page_title: Charter fair
section_title: Decline of the fair system
hierarchical_section_title: Charter fair / Decline of the fair system
caption_attribution_description: English: Southwark Fair by William Hogarth, 1733–34. Source: [1] The following description is taken from: Hogarth W, Trusler J, Hogarth J, Nichols J (1833) The Works of William Hogarth: In a Series of Engravings With Descriptions, and a Comment on Their Moral Tendency, London&#58; &#32;Jones, p.&#160;110 OCLC&#58; 3313487.&#32; The subject of the plate under consideration is that of the Borough Fair; a fair held some time since in the Borough of Southwark, though now suppressed. This fair was attended, generally, by the inhabitants of town and country, and, therefore, was one that afforded great variety; especially as, before its suppression, it was devoted to every thing loose and irregular. A view of the scene, of which the following print is a faithful representation, will affirm this truth. The principal view upon the left represents the fall of a scaffold, on which was assembled a strolling company, pointed out, by the paper lantern hanging in front, to be that belonging to Cibber and Bullock, ready dressed to exhibit "The Fall of Bajazet." Here we see merry-andrews, monkeys, queens and emperors, sinking in one general confusion; and, that the crash may appear the greater, the stand beneath is humorously supposed to consist of earthenware and china. Notwithstanding this fatal overthrow, few below are seen to notice it; witness the boys and woman gambling at the box and dice, the upright monkey, and the little bag-piper dancing his wooden figures. Above this scaffold hangs a painting, the subject of which is the stage mutiny; whose figures are as follow:—On one side is Pistol, (strutting and crying out, "Pistol's alive,") Falstaff, Justice Shallow, and many other characters of Shakspeare. On the other, the manager bearing in his hand a paper, on which is written, "it cost 6000l." a scene-painter, who has laid his brushes aside, and taken up a cudgel; and a woman holding an ensign, bearing the words, "We'll starve 'em out." In the corner is a man, quiet and snug, hugging a bag of money, laughing at the folly of the rest; and behind, a monkey, perched upon a sign iron, supposed to be that of the Rose Tavern in Drury-lane, squeaking out, "I am a gentleman." These paintings are in general designed to show what is exhibited within; but this alludes to a dispute that arose at the time when this print was published, which was in the year 1733, between the players and the patentee of Drury-lane Theatre, when young Cibber, the son of the[Pg 110] Laureate, was at the head of the faction. Above, on one side, is an equilibrist swinging on a slack rope; and on the other, a man flying from the tower to the ground, by means of a groove fastened to his breast, slipping over a line strained from one place to the other. At the back of this plate is Lee and Harper's great booth, where, by the picture of the wooden horse, we are told, is represented "The Siege of Troy." The next paintings consist of the fall of Adam and Eve, and a scene in Punch's opera. Beneath is a mountebank, exalted on a stage, eating fire to attract the public attention; while his merry-andrew behind is distributing his medicines. Further back is a shift and hat, carried upon poles, designed as prizes for the best runner or wrestler. In front is a group of strollers parading the fair, in order to collect an audience for their next exhibition; in which is a female drummer, at that time well known, and remarked for her beauty, which we observe has caught the eye of two countrymen, the one old, the other young. Behind these men is a buskined hero, beset by a Marshalsea Court officer and his follower. To the right is a Savoyard exhibiting her farthing show; and behind, a player at back sword riding a blind horse round the fair triumphantly, in all the boast of self-important heroism, affecting terror in his countenance, glorying in his scars, and challenging the world to open combat: a folly for which the English were remarkable. To this man a fellow is directing the attention of a country gentleman, while he robs him of his handkerchief. Next him is an artful villain decoying a couple of unthinking country girls to their ruin. Further back is a man kissing a wench in the crowd; and above, a juggler performing some dexterity of hand. Indeed it would be tedious to enter into an enumeration of the various matter of this plate; it is sufficient to remark that it presents us with an endless collection of spirited and laughable characters, in which is strikingly portrayed the character of the times.
context_page_description: A charter fair in England is a street fair or market which was established by Royal Charter. Many charter fairs date back to the Middle Ages, with their heyday occurring during the 13th century. Originally, most charter fairs started as street markets but since the 19th century the trading aspect has been superseded by entertainment; many charter fairs are now the venue for travelling funfairs run by showmen.
context_section_description: Towards the end of the medieval period, the position of fairs began to decline. One important shift was that the major merchants, particularly in London, began to establish commercial primacy by the 14th century over the larger magnate customers; rather than the magnate buying from a chartered fair, they would buy from the merchant. As an example of this shift, the household accounts of Henry III show that the monarch bought 75% of his requirements from the great fairs; by the time of Edward II, the majority was being bought directly from the major merchants. The rise of international trading confederations such as the Hanseatic league during the 15th century, improved communications and the growth of a larger England merchant class in the major cities, especially London, gradually eroded the value of the chartered fairs. Foreign merchants, upon whom the great chartered fairs had to some extent depended, were being crowded out by English merchants, particularly in critical areas such as the cloth trade. The control of the crown over trade in the towns, especially the emerging newer towns that lacked central civic government, was increasingly weaker, making chartered status less relevant as more trade occurred from private properties and took place all year around. Nonetheless, the great fairs remained of importance well into the 15th century, as illustrated by their role in exchanging money, regional commerce and in providing choice for individual consumers. The evolution of the canal and eventually the railway system in England during the 19th century finally pushed the fair system into near extinction, although in recent years many have been revived as cultural, rather than primarily economic events.
caption: Southwark Fair by William Hogarth, 1733–34
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