, Esq.