The Fatal Shore: A History of The Transportation of Convicts to Australia, 1787 to 1868 by Robert Hughes (1987)

Warra, warra
(First recorded words of the first indigenous people met by the captain of the first convict fleet to Australia in 1788. They mean: ‘Go away’)

Prime fact: The First Fleet of 11 ships transporting convicts from Britain to Australia landed at Botany Bay on 20 January 1788.

If you’re my age you might remember watching the Australian journalist and art critic Robert Hughes (1938 to 2012) presenting his ground-breaking TV series about modern art, ‘The Shock of the New’, back in 1980. He looked like a boxer and expressed feisty, sometimes controversial, opinions in a muscular, punchy prose style.

Seven years later Hughes published his epic study of the British penal colonies and early European settlement of Australia, ‘The Fatal Shore’ (1987). It became an international best-seller because there were few if any histories of Australia which presented the facts of the country’s early history with such a combination of solid research and journalistic brio.

‘The Founding of Australia by Captain Arthur Phillip RN, Sydney Cove, 26 January 1788’ by Algernon Talmage (1937) [The British flag was not officially planted until 7 February 1788, when possession was formally proclaimed]

The text is laid out in a pleasingly clear structure, proceeding logically topic by topic and exploring each of them thoroughly and convincingly.

The narrative starts dramatically with the arrival of the first shipload of convicts at Botany Bay on 20 January 1788. What was the land like that they had arrived at? Hughes gives us several pages description of the astonishingly weird and unique fauna of Australia (pages 3 to 7) and his narrative will go on to be peppered with periodic descriptions of the arid, sunburned, eucalyptus-riddled terrain.

Indigenous Australia

What were the people like that they met? He gives us a ten-page summary of what was then known (1980) about Aboriginal or indigenous culture (pages 7 to 18).

What comes over in his description is the really primitive nature of Aboriginal culture: the Aborigines hadn’t invented the bow and arrow, they had no buildings, they hadn’t even invented the tent (unlike American Indians) because they never stayed long in one place. Some made temporary lean-tos out of bark which the settlers quickly nicknamed ‘humpies’ but their entire way of life was based on firing the bush to catch wildlife, then moving on.

It’s now thought that Australia had been inhabited for over 60,000 years when the Brits arrived. Its  inhabitants had developed a patchwork of tribes and peoples and nations, each inhabiting large tracts of land (Australia is only fractionally smaller than the landmass of continental United States, 2,969,907 square miles to America’s 3,119,884 square miles). To this day scholars debate the precise number, but at least 300 languages and language families existed.

The AIATSIS map of Indigenous Australia attempts to represent the language, social or nation groups of indigenous Australia

The people who inhabited the area of south-east Australia where the Brits landed were called the Iora. They had no concept of private property so the Brits couldn’t barter with them. They didn’t wash, in fact they covered their bodies with fish guts as a prophylactic against disease and so stank to high heaven. They treated their women appallingly. Unwanted children were aborted by ingesting herbal medicines or simply thumping the pregnant woman’s stomach. Deformed babies were killed at birth. There was no room for the weak in the Indigenous people’s nomadic economy.

Hughes’s description of the Aborigines sets the tone of the entire book. It is going to be deliberately anti-Romantic, debunking myths, puncturing legends, showing that the reality is always more squalid and sordid than the rose-tinted stories he and his generation were told at school or prim progressives tell each other today about the noble savage. In this story, nobody is noble.

According to the estimates available to Hughes, when the Brits arrived in 1788 there were an estimated 300,000 Indigenous Australians across a continent the size of America. No wonder it felt almost ’empty’ to the Europeans: no towns, no villages, no buildings of any kind, no agriculture, nothing that registered with them as civilisation or culture.

(I wouldn’t be surprised if someone contacts me to say this description is unduly negative. Hughes makes every effort to be fair to the Indigenous Australians, and to depict their heart-breaking plight, but he was writing nearly 40 years ago, so I wouldn’t be surprised if some of his account is wrong and/or nowadays considered offensive. I apologise in advance if it is and am happy to be corrected.)

Georgian crime

Why was the transportation policy created by the British? Hughes gives a fascinating review of the growth of criminality in Georgian Britain (the long century from 1714 to 1830), which powerfully conveys the stink, poverty and abject misery endured by most of the population (pages 19 to 42).

The Georgians refused to set up a police service, as many nations on the continent had, because of an obstinate belief that it would infringe on the ‘liberty of the subject’ which they fetishised. (Plus the French had a form of police who had the right to enter and search private dwellings, so if the French had one, it must be bad.) But at the same time, the second half of the 18th century witnessed a population explosion which resulted in a surplus of young men who migrated from the country to the city, discovered there were no jobs for them, and so took to crime.

In the absence of a police force the Georgian authorities resorted to passing ever more draconian laws, an astonishing number of them carrying the ultimate sanction i.e. the death penalty. Eventually, there were some 200 statutes carrying the death penalty on the books and you could be hanged for burning a house or hut, a rick of corn, for poaching a rabbit, for damaging a fishpond, for cutting down an ornamental shrub of appearing on a high road with a sooty face (p.29). These were in fact provisions of a particular law, the Waltham Black Act of 1723, designed to stop agrarian unrest in Hampshire (the lawbreakers moved at night with blacked-up faces, hence the oddly specific provision). But most crime was urban and the result of poverty and starvation. As you read on you come across plenty of examples of people transported for life for stealing a loaf of bread, some butter, some bacon etc.

Middle-class people could be transported too. An architect was sentenced to death for forging a contract, commuted to transportation for 14 years (p.297). A satirical poet, Michael Massey Robinson, tried to blackmail an ironmonger by threatening to publish a scurrilous poem about him and was transported for life (p.300).

Hughes describes the rituals of hanging day and the long trek of the victims’ cart from Newgate prison to Tyburn ‘tree’, the sturdy wooden frame situated where Marble Arch is now, the route lined with cheering Londoners, the actual hangings witnessed by crowds of up to 30,000, drinking heavily, pullulating with pickpockets and whores, the whole thing, paradoxically, a festival of criminality, something which outraged moralists deplored in Boswell’s day (1760s and 70s) and Dickens was still complaining about in the 1850s (pages 31 to 36).

‘The Idle Prentice Executed at Tyburn’ by William Hogarth (1747)

In fact Hughes returns to the question of class and crime repeatedly throughout the book. I suppose it’s obvious but I hadn’t thought about the way the policy of transportation was merely one aspect of British penal policy. In other words, it was entirely dependent upon and reflected 80 years of British social and economic history. What was happening in Britain entirely dictated who was sent to Australia, and when and why and in what numbers.

In other words, the book is as much a social history of Britain during this period as it is of Australia. Thus there’s a lot more detail than you’d expect about, especially early on, about, for example, the geography, slums and criminal classes of Georgian London.

The hulks

Britain had no nationwide prison system, in fact at least half of the prisons were privately owned and run (p.37). There was no belief in rehabilitation, prisons were just regarded as dumping sites for toxic males to stew in their own juice.

By the 1770s the prisons had become so overcrowded that the authorities had the bright idea of sending the ever-increasing population of convicts to prison ships or ‘hulks’, the rotting shells of decommissioned navy ships moored in harbours like Portsmouth and Plymouth. In 1776 Parliament passed the ‘Hulks Act’ (16 Geo III, c.43) (p.41). These hulk-bound prisoners were used as labourers in the naval dockyards and, in the picture below, can be seen being taken by boat from a hulk to their work on the mainland.

Prison hulk at Deptford, London, after a painting by Samuel Prout (about 1826)

The American precedent

One of the little known facts about the period which I found fascinating is that the practice of transportation was already well established, but it was transportation to the American colonies. The Transportation Act of 1717 had begun the process of sending indentured servants to Britain’s colonies in the Americas 53 years before Australia was even discovered. Between 1717 and 1777 as many as 40,000 convicts were sent to America for seven or 14-year periods. They were sold to shipping contractors who then sold them on in America to plantation owners in the Caribbean or mainland in what Hughes describes as a ‘thinly-disguised form of slavery’ (pages 40 to 41).

But when they declared independence in 1776 the Americans refused to accept any more British criminals. Anyway, as Hughes points out, they didn’t need them. By the year of independence more African slaves were arriving in America every year (about 47,000) than white convicts had done in the previous 60 years put together (40,000) (p.41).

At first the British authorities thought the Americans would give up their fight for independence. It took until 1783 for the government to finally accept American independence and another few years for the full implications to be worked out for Britain’s overflowing prisons. By the early 1780s even the hulks were overflowing and William Pitt’s government was receiving angry demands from MPs for Plymouth and Portsmouth to do something about them. There began to be riots aboard the hulks, convicts rebelling against the disgusting conditions. In one riot aboard a prison hulk, in 1786, eight convicts were killed and 36 wounded (p.65).

It’s fascinating to read Hughes’s account of the way the mounting complaints of MPs with hulks in their constituencies became a real political problem for Pitt and drove him to appoint a commission to look into ways of disposing of the convicts which filled them – surprising that the problem of what to do with Britain’s surplus convict population became such a leading political issue. It crossed my mind it was a little like the refugee crisis of our own day: successive governments keep promising to do something decisive about it and keep dismally failing. And both involve boats and the problem of what to do with unwanted people…

The other side of the world

Fascinating to learn that, as a result, the British authorities were open to all suggestions, and that a number of entrepreneurs came up with bold and crazy schemes. One was to transport the convicts to the island of Lemane 400 miles up the River Gambia and set up an African penal colony there (p.64). Or how about a penal colony somewhere off the coast of South America?

Zeroing in on the continent which was eventually chose, Hughes gives us a potted history of European theories and encounters with the legendary southern continent before Captain Cook did his first definitive exploration of Australia’s eastern coast (pages 43 to 48). He describes the voyages of Magellan and various intrepid Dutchmen, mentions the Englishman, William Dampier, who touched on the north-west coast of Australia in 1688.

Captain Cook

Then, of course, Captain Cook. Hughes gives a typically factual, forthright and gripping account of Cook’s expeditions, devoting some space to the long-running problem for all seafarers of scurvy, and how Cook, a modern innovator in this as so many other things, lost not a single man from scurvy by the savvy use of anti-scorbutics. As Hughes puts it, with typical pith and wryness:

Malt-juice and pickled cabbage put Europeans in Australia, as microchip circuitry would put Americans on the moon. (p.49)

Hughes gives a characteristically thorough and vivid description of Cook’s voyage in the Endeavour (‘a converted Whitby trawler, small and brawny’, p.51). He devotes a fascinating few pages to the technical inventions which had just recently made such map-making voyages more precise and useful, namely John Harrison’s invention of the marine chronometer, a device for solving the problem of calculating longitude while at sea (pages 50 to 57).

The convict problem

Prisons overflowing with unreformable criminals? A newly discovered continent on the other side of the world? The British authorities put two and two together and realised that this was an opportunity to redirect the now-defunct American transportation policy, and on a far larger scale. Fascinating to learn that the policy was accompanied or swayed by a number of other considerations. For example, Admiralty strategists suggested that establishing a colony in Australia would aid in the ongoing conflict with France to establish naval supremacy in the Indian Ocean. Others pointed out the need to have a base in the Far East to compete with the well-established Dutch colonies out there.

Practically minded boosters claimed that the tall pine trees and flax plants Cook had noted on what he named Norfolk Island, 1,000 miles off the Australian coast, could quickly become a commercial business, capable of supplying Royal Navy ships with masts and sails. In the event, none of these pipe dreams were to work out. Sydney is, quite obviously, on the wrong side of the continent to be of use in patrolling the Indian Ocean and the ‘pine’ and ‘flax’ on Norfolk Island turned out to be commercially worthless.

The First Fleet

And so, after a great deal of prevaricating, and parliamentary committees, and bickering about the number of ships and who should captain them and how it should be paid for – typical British bumbling – the first convict convoy was dispatched to Australia in May 1787 and arrived in the place Cook had named Botany Bay, on the southeast coast of Australia, on 20 January 1788. It was commanded by Captain Arthur Phillip who was to become first governor of the new penal colony.

Hughes gives a characteristically thorough profile of this modest man (a ‘middle-aged nonentity’) who had had a patchy naval career and was in retirement when contacted by the Admiralty to carry out the policy which had finally been agreed by the government of William Pitt (pages 67 to 71). What comes over is Phillip’s professionalism. Hughes shows that he thought the equipping and provision for a fleet setting out to colonise an entire continent from scratch was hopelessly inadequate and bombarded ministers and Admiralty for more (p.71).

Of the 736 convicts sent at least 431 were guilty of ‘minor theft’ and Hughes gives examples of how pitifully trivial these might be (p.72). The oldest was Dorothy Handland, aged 83, a dealer in rags convicted for 7 years for perjury. The youngest was John Hudson, a chimney sweep aged 9 (p.73).

Hughes gives a characteristically thorough description of the challenges of the 8-month-long voyage (252 days) across 15,000 miles of ocean. Forty-right people died on the journey while 28 were born. All were to be confronted by the immense disappointment of Botany Bay when they finally arrived. Within days Phillips and his lieutenants had realised it was wholly impractical as a settlement, not least due to the thin sandy soil cluttered with eucalypt detritus. The bay was open and unprotected, the water was too shallow to allow the ships to anchor close to the shore, fresh water was scarce, and the soil was poor.

So they sailed up the coast to Port Jackson, the name given to the bay area where Phillip established a settlement he called Sydney, after the current Home Secretary ,Thomas Townshend, 1st Viscount Sydney (p.87).

The starvation years

Agricultural opportunities turned out to be very poor. Supplies were meagre and Phillip had to introduce rationing which got steadily tighter (p.96). Crops failed or wouldn’t take. The convicts became too tired and listless to work. The first couple of years were dire and some wondered if the entire colony would die of starvation, before the final arrival of the Second Fleet in June 1790.

The Second Fleet was notorious for the poor conditions aboard the vessels, and for cruelty and mistreatment of its convicts. A quarter of the 1,006 convicts transported aboard the fleet died during the voyage and around 40 per cent were dead within six months of arrival in Australia. Hughes describes in stomach-churning detail the disgusting conditions aboard the early convict ships. Not all ships in the fleets had the same standards. Those in which people suffered worse, were worse treated and with the highest death rates came to be called the ‘hell ships’.

First failed attempt to colonise Norfolk Island

Norfolk Island is about 1,000 miles east of the Australian coast. It turned out to be extremely inhospitable, the pine trees weren’t true pines, the flax couldn’t be woven, it was immensely difficult to clear the land for agriculture. A ship bringing supplies and more convicts sank, losing the supplies but adding hundreds of mouths to feed, making 959 in total. All that saved the first settlers from starvation was easy availability of tame mutton birds, Pterodroma melanopus which they slaughtered in their hundreds of thousands. By 1830 the settlers had driven the mutton bird to extinction (p.100).

Van Diemen’s Land and the genocide

He devotes a section to the settlement of Van Diemen’s Land off the south coast of Australia under the command of David Collins (pages 120 to 128). The island had named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s. In 1642 Tasman became the first known European to land on the shores of Tasmania but the Dutch never followed through on the discovery. Now, 150 years later, the British claimed it. The capital, Hobart, was named after the Secretary of State for the Colonies who was the patron of Collins’s expedition.

The island was initially perceived to be less fertile than the land around Sydney and early attempts at farming failed, so the colonists faced starvation. What saved them was the humble kangaroo which was far more common than around Sydney. Every able-bodied man was issued a gun to hunt and kill kangaroo for himself and dependents (wife or children).

As Hughes pithily puts it this reliance on hunting triggered social results, all of them bad. It installed the gun rather than the plough as the totem of survival on the island. It incentivised settlers to ignore long-term planning required for farming and live by day-to-day hunting. And as nearby roos were wiped out and the heavily white settlers ranged further afield it brought them into conflict with the native populations who, more often than not, they shot.

It soon created a fringe class of armed, uncontrollable bushmen, most of whom regarded Aborigines as vermin. (p.126)

With their guns and hinting dogs these men became completely independent of the authorities. They were the first bushrangers. And so were laid the foundations of what would be the only real genocide of the British Empire, the deliberate extermination of the entire native population of Tasmania.

Impact on Indigenous Australians

As to the natives, the government had explicitly ordered friendly treatment, enjoining Phillip to ‘conciliate their affections…[and] live in amity and kindness to them.’ At first this held, but what nobody knew was the white ships had brought white infectious diseases, endemic in Britain and entirely unknown in Australia, flu, cholera, smallpox, typhus, which quickly spread. it was a common sight for the early settlers to come across indigenous corpses huddled in the bush where they’d crawled to die. The British incomers were, literally, a plague.

As settlement spread out from Sydney, the Aborigines took to fighting back, raiding farms, killing livestock, singling out for assassination white farmers of community leaders who’d acquired reputations for killing them. Which triggered massacres of unarmed Aborigines by vigilante gangs, for example the Myall Creek massacre when at least 28 unarmed Indigenous Australians were executed by 12 armed colonists on 10 June 1838. Which triggered further revenge raids, and so on, in a deadly spiral downwards into a sustained ‘frontier war’ (pages 272 to 281).

The System

Year by year the shipments came to be called ‘the System’, the process of sending shiploads of convicts to Australia, who had to build their own prisons and barracks for the soldiers who guarded them and pleasant houses for the civil authorities who supervised the whole thing.

Between 1787 and 1868 around 162,000 convicts were sent to Australia and Hughes goes on to give a fascinating and vivid description of every stage of the development of the System.

Hughes is at pains to dispel the stereotype of life under the convict system which he and his generation inherited, which is that it was a living hell on remote ‘secondary’ or punishment settlements on Van Diemen’s Island. On the contrary, most convicts served out their time, then were released to become citizens in the fast-growing new colony.

Only a fraction of the men and women transported to Australia spent any time in these ‘secondary’ settlements, which were as a rule reserved for prisoners who had committed second crimes while in the colony. Most served a few years of their sentences in assignment to a free settler or in government labour, never worse chains, got their tickets-of-leave and in due course were absorbed into colonial society as free citizens. (Introduction, page xiii)

He makes one simple but devastating riposte to the endless cheap jokes about Australia being a land of convicts:

Whatever other conclusions one might draw from our weird national origins, the post-colonial history of Australia utterly exploded the theory of genetic criminal inheritance. Here was a community of people, handpicked over decades for their ‘criminal propensities’ and for no other reason, whose offspring turned out to form one of the most law-abiding societies in the world.

Hell ships

Conditions on the first ten years or so of ships was so appalling they acquired the nickname of ‘hell ships’. Conditions of unbelievable squalor which people who’d sailed on both thought were worse than slave ships. And the condition of the survivors was no better. A propos slavery, an anonymous convict ballad from 1825 runs:

The very day we landed upon the Fatal Shore,
The planters stood around us, full twenty score or more;
They ranked us up like horses and sold us out of hand,
They chained us up to pull the plough, upon Van Dieman’s Land.

Conditions were dire. In the early years the entire colony nearly starved. But as the settlement at Sydney became established so did its reputation for appalling brutality. The descriptions of lashings and floggings which litter the book are quite nauseating, with prisoners’ backs being reduced to raw meat, bystanders being flecked with lumps of raw flesh.

Hughes devoted a passage to proving that conditions for the convicts were not literally slavery, not as practiced in the Caribbean or American South; convicts had legal rights and could take the masters they were assigned to to court (pages 282 to 287), if arrested they could invoke habeas corpus (p.346), something African slaves couldn’t do. But conditions were consistently atrocious and exploitative nonetheless. It’s difficult to imagine the primitiveness of the conditions.

Governor Macquarie’s Australia was more backward than Cromwell’s England. There was as yet no steam power; draft animals were few; and there were no streams near Sydney reliable enough to turn watermills. So every hole was dug, every log sawn, every rock quarried and every ton of rubble moved by that least efficient of engines, the human body toiling in gangs. (p.298)

Futile escapes

Obviously convicts tried to escape continually. The most shocking story is of a group of convicts that escaped in Van Diemen’s land (Tasmania) and ended up eating each other. There was a persistent folk belief that if you travelled north far enough you would get to China. In fact most escapees either perished in the Outback from starvation and thirst, were murdered by Aborigines, or stumbled back into government settlements more dead than alive. Hughes devotes a chapter to the more colourful escape attempts, notably that of Mary Bryant (pages 203 to 226).

New South Wales Corps

The New South Wales Corps were formed in 1789. Indisciplined and corrupt it quickly gained a reputation for lawlessness and corruption. In particular it acquired a monopoly of the importation and sale of rum to convicts and freemen alike, so much that it was nicknamed the Rum Corps. It repeatedly clashed with the civil governor, most flagrantly in the 1808 Rum Rebellion against governor Bligh who tried to assert civil power over them, see below.

Governors of New South Wales

1. Arthur Phillip 1788 to 1793

Commander of the epic First Fleet and settlement at Sydney, which he named. After guiding the colonists through the early starvation years as they struggled to establish agriculture and had to repeatedly reduce rations of the limited supplies they’d brought from Britain, Phillip was allowed to return home.

Lieutenant-Governorship of Francis Grose 1793 to 1795

For the next two years the military were in complete control of the fledgling colony under Lieutenant-General Francis Grose. The European population of New South Wales when Grose took over was 4,221, of whom 3,099 were convicts. Grose established military rule, abolished civil courts, and made generous land-grants to his officers. Grose unmercifully exploited the convicts and during his lieutenant-governorship a great traffic in alcoholic spirits (mostly rum) developed, managed and run by officers of the New South Wales Corps. This clique gained control of the courts and management of the lands, public stores, and convict labour, all led by John Macarthur, ‘British Army officer, racketeer, entrepreneur, grazier, usurper and politician’.

2. John Hunter 1795 to 1800

Hunter had been second in command on the First Fleet. He was appointed governor and tasked with combating the abuses of power built up by the New South Wales Corps, represented by their commander, John MacArthur, but was too mild and fair-minded to succeed. In fact the militarily cleverly sent letters back to the British ministers accusing Hunter of the very crime and peculation he was trying to stamp out, with the result that he was recalled in 1799 to defend himself.

3. Philip Gidley King 1800 to 1806

King helped develop livestock farming, whaling and mining, built many schools and launched the colony’s first newspaper but was forced to resign after conflicts with the military. He appointed Major Joseph Foveaux as Lieutenant-Governor of Norfolk Island where Foveaux ruled with extreme brutality and sadism.

4. William Bligh, 1806 to 1808

Chosen as the job because a strict disciplinarian who was tasked with taking on the military and their control of the hugely profitable rum trade. However his confrontational style led to the so-called Rum Rebellion of 1808, a coup d’état in which the New South Wales Corps arrested Bligh, keeping him first in confinement in Sydney, then aboard a ship off Hobart, Van Diemen’s Land, for the next two years.

Lieutenant-Governorship of Major George Johnston, 1808 to 1810

Johnston led the troops that deposed Governor William Bligh, assumed the title of lieutenant-governor, and illegally suspended the judge-advocate and other officials. The administration of justice became farcical, and there were signs of strong discontent among the settlers. He sailed back to Britain in 1809 where he was court-martialled but let off with the lenient sentence of being cashiered.

5. Lachlan Macquarie 1810 to 1821

Had a crucial influence on the transition of New South Wales from a penal colony to a free settlement and therefore to have played a major role in the shaping of Australian society in the early nineteenth century

The Irish

Like every subject he touches, Hughes gives the background to the arrival of the first Irish convicts with brisk authority. He gives a whistlestop review of the colonisation of Ireland by England, which had started back in the twelfth century, and led to the creation of a society divided between Protestant rulers who deprived the native Catholic majority of land and rights for centuries (pages 181 to 195).

The reason this is needed is because in 1798 a great rebellion broke out in Ireland which terrified the English ruling class because a) it united both Protestant and Catholic rebels and b) the rebel leaders allied with England’s traditional enemy, France, leaguing with a French force to land in the west of Ireland and combine with them against the British occupiers. Unfortunately, the plans were discovered and most of the rebel leaders arrested before the planned rising and invasion could take place.

Most of the rebel leadership was killed and estimates of the total death toll of the subsequent fighting have been put in the tens of thousands. Hundreds of the rebels were briskly tried and transported to Australia. Here they presented the authorities with a severe security problem. The English convicts, surly and disobedient and quick to escape, nonetheless were the same nationality as the authorities. The Irish, on the contrary, refused to accept the authority of any part of the System and took every opportunity to buck it. With the result that governors and leaders of the New South Wales Corps were doubly severe and brutal with them.

The Irish were ‘doubly’ convicts. At the slightest suspicion of ‘mutiny’ they were liable to severe punishment, for example when five suspected leaders were each given 500 lashes (p.187). The brutality of their treatment triggered the very mutiny the British authorities feared in the form of the Castle Hill revolt in 1804. On 4 March 1804 233 convicts, led by Philip Cunningham (a veteran of the rebellion of 1798, as well as a mutineer on the convict transport ship Anne), escaped from a prison farm intent on capturing ships to sail to Ireland. The authorities quickly declared martial law and despatched troops who surrounded the rebels on a hillock nicknamed Vinegar Hill on 5 March. While negotiating under a flag of truce Cunningham was arrested then the troops opened fire and decimated the rebels. Nine of the rebel leaders were executed and hundreds were punished with severe floggings.

This was the largest convict mutiny in Australian history but there were further small revolts and a continual atmosphere of sullen anger among the Irish and paranoia among the English. From 1815 to 1840 the Irish countryside was in a state of more or less continual civil war and, in total, some 30,000 Irish men and 9,000 Irish women were transported from Ireland to Australia. This was never forgotten in Irish communities who nursed the grievance of their persecution.

Hughes attributes a strong Irish flavour of bolshie independence to the Australian national character, especially to its working class culture. The long, bitter memories of the Irish community gave a permanent legacy of sectarianism to Australian politics.

Rebels and revolts

Transportation would deal with representatives of every British protest movement, rebellion, upheaval and agrarian revolt for the first half of the 19th century so Hughes’s account has the effect of shedding light on a whole series of political rebellions back in Britain. It’s like reading two histories side by side, that of Britain and that of Australia. British protest movements included:

  • the Scottish Martyrs – the first political agitators transported in the life of the System were convicted in Edinburgh in 1793 and were known as the Scottish Martyrs (pages 176 to 181)
  • the Irish rebellion 1798 – In 1798, an underground republican group known as the Society of United Irishmen instigated a major uprising against British rule in Ireland
  • English Jacobins i.e. sympathisers with the French Revolution, whose activities were increasingly persecuted after Britain and France went to war in 1793
  • frame-breaking Luddites 1812-13
  • food rioters from East Anglia 1816
  • members of the Pentridge Rising 1817
  • members of the Cato Street Conspiracy to which planned to assassinate the entire cabinet, 1820
  • radical weavers from Scotland, 1821
  • Bristol rioters 1831
  • Captain Swing – fictional author to whom threatening letters were attributed during the rural Swing Riots of 1830, when labourers rioted over the introduction of new threshing machines and the loss of their livelihoods (pages 198 to 200)
  • the Tolpuddle Martys, 1834
  • more than 100 Chartists, political activists associated with political campaigns surrounding the Great Charter, a set of demands to extend the franchise to the working class, which was inaugurated in 1839, then flared up periodically through to 1848
  • the Canadian Rebellions of 1837 and 1838 led to the execution of the ringleaders and the transportation to Australia of at least 100 convicts (p.261)

The colourful adventures of the first fleets and the starvation and the antics of the New South Wales Corps grab the reader’s attention, but the heyday of transportation was actually during the 1830s, which saw unparalleled poverty and suffering throughout rural Britain, an epidemic of disorder and crime, and so the peak numbers of transported convicts (p.197). So, throughout the book, the history of transportation is also a detailed history of English social and economic misfortunes.

Bushrangers

Though most attempts to escape were futile failures, plenty of convicts ran off into the wild and became known as ‘bolters’. As the colony expanded, agricultural land was created along with flocks of sheep so there was more for convicts living in the wild to steal. By the 1810s society was stratified enough between large landowners, often senior officials in the administration, judges and the like, and more ordinary smallholders, for convicts living in the wild to make a living stealing sheep or goods from rich landowners and secretly selling it onto the poor. These were the first whites to range through the uncultivated parts of the territory which the settlers had taken to calling ‘the Bush’ – hence ‘bushrangers’ (also known as ‘bolters’). With typically neat turn of phrase, Hughes says:

By taking to the bush, the convict left England and entered Australia. (p.243)

Hughes is as cynical and unillusioned about the bushwhackers as about everyone else in this sorry story. They gave rise to a legend which help inform Australian’s image of themselves as rebels and non-conformists and freedom fighters, who ran away rather than submit to injustice, as Robin Hoods stealing from the rich to give to the poor. The reality was, of course, both more complex and less idealised than that.

Colonial life

Population

The first formal census of New South Wales was made in 1828. It showed that for the first time the free population eclipsed the number of convicts, 20,870 free and 15,728 convicts = total of 36,598. Sydney had a population of 10,815 i.e. less than a third.

Contented convicts

In fact the peak of transportation due to English rural unrest leads to a counter-intuitive result; which is that, as Hughes showed, many of the convicts transported in the 1830s loved their new lives. He quotes many letters back to loved ones reassuring them that convict life was not at all the hell everybody believed it to be. Why? Because there was work, pay and food. These were the very basic elements of life the rural poor were rioting for during the 1830s and they were to be had in abundance in a now settled and well-organised colony.

The man assigned to a decent master in the country districts in the 1830s was, as Eyre pointed out, ‘in a better position than half the honest labourers of England’. (p.314)

And:

Convicts who found benevolent masters far preferred their assigned life to the miseries they had known in England. (p.316)

Class and snobbery

Hughes shows that, contrary to stereotypes of matey modern Australia, the early colony developed into a society obsessed with class. In particular the newly rich and free emigrants were desperate to distance themselves from ‘the stain’ of convictry. Names developed to describe the new colonial classes and the number of names for the same thing indicates the intensity with which people indicated their (or others’) origins:

  • Convict: British prisoner, generally sentenced to death back in Britain, who has their sentence remitted to either a 7-year or 14-year transportation
  • Government man: a convict
  • A ticket-of-leave man: a ticket of leave was a parole document issued to convicts who had shown they could be trusted with some limited freedoms
  • Emancipists: convicts who had completed their terms of imprisonment and were now free settlers
  • Exclusives: members of the sociopolitical faction of free settlers, officials, and military officers of the convict colony, who tried to copy English fashions and recreate a hierarchical class system
  • the Currency: ‘currency lads and lasses’ (collectively known as Currency or The Currency) were the first generations of native-born white Australians, the children of the British settlers and convicts; currency as in money, coins or notes that were ‘only good in the colony’ (p.354)
  • the Sterling: by contrast with the Currency, the Sterling was another name for free-born emigrants (p.355)
  • Merino: an early immigrant to Australia with no convict origins; a member of a leading family in Australian society; a person of fine breeding or good character
  • Specials: educated convicts, a relative rarity (probably fewer than a third of transported convicts could sign their own names, p.349)
  • Old hands: old former convicts who lived on into the era after transportation ended (p.594)

Sheep or seals

Hughes devotes a passage to describing the first sheep farms in Australia and profiling the men who imported and cross-bred the delicate merino strain with hardier breeds (pages 318 to 322, and 326 to 331). He explains how the isolation of shepherds sent off into the Outback to guard their master’s flocks, sometimes in pairs, helped develop the particularly strong Australian concept of ‘mateship’, i.e. sticking with your mate through thick and thin.

So it comes as a surprise to learn that for the first 50 years of its existence, the colony’s major trade was whale and seal catching (pages 331 to 336).

The end of transportation

Overall, the transportation System lasted from 1788 to 1868, during which period some 162,000 convicts were transported. By the 1830s Sydney was settled enough and large enough, with an increasingly free-born residents and settlers, that they lobbied the British government to end transportation. At the same time there was another force at work which is fascinating to learn about. I knew about the long-running opposition among British liberals and religious groups to slavery which became the abolitionist movement and which achieved its goal of having slavery made illegal within the British Empire in 1807. I didn’t realise the same group of people opposed transportation just as vehemently, and gained growing support in the 1800s as reports percolated back to Britain of the atrocities carried out against convicts in hellholes like Norfolk Island. Just as there was a movement to abolish slavery, so there was a movement to abolish transportation.

Thus with pressure from liberal Establishment figures in Britain combined with lobbying from the increasingly free and genteel population of New South Wales and led the government to cease transportation to New South Wales in 1840 (p.484). Transportation to Van Diemen’s land ceased in 1853 (p.402) 50 years to the day after the first settlement was founded at Risdon Cove (p.572).

Was the System a success or failure?

Over the life of the system the British government used about five reasons to justify the policy:

Strategic To protect against French influence in the Indian Ocean and Far East. In the event the French never tried to claim any part of Australia, the Dutch Empire was engaged by other means. No port in early Australia became an important naval station.

Regarding specifically crime, the System aimed to do four things: separate, deter, reform and colonise.

1. Separate

Separate the criminal classes from the general population on the analogy of amputating a diseased limb. This failed because it was based on the false premise that criminality is an inherited genetic attribute whereas, in almost all cases, it is the result of bad education, poor upbringing, childhood abuse and, in the great majority of transported convicts, the result of lack of work, lack of opportunity, poverty and starving.

2. Deterrence

This is always difficult to assess because it’s impossible to measure the number of crimes which weren’t committed. But the arguments against are a) contrary to the claims of its proponents, the crime rate in England did not drop after the policy of transportation was introduced (because its roots lay in gross inequality, crushing poverty and lack of opportunity) and b) for a lot of the English working classes, especially from the hunger years after the end of the Napoleonic Wars, Australia sounded like a land of opportunity. Hence the instructions given to governors like Brisbane, Darling and Arthur to apply relentless suffering to the convicts; hence the appalling brutality of the chain gangs and the barbaric cruelty of Macquarie Harbour, Norfolk Island and Moreton Bay. But it didn’t work. Increasing number of emigrants left for Australia of their own free will. The gold rush of 1851 crystallised the image of Australia as a place the poor and downtrodden of Britain could go to to make a fortune.

3. Reform

Hughes thinks chances are the system did actually ‘reform’ a lot of convicts, in the sense that they came out the other end as law-abiding citizens and, if so, this was down to the assignment system. Many masters were poor, brutal, some were sadistic; but the system did assign men to meaningful labour, which gave them some sort of self respect. It had many flaws but assignment did get many men back into society as self-sustaining workers.

4. Colonisation

Here the system was an undoubted success. Australia would never have been colonised without the forced labour of over 100,000 transported convicts. No sane free man would have emigrated there in 1788 or 1808. Although most of the first buildings they erected have been demolished and built over, convict labour created from nothing the settlements which now have populations of millions.

Hughes’ style

When he wants to be, Hughes can be a formidably vivid writer:

The sight of the hulks at Portsmouth, Deptford or Woolwich was deservedly famous. They lay anchored in files on the grey, heaving water, bow to stern, a rookery of sea-isolated crime. As the longboat bearing its prisoners drew near, the bulbous oak walls of these pensioned-off warships rose sheer out of the sea, patched and queered with excrescences, deckhouses, platforms, lean-tos sticking at all angles from the original hull. They had the look of slum tenements, with lines of bedding strung out to air between the stumps of the masts, and the gunports barred with iron lattices. They wallowed to the slap of the waves, and dark fleeces of weed streamed in the current from the rotting waterlines. (p.138)

The kind of purple descriptions a scholar, a professional historian, would never attempt. But his narrative is continually punctuated with dazzling displays of prose virtuosity.

Some convicts who tried to cross [the Blue Hills], thinking China lay beyond, died of hunger in their immense labyrinth of sandstone, where bellbirds chimed and long filaments of water fell, wreathing, from distant cliffs. (p.299)

And pages 373 (Macquarie Harbour), 399 (Port Arthur).

Slang and jargon

  • basil – an iron fetter worn on one leg only
  • a canary – 100 lashes (p.345)
  • buttock-and-twang – sex as practiced by prostitutes (p.255)
  • cramping box – punishment cell or room or box too small to sit or lie in (p.155)
  • a sandstone – weakling who crumbled under flogging (p.345)
  • stringy-back – wizened, poor farmer (p.256)
  • triced – secured by a rope or chain (p.155)

Placenames

Australia – since australis is Latin for ‘south’ terra australis was the name used for a hypothetical continent in the Southern Hemisphere since ancient times.

Botany Bay – named by Captain Cook as testament to the number of specimens collected by expedition scientist, Joseph Banks.

Brisbane – named after Major General Sir Thomas Makdougall Brisbane, 1st Baronet, British Army officer, administrator, and astronomer, and sixth governor of New South Wales, from 1821 to 1825.

Hobart – named after Robert Hobart, 4th Earl of Buckinghamshire aka Lord Hobart, secretary of state for the colonies who commissioned Captain David Collins’ expedition to settle Van Diemen’s Land.

Melbourne – founded in 1835 with the arrival of free settlers from Van Diemen’s Land and named after the then British Prime Minister, William Lamb, 2nd Viscount Melbourne.

Sydney – named after Home Secretary Thomas Townshend, 1st Viscount Sydney by Captain Arthur Phillip, leader of the first transport of convicts to Botany Bay, who moved location to the cove north of it, called Port Jackson by Cook, but renamed after Sydney.

Van Diemen’s Land – named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s.

Old joke

Australia was always destined for greatness because her population was chosen by the finest judges in England! (p.354)


Credit

The Fatal Shore by Robert Hughes was published by William Collins in 1986. References are to the 1987 Guild Publishing hardback edition.

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Executions @ the Museum of London Docklands

For over 700 years London was the scene of public executions, a practice which wove itself into the city’s history and popular culture. This excellent and imaginatively designed exhibition at the Museum of London Docklands explores all aspects of public executions in London, using a combination of artifacts, letters, informative videos, songs and voices, paintings, engravings and caricatures, and some really gruesome exhibits.

Above all, it is amazingly comprehensive – it touches on all the aspects of the subject I’d expected beforehand but goes on to explore all kinds of nooks and crannies I’d never have thought of. I’d never thought about the effort some condemned prisoners put into being well dressed for their trip to the gallows. Well, the exhibition tells the stories of condemned men and women who went to great lengths to look their best on their death day, and even has the fine dress and fancy suit worn by a female and male executionee:

  • on the left, the ‘white muslin gown, a handsome worked cap and laced boots’ worn by Eliza Fenning who was hanged for attempting to poison her employers
  • to the right, the ‘superb suit of white and silver, being the clothes in which he was married’ worn by Laurence Shirley, Earl Ferrers, was hanged on 5 May 1760 for the murder of his steward John Johnson, whom he shot in a rage

Final clothing section in the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

(The door on the right of this photo is one of the three doors you had to pass through to enter Newgate Prison. The architect George Dance thoughtfully positioned swags of chains and shackles over the main entrance door at Newgate to terrify and intimidate new prisoners.)

I’d never thought about what happened to the bodies of the hanged after their execution. Turns out that from the mid-16th century the bodies of executed criminals were given to the Company of Barber-Surgeons and the Royal College of Surgeons for dissection and medical research. The thought of being dissected filled the condemned with horror. Fights could break out at executions as friends and family of the deceased would attempt to stop the surgeons claiming bodies. In the same spirit I had no idea that life sized casts of the heads of the executed were often made – there’s a selection of them on display here, which, as the nineteenth century progressed, were used to study ‘criminal’ physiognomy. Alternatively, the casts of notorious criminals were kept in a special display at Newgate where they could be viewed by visitors, who included Charles Dickens.

Death masks at the ‘Execution’ exhibition at the Museum of London Docklands © Museum of London

I knew that broadsheets and leaflets were often sold at executions which claimed to give the last speech of the condemned man, along with a ballad poem describing his fate – but I’d never had the opportunity to read some of these before. Ditto the last letters condemned men wrote to their loved ones. There’s not only letters but rings and coins sent by those condemned to transportation instead of execution in the mid-nineteenth century.

I knew that prisoners in gaol were often shackled but I don’t think I’ve seen a collection of the different types of handcuffs, shackles and ‘waist belts’ used for this purpose on display before. Apparently the weight of shackles prisoners were manacled with sometimes meant they could barely move. As well as direct punishment of the prisoner, the sound of all this metalwork clanking through the echoing vaults of the grim prisoner had a demoralising and terrifying psychological effect on other inmates. The practice of routinely keeping prisoners shackled in irons ceased in the 1820s.

Shackles and handcuffs used in Newgate Prison at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

I’ve certainly never seen a real actual gibbet before and I didn’t know that they didn’t come in a standard size, but that a gibbet ‘tailor’ took the corpse’s measurements and built the gibbet to perfectly fit. In line with the state of the art interactivity of the exhibition, the display of this real-life gibbet had a gruesome audio soundtrack with the noise of flies buzzing round the rotting corpse.

Wrought iron gibbet cage from ‘Executions’ at the Museum of London Docklands © Museum of London

I was at first puzzled why the gibbet was so elaborate but realised that a lifeless body would flop in all directions unless its limbs were very strictly compassed and controlled. The effect can be seen in this illustration of the body of the notorious pirate Captain Kidd.

Captain Kidd, gibbeted near Tilbury in Essex, following his execution in 1701

More criminals were gibbeted in the greater London area than elsewhere in the country. The bodies of murders and highwaymen were gibbeted on heaths located on the outskirts of London and main highways into the capital, especially on the wide open Hounslow Heath which became famous for the number of gibbets.

Capital punishments

Between the first recorded execution at Tyburn in 1196 and the last public execution in 1868, there were tens of thousands of executions in London. Nobody knows the precise number because records weren’t kept before the 18th century.

Right at the start there’s a wall-sized video which shows a scrolling list of all the offences which carried the penalty of capital punishment. By the end of the 18th century some 200 crimes were punishable by death in a list which became known as the ‘Bloody Code’. London’s courts condemned more people to die than those in the rest of the country combined.

Scrolling list of capital offences at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

Types of execution

Most ordinary criminals were hanged. More florid ways of being despatched were reserved for VIPs.

1. Drawing, hanging and quartering

An ancient punishment for treason, the prisoner was ‘drawn’ or dragged from prison to the execution site, hanged until they were nearly dead, then castrated, disembowelled, beheaded and cut into quarters. Thee practice continued into the 19th but by then prisoners were hanged first and then beheaded.

there’s a vivid engraving of the fate of the Gunpowder Plotters who, after being found guilty in 1606, were publicly executed over two days in St Paul’s Churchyard and Old Palace Yard, Westminster, where they were dragged by horses through the streets, hanged, castrated, disembowelled and cut into pieces.

2. Burning

In 1401 an Act of Parliament made burning the punishment for heresy. It aimed to ‘strike fear into the minds’ of people who questioned the teachings of the church. Women convicted of murdering their husbands or counterfeiting could also be burned to death. By the 18th century they were strangled first.

The exhibition features illustrations of the Protestant martyrs burned at the stake at Smithfield. Over 280 religious dissenters were burned at the stake during the five-year reign of Mary I, known as ‘Bloody Mary’. Besides Smithfield others were burned to death at Stratford-le-Bow, Barnet, Islington, Southwark, Uxbridge, Westminster and throughout England.

Woodcut depicting John Rogers, the first of the ‘Marian martyrs’, being burned at the stake in Smithfield (1555)

3. Boiling

Death by boiling was a rare punishment. In 1531 a cook named Richard Roose poisoned the porridge of the household of Bishop John Fisher, causing two deaths. Henry VIII was so disgusted he declared this crime treason and Parliament passed the ‘Acte for Poysoning’ ordering those who murdered by poison to be boiled to death. Roose was boiled at Smithfield. Eleven years later Margaret Davies suffered the same fate for poisoning four people. Edward VI abolished this execution method in 1547.

4. Beheading

Members of the nobility condemned for treason were often beheaded out of respect for their high status, rather than suffering the agony and humiliation of drawing, hanging and quartering. Most beheadings took place in public on Tower Hill before a large crowd.

5. Hanging

Most ordinary criminals were executed by hanging. There appear to have been two methods. Initially the condemned were placed under a gallows (in the very early period just a tree) standing on a cart. A rope was noosed round their neck and the cart slowly pulled away by horses or oxen till the condemned fell off the back of it and was left dangling. This could be a fairly slow, excruciating death. Laster the ‘short drop’ method was introduced, where the condemned stood on a raised platform and, with the flick of a handle, a trapdoor opened underneath them, dropping them through and making it more likely their neck would snap with the sudden ratchet of the noose. But both methods were far from foolproof and family members or the executioner often pulled the legs of the hanged person to speed up their death.

Places of execution

In the City of London you are never more than 500 metres from a former place of execution. London was packed with them. Early on in the exhibition there’s a useful wall-sized video, with a bench to sit and watch it, which shows maps of London from early medieval times onwards, showing not only ow its street plan grew and developed (interesting in itself) but where the ever-growing number of places of execution were sited (indicated on the maps by entertaining ochre blotches of blood).

1. Smithfield

In the medieval and Tudor periods Smithfield was used for various public purposes, including a livestock market, fairs and executions, as in the burning of the Protestant martyrs mentioned above.

2. Tyburn

Tyburn stood slightly to one side of the current position of Marble Arch at the north-east tip of Hyde Park. It served as London’s principal site of execution for around 600 years. The earliest account records the execution of William FitzOsbert in 1196. Until the late 18th century it was a semi-rural location, easy to get to and easy for crowds to assemble and watch the spectacle.

A huge amount of popular tradition and iconography grew up around the public hanging of criminals at Tyburn. The exhibition contains umpteen engravings and pictures, stores and facts, not least about the carnivalesque atmosphere which reigned along the route of carts transporting convicted criminals from Newgate Prison, via St Giles’s-in-the-Fields church and then along what is now Oxford Street. Many of the condemned went to their execution drunk, in fact it became customary for the cart to stop off at a pub at St Giles where the executioner and victim shared a last pint of beer. This became known as ‘the St Giles Bowl’.

Bernard Mandeville wrote that ‘all the way from Newgate to Tyburn, is one continued Fair, for whores and rogues of the meaner sort.’

In 1961 construction began on new pedestrian subways by Marble Arch and the excavators found large quantities of human bones around the site of the Tyburn gallows which archaeologists presume are the remains of the executed who were buried where they died.

Execution at Tyburn by Thomas Rowlandson (1803)

A lot of slang and catchphrases grew up about the place. The scaffold was known as ‘the Tyburn tree’. To ‘take a ride to Tyburn’ (or simply ‘go west’) was to go to one’s hanging. The ‘Lord of the Manor of Tyburn’ was the public hangman while ‘dancing the Tyburn jig’ was the act of being hanged because of the wriggling, dancing movement of the hanged in their last moments.

The last execution at Tyburn was of John Austin, a highwayman, on 3 November 1783.

3. Newgate

With the closure of Tyburn London’s public executions moved to the open space in front of the rebuilt Newgate Prison. This was to be London’s principal site of public execution for the next 85 years until public executions were discontinued in 1868.

The move meant the end of the great public procession from Newgate to Tyburn. It was an assertion by the authorities of their control over the timing and atmosphere of the executions. The Newgate scaffold featured two beams with capacity for up to 12 hangings.

Newgate Prison itself closed in 1902. The demolition of one of London’s most iconic buildings aroused considerable public interest and relics of the prison were sold at auction. A keystone from the main doorway is on display here, as is one of the heavy wood-and-metal doors (see first photo).

4. Horsemonger Lane

Public executions at Horsemonger Lane in Southwark took place on the roof of the gatehouse, making them highly visible to spectators.

5. Tower Hill

A small number of noble men and women, soldiers and spies were privately executed within the walls of the Tower of London. Many more – at least 120 between 1388 and 1780 – were executed in public on Tower Hill. Beheadings and hangings, were common enough for the ‘posts of the scaffold’ to become a landmark. It was here that Thomas, Earl of Strafford, a key ally of Charles I, was executed on 12 May 1641, as part of the political divisions which opened up before the outbreak of civil war the following year.

6. Execution Dock

On the Thames near Wapping, Execution Dock was used for more than 400 years to execute pirates, smugglers and mutineers who had been sentenced to death by Admiralty courts. The ‘dock’ consisted of a scaffold for hanging. The last executions there took place in 1830. Just up the river at Blackwall Reach where it bends bodies of convicts were gibbeted so as to be more visible to boats entering the city.

7. Charing Cross

Public executions took place at Charing Cross in the 16th and 17th centuries. A pillory that locked the head and hands of a criminal into a wooden frame for public humiliation was later erected at the site.

8. New Palace Yard and Westminster Hall

The area around the Palace of Westminster was used for public executions, the display of body parts and pillorying criminals.

9. Kennington Common

From at least 1678 until 1800 Kennington Common was the principal execution site for the county of Surrey.

The execution and embowelling of Jacobite rebels on Kennington Common mid to late 18th century)

10. Cheapside

Temporary gallows were erected on several occasions at Cheapside between the 14th and 17th centuries. They were in place for over 100 days in 1554 following the execution of two rebels involved in a Protestant uprising against Mary I.

Ordinary criminals and reprieves

The exhibition contains the story of what feels like 50 or so ordinary criminals, whose names are preserved for some or other aspect of their crime or their trial or their plea for pardon or the way they died. One by one their pitiful stories build up into an upsetting profile of the generally poor and wretched who committed often petty crimes and went to their deaths miserably.

As the number convicted of capital offences rose in the later 18th century the number of reprieves increased, if only to manage down the number of executions which threatened to swamp the system. The exhibition features letters written by the condemned, their friends and relatives and influential contacts. I like the story of the Dane Jørgen Jørgenson, who was convicted in 1820 of robbery but managed to get a letter to the Duke of Wellington for whom he had worked as a during the Napoleonic wars. The exhibition includes a letter from the Duke pardoning Jørgenson on condition he ‘transports’ himself out of the country.

The most famous victim: Charles I

Probably the most famous execution ever to take place in London was not of a common criminal or aristocratic traitor but of the king himself, namely Charles I, brought to trial by the Puritan junta and found guilty of treason against his own people. The exhibition devotes a large case to his execution, on 31 January 1649, with several contemporary illustrations and a number of artefacts said to be linked to it, namely a pair of royal gloves he was said to have taken with him, and even the silk undershirt he insisted on wearing to prevent him shivering with cold (it was January in London) which, he told his attendant, Sir Thomas Herbert, might be misinterpreted as fear.

Later on in the exhibition there are several objects pertaining to the punishment of his killers. 59 leading Puritan generals and MPs signed the king’s death warrant and so came to be known by their enemies as the ‘regicides’. On his Restoration in 1660, Charles II had special agents arrest any of the regicides living in England and track down those who had fled abroad and assassinate them.

Three of the leading regicides, Oliver Cromwell, John Bradshaw and Henry Ireton, had already died of natural causes and been buried at Westminster Abbey, but in 1661 Charles’s Cavalier Parliament ordered their bodies to be exhumed, executed and decapitated. Their heads were displayed on poles outside Westminster Hall. Cromwell’s head remained there until 1685.

The most famous criminal: Jack Sheppard

John ‘Jack’ Sheppard was convicted of robbery in 1724, aged 22. Sheppard was one of London’s greatest criminal heroes. Notorious for escaping multiple times from Newgate, he became a symbol of freedom for London’s working classes. An apprentice carpenter, Jack fell into a life of thieving, reputably led astray by ‘bad company and lewd women’. Although eventually executed at Tyburn at the age of 22, his effrontery and skill in challenging authority ensured his story was recounted in popular books and plays for generations. The artist James Thornhill paid one shilling and sixpence to visit him in his cell to draw this portrait.

Portrait of Jack Sheppard by Sir James Thornhill (1724)

In the 1850s the campaigning journalist Henry Mayhew discovered that ‘chapbooks’ recounting Sheppard’s exploits were hugely popular in low lodging houses, where they were read aloud to illiterate youths. He interviewed 13 boys who confessed to thieving in order to pay for a theatre ticket for the  current play about Jack’s life.

The most famous executioner: Jack Ketch

In 1685, the Duke of Monmouth, illegitimate son of Charles II, led a rebellion to seize the throne from his uncle, James II. The rebellion was defeated, Monmouth was captured, condemned for high treason and beheaded on Tower Hill. Despite asking to be killed with one clean blow, Monmouth’s executioner, Jack Ketch, made a right monkeys of the procedure, failing to despatch the Duke after two strikes with an axe and being forced to resort to a knife to cut through the neck while the Duke made a grim effort to rise from the block to the horror of onlookers. As a result of this heroic failure Ketch’s name became infamous and, eventually, became a byword for public executioners, who, by and large preferred to keep their identities secret.

Transportation

A final section of the exhibition explains how crimes which had previously resulted in execution were amended to ‘transportation’ to the colonies, generally meaning Australia. In fact the first convicts transported out of England had been despatched as long ago as 1718, when they were sent to America to supply plantations there with labour. Thus Moll Flanders, heroine of Daniel Defoe’s 1722 novel, is convicted of a capital offence but gets it commuted to transportation to British America.

Transport to America ended when that country became independent in 1776 but, as luck would have it, just a few years earlier (in 1770) Australia had been discovered and provisionally mapped by Captain James Cook. Between 1788 and 1868 over 160,000 convicts were sent to Australia from England and other parts of the Empire.

The exhibition includes a few paintings of the first settlement, which are fairly predictable – but I had never heard about ‘convict tokens’ before. Apparently, convicts awaiting transportation presented loved ones with smoothed coins engraved with messages of affection. Often created by prisoners skilled in metalwork, for a fee, the tokens could be highly decorative and became known as ‘leaden hearts’. Half a dozen examples are on display here.

A convict’s love token from the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

The campaign to abolish public executions

The advent of Queen Victoria to the throne in 1837 marked a sea change in social attitudes. The young queen consciously rebelled against the louche morals of her rakish predecessor, William IV. She wanted a chaste, sober court and her high moral tone and sincere Anglicanism set the style for the new reign among the aristocracy and aspiring upper middle classes. There was a general wish to make all aspects of public life more respectable and, in time, the new mood extended to the utterly disreputable practice of public executions, with all their opportunities for immorality of every description which this exhibition has chronicled.

In 1840 William Makepeace Thackeray attended the execution of the Swiss valet François Courvoisier, executed for murdering his master, Lord William Russell. He wrote that ‘I feel myself ashamed and degraded at the brutal curiosity which took me to that brutal sight…I came away…that morning with a disgust for murder, but it was for the murder I saw done.’

In 1849 Charles Dickens had attended the execution of Maria and Frederick Manning and wrote a furious letter to The Times criticising the ‘inconceivably awful behaviour’ of the crowd. Describing public execution as a ‘moral evil’, he doubted communities could prosper where such scenes of ‘horror and demoralisation’ could take place.

Prison reform had been an issue since the start of the nineteenth century and combined with the campaign to abolish public executions. The exhibition cites the MP Thomas Hobhouse in 1866 arguing that the spectacle, instead of instilling fear of crime and respect for the law, resulted in the crowds who became ‘hardened and literally acquired a taste for blood.’

The exhibition features a powerful satirical cartoon published in Punch magazine mocking the commercialisation of state executions. The scaffold is a theatrical stage with a sign for ‘opera glasses’ and a booth selling tickets while the mixed crowd is worked by hawkers and costermongers. ‘Ere’s lots o’ the rope which ‘ung the late lamented Mr Greenacre, only a penny an inch!’

The Trial for Murder Mania, illustration for Punch, 1850

After several attempts to move a bill in Parliament, the Capital Punishment Amendment Act was finally passed in 1868 public executions in Britain were officially banned. The last person to be publicly executed in London was the Irish republican Michael Barrett, on 26 May 1868. Three days later the practice was outlawed.

But it wasn’t the abolition of the death penalty, though. Another century was to pass before that occurred. Only in 1965 was the death penalty for murder in Britain suspended for five years and in 1969 was this made permanent. And it wasn’t until 1998 that the death penalty in Britain was finally abolished for all crimes. The last people executed in the UK were Peter Allen and Gwynne Evans on 13 August 1964.

Amnesty International

Things take a very earnest turn at the end of the exhibition with a large video screen showing an interview with Paul Bridges from Amnesty International. He reminds us that 55 countries still retain the death penalty (although, admittedly, many have not used it for some time). Nonetheless, Amnesty International recorded 579 executions in 18 countries in 2021.

Summary

This is an outstandingly interesting, comprehensive, thought-provoking, sometimes funny, but mostly grisly and gruesome exhibition, beautifully staged, with absorbing interactive elements. You have two more weeks to catch it.


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Van Gogh and Britain @ Tate Britain

Before I went I’d read some disparaging reviews of this exhibition – but I found it really interesting, thought-provoking, full of wonderful paintings and prints and drawings, and making all kinds of unexpected connections. And big, much bigger than I expected.

The premise is simple: Vincent van Gogh came to live in England in 1873, at the age of 20. He lived in London for nearly three years, developing an intimate knowledge of the city and a great taste for English literature and painting. The exhibition:

  1. explores all aspects of van Gogh’s stay in London, with ample quotes from his letters to brother Theo praising numerous aspects of English life and London – and contains several rooms full of the English paintings and prints of contemporary urban life which he adored
  2. then it explores the development of van Gogh’s mature style and the many specific references he made back to themes and settings and motifs he had first seen in London, in London’s streets and galleries
  3. finally, the exhibition considers the impact van Gogh had on British artists
    • as a result of the inclusion of his pictures in the famous 1910 exhibition Post-Impressionist Painting
    • between the wars when van Gogh’s letters were published and fostered the legend of the tormented genius, the man who was too beautiful and sensitive for this world
    • and then how van Gogh’s reputation was further interpreted after the debacle of the Second World War

Gustave Doré

The first three rooms deal with the London that van Gogh arrived in in 1873. Among the highlights was a set of seventeen prints from Gustave Doré’s fabulous book London, a pilgrimage, which had been published only the year before, 1872. All of these are marvellous and the first wall, the wall facing you as you enter the exhibition, is covered with an enormous blow-up of Doré’s illustration of the early Underground.

The Workmen’s Train by Gustave Doré (1872)

Frankly, I could have stopped right here and admired Doré’s fabulous draughtsmanship and social history, as I looked at the wall covered with seventeen of the prints from the book which we know van Gogh owned and revered.

It’s the basis of the first of many links and threads which run through the show because, many years later, when van Gogh had developed his mature style but had also developed the mental illness that was to plague him, during his confinement in a mental hospital, he was to paint a faithful copy of Doré’s depiction of inmates in Newgate prison but in his own blocky style, to express his own feelings.

The prison courtyard by Vincent van Gogh (1890) © The Pushkin State Museum of Fine Arts, Moscow

Social realism

Van Gogh had come to London because he had got a job with the art dealing firm Goupil, which was part of the fast-growing market for the popular prints and art reproductions which were informally referred to as ‘black and whites’.

VanGogh ended up with a collection of over 2,000 of these English prints, and admired them for their realistic depictions of contemporary urban scenes, especially among the poor. I was fascinated to learn that there was a set of socially-committed artists who all drew for The Graphic magazine, including Luke Fildes, Edward Dalziel, Frank Holl, and Edwin Buckman. The exhibition includes quite a few black and white social realist prints by artists from this circle and, as with the Doré, I could have studied this stuff all day long.

A London Dustyard by Edwin Buckman, from the Illustrated London News, 1873

The curators related these blunt depictions of London life back to the novels of Charles Dickens, who we know van Gogh revered (in this instance the rubbish dump motif linking to the dust yard kept by the Boffin family, the central symbol of his last, finished novel, Our Mutual Friend). As Vincent was to write during his first year as a struggling artist:

My whole life is aimed at making the things from everyday life that Dickens describes and these artists draw.

But these illustrations by numerous London artists are also here because Vincent copied them. Next to the Buckman image of a dustyard is a graphite sketch of dustmen by Vincent. Next to a Luke Filde image of the homeless and poor, is a van Gogh drawing of a public soup kitchen.

A Public Soup Kitchen by Vincent Van Gogh (1883) © The Van Gogh Museum, Amsterdam

Other images include one of surly roughs waiting for the pub to open and a hooligan being arrested. Next to them all are van Gogh’s own earliest sketches and drawing, including a series he did of a homeless single mother begging on the streets, Sien Hoornik, who he took in and fed and had model for him (fully clothed) in a variety of postures of hopelessness and forlornness. And variations on the theme of tired, poor old men.

This is the Vincent who set his heart on becoming a vicar and did actually preach sermons at London churches, as well as crafting skilled sketches of churches in the letters he sent to brother Theo, and which are displayed here.

The example of old masters

But it wasn’t just magazine and topical illustration which fired Vincent’s imagination. The curators have also included a number of big classic Victorian paintings – by John Constable and John Millais among others – to give a sense of what ‘modern’ art looked like to the young van Gogh.

He was not yet a painter, in fact he didn’t know what he wanted to be. But the curators have hung the sequence, and accompanied them by quotes from letters, to show that, even in his early 20s, he was an acute observer of other people’s art, not only Victorian but other, older, pictures he would have seen at the National Gallery.

The Avenue at Middelharnis by Meindert Hobbema (1689) © The National Gallery, London

Several of these classic paintings depict an open road between a line of trees and, as the room progresses, the curators have hung next to them van Gogh’s later depictions of the same motif, showing early versions of the motif done in a fairly rudimentary approach, the oil laid on thick and heavy and dark…

Avenue of Poplars in Autumn by Vincent van Gogh (1884) © The Van Gogh Museum, Amsterdam

And then next to these, suddenly, we have the first works of his mature style in which his art and mind have undergone a dazzling liberation.

Path in the Garden of the Asylum by Vincent van Gogh (1889) © Collection Kröller-Müller Museum, Otterlo

The triumph of distortion

One of the things you can see evolving is his depiction of faces. Early on, he’s not very good. There’s a set of faces of what look like jurymen, as well as individual portraits of working men and women, and often they are either expressionless blocks, or a bit cack-handed, a bit lop-sided. Even the numerous sketches of Sien Hoornik are better at conveying expression through the bent posture of her body, than through facial expressions which are often blurred or ignored.

Similarly, you can’t help noticing that the early landscapes like the avenue of poplars, above, very much lack the suave painterly finish and style of his models (Constable, Millais).

But what happens as you transition into room four – which covers his move to Paris to be near his brother in 1885 – is a tremendous artistic and visual liberation, so that the very wonkiness and imperfections in his draughtmanship which were flaws in the earlier works, are somehow, magically, triumphantly, turned into strengths. The blockiness, the weakness of perspective, the lack of interest in strict visual accuracy, have suddenly been converted into a completely new way of seeing and of building up the image, which feels deeply, wonderfully emotionally expressive.

Sorrowing old man (‘At Eternity’s Gate’) by Vincent van Gogh (1890) © Collection Kröller-Müller Museum, Otterlo

Room four makes fleeting reference to the community of like-minded artists he found working around Paris, and in particular to Pissarro, exponent of what was being called neo-Impressionism.

It seems quite obvious that van Gogh was very influenced by the Frenchman’s experiments with chunks and blocks, and spots and dabs and lines of pure colour. The painting above combines the strong formal outlines redolent of the black and white Victorian prints he revered so highly, with a new approach to filling in the outlines – not with a consistent smooth finish à la Millais – but a completely new idea of filling the space with disconnected lines of paint, the artist quite happy to leave blanks between them, quite happy to let us see them as isolated lines all indicating colour and texture.

The curators link this technique back to the cross-hatching used to create volume and shape by the Victorian print-makers and illustrators. So one way of thinking about what happened is that Vincent transferred a technique designed for print making to oil painting. What happens if you don’t create a smooth, finished all-over wash of colour, but deliberately use isolated lines and strokes, playing with the affect that basic, almost elemental short brushstrokes of mostly primal colours, create when placed next to each other.

It has a jazzy effect, creates a tremendous visual vibration and dynamism. the image looks like it is quivering or buzzing.

The Manet and the Post-Impressionists exhibition

To be honest, by this stage my head was buzzing with the fabulous images of Doré and Fildes and the other British illustrators, and van Gogh’s similarly social realist depictions of the poor, the old, prostitutes and so on and the way the early social realist paintings had morphed into a series of paintings of outdoor landscapes. I felt full to overflowing with information and beauty. But there was a lot more to come.

Suddenly it is 1910 and room five is devoted to the epoch-making exhibition held in London and titled Manet and the Post-Impressionists by the curator Roger Fry. As with Doré’s underground image at the start, the curators have blown up a page from a popular satirical magazine of the time, depicting the dazed response of sensible Britishers to the outlandish and demented art of these foreign Johnnies and their crazed, deformed, ridiculously over-coloured paintings. A number of Vincent’s paintings were included in the show and came in for special scorn from the philistine Brits.

This amusing room signals the start of part two of the show which looks at van Gogh’s posthumous influence on a whole range of native British artists.

This second half is, I think more mixed and of more questionable value than the first half. We know which British artists and illustrators van Gogh liked and admired and collected, because he included their names and his responses to their works, in his many letters.

As to the influence he had after his death, this is perforce far more scattered and questionable. Thus room six introduces us to paintings by Walter Sickert, leader of the Camden Town school (whose work I have always cordially hated for its dingily depressing dark brown murk), to Vanessa Bell and Duncan Grant (bright Bloomsburyites), and to Matthew Smith, Spencer Gore and Harold Gilman.

The Vineyard by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

It’s impossible to place any of these artists on the same level as Vincent. Amid the sea of so-so also-rans, the scattered examples of works by van Gogh ring out, shout from the walls, proclaim the immensity of his genius, the vibrancy of design, colour and execution. Like an adult among children.

That said, there’s quite a lot of pleasure to be had from savouring these less-well-known British artists for their own sakes. I was particularly drawn to the works of Harold Gilman and Spencer Gore. Here is Gore’s painting of Gilman’s house. It doesn’t have a lot to do with van Gogh, does it, stylistically? Apart from being very brightly coloured.

Harold Gilman’s House at Letchworth, Hertfordshire by Spencer Gore. Courtesy of New Walk Museum & Art Gallery, Leicester Arts and Museums Service

Similarly, I really liked Gilman’s picture of the inside of a London caff, focusing on the decorative wallpaper and bright red newel posts, and a sensitive portrait titled Mrs Mounter at the Breakfast Table, 1917. The curators relate this latter painting back to Vincent’s vivid, warts-and-all portraits, which also contain highly decorative elements and stylised wallpaper, a garish brightness which scandalised critics of the 1910 show.

Maybe. It’s a good painting, he conveys the old woman’s character in a sober, unvarnished way and the use of decorative elements is interesting. But only a few yards away is hanging one of five or six drop-dead van Gogh masterpieces of the show, the Hospital at Saint-Rémy (1889), and there is absolutely no competition.

Hospital at Saint-Rémy (1889) by Vincent van Gogh © Hammer Museum collection

Good God, hardly anything you’ve ever seen before explodes with such power and vibrancy as this painting. The brown earth, the green grass, the writhing trees and the very air seem to have burst into flames, to be erupting and leaping with energy, fire, ecstasy, fear, manic force.

Although there are a number of other, milder, more discreet landscapes by Vincent, when he is in this manic mood he wipes everybody else off the table, he dominates the dancefloor, he takes over the room, while the others are playing nice tunes on their recorders, he is like a Beethoven symphony of colour and expression, full of tumult and vision.

The impact of sunflowers

Emotionally and intellectually exhausted? I was. But there’s more. A whole room devoted to sunflowers. Pride of place goes to one of his most famous paintings, the sunflowers of 1888, and I was fascinated to learn from the wall label that van Gogh’s still lifes contributed to a major revival of the art of painting flowers. There are ten or a dozen other paintings of sunflowers around this room, by a whole range of other artists (of whom I remember Winifred and William Nicholson, Christopher Wood and Frank Brangwyn and Jacob Epstein). One of the Brits is quoted as saying that the painting of flowers had been more or less dismissed by the moderns, as having come to a dead end in Victorian tweeness and sentimentality. Until Vincent’s flower paintings were exhibited in the 1920s.

Sunflowers by Vincent Van Gogh (1888) © The National Gallery, London

Van Gogh’s flower works showed that flowers could be painted in an entirely new way, blazing with colour and passion, wildly undermining traditional canons of beauty, revealing the passionate secrets implicit in the shapes and patterns of nature.

In a work like this you see a pure example of his exploration of colour for its own sake, a post-Impressionists’ post-Impressionist, the sunflowers not only being a blistering depiction of the flower motif, but a highly sophisticated and daring experiment with all the different tones of yellow available to the artist in 1888. So much to do, so much to paint, so much experience implicit in every fragment of God’s beautiful world!

Van Gogh’s reputation between the wars

By the 1920s van Gogh’s works were being exhibited regularly in Britain and snapped up by private collectors. He became famous. The process was helped hugely by the publication in English translation of his vivid, passionate and tormented letters. The life and the works became inextricably intertwined in the myth of the tortured genius. The curators quote various writers and experts between the wars referring to Vincent’s ‘brilliant and unhappy genius’.

However, this room of his last works makes a simple point. For a long time it was thought that the painting he was working on when he shot himself on 27 July 1890 was ‘Wheatfield With Crows‘. Forests have been destroyed to provide the paper for oceans of black ink to be spilt publishing countless interpretations which read into this fierce and restless image the troubled thoughts which must have been going through the tormented genius’s mind on his last days.

Except that the display in this room says that the most recent research by Vincent scholars have conclusively proven that it was not Van Gogh’s last painting! The painting he was working on when he shot himself was a relatively bland and peaceful landscape painting of some old farm buildings.

Farms near Auvers by Vincent Van Gogh (1890) © Tate

The point is – there’s nothing remotely tormented about this image. And so the aim of the display is to debunk the myth of the ‘tortured’ artist and replace it with the sane and clear-eyed artist who was, however, plagued by mental illness.

Phantom of the road

This point is pushed home in the final room which examines van Gogh’s reputation in Britain after the Second World War. All his works, along with all other valuable art had been hidden during the war. Now it re-emerged into public display, including a big show at Tate in 1947.

In the post-war climate, in light of the Holocaust and the atom bomb, the legend of the tormented genius took on a new, darker intensity. The curators choose to exemplify this with a raft of blotchy, intense self-portraits by the likes of David Bomberg which, they argue, reference van Gogh’s own striking self portraits.

But this final room is dominated by a series of paintings made by the young Francis Bacon in which he deliberately copies the central motif of a self-portrait Vincent had made of himself, holding his paints and easel and walking down a road in Provence.

Bacon chose to re-interpret this image in a series of enormous and, to my mind, strikingly ugly paintings, three of which dominate one wall of this final room.

Study for portrait of Van Gogh by Francis Bacon (1957) Tate © The Estate of Francis Bacon

They are, in fact, interesting exercises in scale and colour, and also interesting for showing how Bacon hadn’t yet found his voice or brand. And interesting, along with the Bomberg et al in showing how the legend of tormented genius was interpreted in the grim grey era of Austerity Britain.

And they show what a very long journey we have come on – from the young man’s early enthusiasm for Charles Dickens and Gustave Doré right down to his reincarnation as a poster boy for the age of the H-bomb.

A bit shattered by the sheer range of historical connections and themes and ideas and visual languages on show, I strolled back through the exhibition towards its Victorian roots, stopping at interesting distractions on the way (some of Harold Gilman’s works, the big cartoon about the Post-Impressionist show, some Pissarros, the Millais and Constable at the beginning, the wall of Dorés), but in each room transfixed by the one or two blistering masterpieces by the great man.

Even if you didn’t read any of the wall labels or make the effort to understand all the connections, links and influences which the curators argue for, it is still worth paying to see the handful of staggering masterpieces which provide the spine for this wonderful, dazzling, life-enhancing exhibition.

Starry Night by Vincent van Gogh (1888) Paris, Musée d’Orsay. Photo © RMN-Grtand Palais / Hervé Lewandowski

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