Criminal Historian

Working with dead people

Tag: crime (page 1 of 6)

Tracing convicts with the Digital Panopticon

The DP homepage

A few days ago, I was in the grand surroundings of Liverpool’s St George’s Hall to be at the official launch of the Digital Panopticon. This huge project has been undertaken by researchers at the universities of Liverpool, Sheffield, Oxford, Sussex and Tasmania over the past couple of years.

The team has gathered together over four million records, aimed at letting users of its free website find out how punishment affected the lives of 90,000 individuals who were convicted of offences at the Old Bailey between 1780 and 1925. These include people who were transported to Australia.

St George’s Hall – former home of crown and civil courts, and so an appropriate venue for the DP launch and conference

The website is invaluable for crime, social, and family historians – it contains a huge amount of information about individuals, which can include not only their basic details and criminal record, but also their eye and hair colour.

In many cases, a ‘life archive’ has been assembled that enables users to see how an individual’s criminal career progressed, and what happened to them. This takes in data from other sites, such as Ancestry, Findmypast and The National Archives, as well as from Australian record collections.

At a more general level, researchers have found out that British convicts who were transported to Australia tended to refrain from offending once they had married and become parents; and that children born to transported convicts tended to be healthier and taller than those born to convicts in British prisons.

The website includes a ‘life of the week’, where an individual case study is looked at. One example is Mary Ann Hall, who was born around 1840. Like many other female offenders who can be found in the Digital Panopticon, she was first mentioned in terms of offending in her late 20s, but came before the courts on several occasions for both thefts and assaults. Her varied jobs, physical state (including syphilitic welts!) and relationships with family members can all be ascertained – as well as her criminal record and the places where she was incarcerated.

I can see this website being a much-used resource for many historians and researchers, and look forward to seeing what research comes out of it. Its launch came during the three-day Digital Panopticon conference this week, where several of the DP team gave papers looking at various aspects of crime and punishment, and it was clear just how much fascinating research is being done into this area.

Professor Robert Shoemaker officially launching the Digital Panopticon at St George’s Hall

Some is looking at ‘big data’ – such as Richard Ward‘s paper on the misrecording of prisoner ages, where several sources were compared to see just how accurate (or otherwise) ages were in written records, and Sharon Howard‘s analysis of the speech of defendants at the Old Bailey (where it seems that the less you said, the better your chances were – unless, conversely, you were articulate and spoke A LOT).

Others, however, are focusing on micro-histories from which we can gain an understanding of law and order at a particular time, and how it impacted on certain individuals. Several are looking at juvenile crime, and I’m following this research with interest.

The study of the history of crime is clearly thriving, and both the packed conference and the launch of the Digital Panopticon website are evidence of this. It will be interesting to see what research now follows from users of the site, now it has been launched. Watch this space!

 

Dr Lucy Williams, from the Digital Panopticon team, has written a great feature on the Digital Panopticon – an intro to the website, what it contains and how to use it – for Your Family History, the magazine I edit . This will be in the October issue, published on 26 September.

 

 

 

A journey round HMP Shepton Mallet

A bit of publicity on the local news always helps, and it was an item on the television about a ghost being spotted by staff at a former Somerset prison that got me in the car to go and visit it. Now, I have to say upfront that I don’t believe in ghosts in any way, shape or form (I annoy anyone I watch Most Haunted with by hooting with laughter for much of it), but it was the mention that the prison was open to visitors for a limited time before being redeveloped that made me drop my work and travel down to the south-west.

HMP Shepton Mallet, located near the centre of the Somerset town, closed in 2013 after a four-century history, and is due to be developed into flats (the BBC has covered consultations into its future). However, until works begin next year, the prison is being opened on a regular basis for public tours. These are run by Jailhouse Tours, which bills itself as providing the ‘most immersive tours’ of recently closed jails (it also runs similar tours of Shrewsbury and Gloucester prisons).

Don’t be concerned about the word ‘immersive’, however. Although the company offers a fully-guided two hour trip round the prison, accompanied by a former prison officer, you can also wander round on your own, if you prefer – and in this case, ‘immersive’ simply means wandering round wherever you want, in a prison where few concessions have been made for the dark tourist, which is, in my opinion, a good thing.

Those former prisons that have been permanently opened up to visitors inevitably shape, curate and present a certain narrative, with various levels of success. For every Kilmainham Gaol – where, although there are exhibitions and guides, you still get a clear sense of the bleakness and tedium of life inside – there is a Littledean Jail (porn and titillation in a former House of Correction). But here, you see a prison in varying levels of decay, abandoned and left as it was, with different stages of its history exposed.

There is damp and mould; peeling walls and smells emanating from the urinals and showers. You can crawl into a 17th century cell – rediscovered years after being boarded up – or visit the 20th century gymnasium. You see the changing nature of criminal justice, the inhumanity of aspects of prison life, and sense how horrific it must have been to be in the exercise yard, in the fresh air, yet surrounded by the high walls and barred windows of the prison on all sides.

It’s not cheap to visit; and if you want everything explained to you via flashy interpretation boards, don’t go (here, things to look at are pointed out on laminated sheets of A4 stuck on doors, due to the temporary nature of the tour). But the staff are both welcoming and genuinely interested in the site, and there’s free tea and coffee in the old visiting rooms… and, more importantly, it’s a rare opportunity to see so many centuries of criminal history before the developers take over.

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Thieving at the theatre doors

London’s Adelphi Theatre in 1840

In his memoirs, the famous, Glasgow-born detective Allan Pinkerton noted that in his adopted America in the 19th  century, there were very few thieves who worked ‘in all fashions and in all places’ – instead, they tended to specialise, focusing in on a particular type of theft, or a preferred location.

He noted that one class of thieves were mainly juveniles, and known as ‘theatre thieves’. They would hang around outside the doors of theatres, and pickpocket theatre-goers – undetectable in the ‘ingoing and outgoing rush’.

Allan Pinkerton, photograph from the Library of Congress

These young pickpockets knew that the risks were relatively small; if their victims noticed their losses, they would be reluctant to report them to the police, because they might have to appear as witnesses in subsequent trials, and this was not something they wanted to do. In addition, the generally young age of theatre thieves meant that their punishment, if caught and convicted, might be more lenient than that meted out to older thieves.

Although Pinkerton had been referring to the situation in the US, the congregation of pickpockets outside theatres was common on both sides of the Atlantic. In 1892, the Illustrated Police News commented on the ‘gangs’ of pickpockets who hung around the theatres on the Strand, particularly at the time when shows were ending, and audiences would be coming out of the theatre doors – usually between 11pm and midnight.

They took advantage of the crowds, and of the weather, for when it was raining, cabs could take some time to reach the theatres to take theatregoers home, and they would be forced to huddle outside the theatres. They tended to work in groups, surrounding individuals and ‘hustling’ them until a watch, chain or purse had been snatched from a pocket.

Men were particularly at risk if they were escorting a female relative or friend along the road towards a cab; thieves would assume that his attention was distracted by looking after his companion, and mark him as a ‘fit victim’.

The police were constantly on the alert for these offenders, but they were reactive rather than proactive, and this caused complaint; it was suggested that they should monitor the local area prior to the shows ending, and ‘warn off obviously suspicious characters’ who were hanging around the exit doors.

A depiction of the Strand in the 19th century

The prevalence of these characters, standing around on the Strand, was described not only as a scandal, but also ‘a disgrace to London, a danger to residents and visitors, and a matter of wonder to the foreigner from every other civilised capital in Europe.’

However, the thieves were not to be deterred by the police, because theatre-goers were seen as easy targets. They were dressed up; they had money; they were easily distracted not only by the performance but by the company they were with – friends, relatives or partners who they were either deep in conversation with during intervals or on leaving the theatres, or busy escorting home on foot or to a cab. They weren’t looking out for the thieves, and the thieves knew it.

Plays about thieves might be popular in both the metropolis and the provinces – but the reality wasn’t as entertaining…

Therefore, it shouldn’t come as a surprise that newspapers continued to report cases of theft relating to theatre audiences, such as when 23-year-old bookbinder William Brown, a ‘notorious’ West End theatre thief, was sentenced to two years’ hard labour in 1906, and even in 1930, theatre-goers were still being singled out by pickpockets.

One ‘new ruse’ reported that year involved thieves dressing up in evening clothes and attending the theatre during intervals. They would follow an audience member to the cloakroom, where they would squirt flour and water onto his coat, and then call his attention to the mark left.

The victim would take off his coat, find a clothes brush and try to clean off the mark – it would only be when he put on his coat again that he would find his wallet missing from it. Several identical thefts were reported to Scotland Yard, and it was said that pickpockets were making ‘good hauls’ from the theatres every night.

Therefore, throughout the 19th century and beyond, the theatre was a place of entertainment – but also of criminal activity. The targeting of theatre-goers by thieves was just one example.

You can read more about crimes relating to the theatre – as well as about the professional and private lives of Victorian entertainment professionals – in my new book, Life On The Victorian Stage, which is out now, published by Pen & Sword.

It is available from the publisher’s website, Amazon, and all good booksellers.

 

Distracted by a criminal past

One of the perhaps inevitable side-effects of being a crime historian is that wherever I go, I get distracted by a place’s criminal history.

Recently, I’ve been to both Hereford and Worcester on work trips, and both times, I’ve come across parts of its darker history by complete accident, with no knowledge beforehand of what I was walking towards.

In Hereford, Gaol Street is in the city centre, and is home to a building that is immediately obvious as a place related to law and order. This is the ‘new gaol’, built in 1841, but which only served as a gaol for some 30 years.

Most of it was subsequently demolished, but that which remained became part of the old city magistrates’ court (thanks to Herefordshire Past for this information).

Meanwhile, in Worcester, I stopped to take a photograph of the pretty Laslett’s Almshouses, only to spot a sign on the gate stating that these were built on the site of the old city gaol. British History Online notes that in the 17th century, Greyfriars was used as the gaol, before being pulled down and replaced by the almshouses.

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However, Greyfriars still exists today and is run by the National Trust; is this building what BHO describes as ‘a fine two-storied building of timber’ that was possibly the Greyfriars’ guest house? I’m not sure, as the NT describes ‘its’ Greyfriars as a medieval merchant’s house built by Thomas Grene, but perhaps a local reader could clarify this for me!

Lastly, there is a rather lovely building tucked away on Copenhagen Street in Worcester; this served as the police headquarters for the city from 1862 to 1941.

‘Police station’ is still clearly inscribed above the door, but there is also a plaque to the right hand side marking the formation of the City of Worcester Police Force in 1833 (info from Elliott Brown on Flickr).

Today, these sites are architecturally interesting and part of the ‘dark tourism’ that can be undertaken in many towns and cities in England; but it’s also possible to imagine these places, not so long ago, being busy and dramatic buildings, full of action and movement – where our ancestors may have spent time, whether as law enforcers or law breakers.

 

When Swedish Anna was beheaded

The beheading of Anna Mansdotter, as depicted in the Illustrated Police News of 23 August 1890 (via the British Newspaper Archive)

‘The beheading of a woman is, fortunately, a very rare occurrence in Sweden,’ the article in the Illustrated Police News started, with an unusual degree of restraint for the publication.

It was detailing the death of Anna Månsdotter in the summer of 1890, and it was not surprising that the salacious and gossipy IPN sounded so shocked in its report. Anna had apparently kept her eyes open right until the point of her death, refusing to look away from the axe.

Anna was convicted, with her son, of killing her daughter-in-law Hanna Johansdotter – her son Per’s wife – in Yngsjö. Per was sentenced to life in prison, being sent to Karlskrona Gaol, but Anna received the sentence of death after she confessed to taking the larger role in the crime. She took on the ‘whole guilt’ of the crime, in order to ensure that her son survived.

King Oscar II, who voted -twice – for Anna to be beheaded

Her offence and confession shocked Sweden; it had been some 30 years since a woman had died on the scaffold, but in this case, it was universally believed that Anna should suffer the ultimate fate for her crime.

Even the king, Oscar, who was allowed two votes in court as to her punishment, voted for the death sentence to be applied. From the start of the trial process, it was widely believed that Anna’s case was hopeless, and that there would be no chance of mercy.

Anna’s refusal to express emotion after her sentence was passed was seen as a sign of her inhumanity rather than of fear – one of the motives given for the murder was that she may have been in a sexual relationship with Per, and killed Hanna out of sexual jealousy.

She spent her time in prison, prior to being executed, being very still; she refused to express any remorse, and similarly refused to take Holy Communion the nighght before her death. The prison chaplain attempted to speak with her; she refused to listen, or to respond to him.

On the day of her death, the executioner, Albert Gustaf Dahlman, and his assistant prepared outside the jail in Kristianstad. Unfortunately for Anna, she was the executioner’s first professional job, but there was no evidence of nerves as the large, muscly man, in his military-style uniform and white silk tie, prepared the scaffold. He looked confident, as he held his large axe in his hands.

At 8am, the magistrate read the judgement inside, before Anna, and then the prison doors were opened and she started to walk towards the scaffold, clad in a white belted dress. At 47, she still presented a striking figure, walking erect and lady-like, icy calm apart from the nervous twitching of her hands.

A depiction of Anna about to be executed, with her executioner shown on the left.

On the scaffold, the chaplain, who had accompanied her on her short walk, read the Lord’s Prayer. Anna then lay down and uttered a single moan as the executioner swung his axe, severing her head from her body in one motion. His assistant then lent down to pick the head up, displaying it to prove that justice had been served.

It was noted that Anna’s eyes remained open for several seconds after her death, and that her heart continued to pump blood; however, she was certainly dead, and the romantic retelling of her death ended with the more prosaic news that a professor from Lund claimed her body to use for the benefit of his medical students.

Anna was the last woman to be executed in Sweden; her son, Per, was released from prison in 1913, and died five years later.

Death of the Veiled Murderess

A depiction of the Veiled Murderess at her trial, taken from an account of her ‘life and confessions’ – from the Yale Law Library Flickr page

The British press in the 19th and early 20th centuries eagerly detailed accounts of women who killed. Unfortunately for them, there were relatively few British women convicted of more gruesome murders, so they had to look further afield for cases that were sufficiently gory or numerous to attract and entertain their readers. Cases from Rome and Paris were covered in depth, for example, and in 1905, the death of a particularly notorious American murderess was written about.

This was Mrs Henrietta Robinson, who had been convicted back in 1853 of poisoning two people with arsenic. Timothy Lanigan had been a neighbour of hers in Troy, New York. One night, he and his wife had hosted a dinner party at which both Mrs Robinson and a Catherine Lubin had attended. Their one guest had responded to their hospitality by killing both the male host and the other female guest.

Mrs Robinson attracted, and continued to attract, press attention not only because of her beauty and her refusal to behave by contemporary standards for women, but also because she consistently refused to tell anyone who she really was. Even during her trial, she had refused to remove her thick veil, leading to her becoming known as ‘The Veiled Murderess’. She was said to have only agreed to remove the veil once – and then only in a private cell, so that the jury could come and look at her.

Her argument had been, perversely, that she didn’t want any publicity – and that she would prefer death to having her face shown to others, including the press:

‘She was very handsome, but neither persuasion nor coercion could prevail upon her to unveil in open court.’

Even when she had agreed to show her face to the jury, she had first made efforts to thwart them, by  dressing a dummy as her and placing it in a chair. The jury came to see this ‘Veiled Murderess’ but when one of the jury members took offence at ‘her’ silence, he lifted the veil, to be greeted with a chuckle from underneath the cell’s bed. Mrs Robinson had hidden herself there to play a joke on the jury.

Her identity had long been the subject of much speculation, with the American ‘yellow press’ (as the British provincial press sniffily referred to it as) attempting to prove that she was the wife of a member of the British peerage.

The British press, in turn, argued that this ‘suggestion was entirely groundless’. It was one thing to eagerly report on this example of American lawlessness, but quite another to find a link to a member of the British peerage! Mrs Robinson, meanwhile, simply agreed that her name was an assumed one, but steadfastly refused to reveal her real name, even to her defence counsel.

Four decades after her conviction, a woman came forward to claim that Mrs Robinson was really Charlotte Wood, a schoolfriend of hers from New York State, the daughter of a Canadian merchant named William Wood, and one of four sisters, who spoke seven languages fluently.

The rest of the Wood family had a pact to deny that Charlotte was really a murderess, she claimed, but when rumours started swirling, got one of the other sisters to pose as Charlotte to ‘prove’ she couldn’t be a killer and be both in public and in jail at the same time.

The story was let down firstly by the inclusion of the ‘groundless’ story that the Veiled Murderess was married to an English peer – and the second fact that the informant hadn’t seen Charlotte Wood for a substantial amount of time, and had been told her ‘facts’ as a story from another friend. She even admitted that she had no idea how the Woods’ deception could have been achieved.

A view of Sing Sing prison

Although one other rumour was that Mrs Robinson had previously lived in Philadelphia, she had been convicted at Troy, and sent initially to Sing Sing prison – although one paper noted that two years after her conviction, Mrs Robinson had to be sent to the Matteawan lunatic asylum. Her identity continued to be a secret there, and she  also refused to say who the two people she had killed were – their names remained unknown to the authorities.

In prison, she had been allowed certain privileges not open to other convicts, such as being able to eat in private in her cell. It was only in 1873 that this privilege was revoked, on the grounds that it was ‘detrimental to discipline’ – presumably, other prisoners understandably took offence at this lady being treated better than them.

Some 44 years after her conviction, the Dundee Evening Telegraph reported that she had turned up in Troy in 1852, a ‘woman of wondrous beauty’ with lots of money, but no husband, children or friends. Yet it is clear that what had been ‘established’ was no more than the fact that this ‘strange, beautiful woman’ was something of a hermit, and had no desire for company.

When, a few days before her death in May 1905, it became clear that Mrs Robinson wasn’t going to recover, a curious physician at the asylum tried to find out the truth about this now elderly woman, but she refused to give him any information, ‘saying it should go to the grave with her.’

However, it was clear to the asylum staff that Mrs Robinson had some curious talents, as one obituary of her made clear:

‘In her old age, Mrs Robinson exhibited remarkable ingenuity in making exquisite lace, some good gloves, a pair of shoes, and even a set of false teeth out of buttons, which she wore for a long time.’

The Veiled Murderess died, presumably with her button-teeth in place, at the age of 89, her ability to generate headlines no less than fifty years earlier, when she was convicted of a double murder.

 

Sources: Huddersfield Chronicle, 13 September 1873; Dundee Evening Telegraph, 25 December 1897;  Cambridge Independent Press, 19 May 1905, p.5; The Salisbury Times, 19 May 1905

Capturing a Police Killer

 To mark the release of her latest book, Who Killed Constable Cock?, I’m very pleased to have a guest post from writer Angela Buckley today. Here, she takes us through the night a Manchester policeman tragically lost his life…

PC Cock

At midnight on 1 August 1876, 21-year-old PC Nicholas Cock was doing his nightly rounds in the quiet suburb of Chorlton-cum-Hardy, Manchester. The night was dark, with very little moonlight and the young police officer was almost at the end of his beat, at a junction of three main thoroughfares, known as West Point. As he was walking along, he was overtaken by a law student, John Massey Simpson, who was returning home after an evening out. The two men chatted as they neared the junction, where they were joined by another officer, PC James Beanland. After a few minutes, they all went their separate ways.

John Simpson had only walked a few yards when he heard two shots ring out, as if from a firearm. They were followed by cries of ‘Murder!’ He rushed back to West Point, where he found PC Cock lying on the ground in a pool of blood. He had been shot in the chest. PC Beanland had also run back and between them they managed to get the injured officer into a passing night soil cart to take him to a local surgery. An hour later, despite the doctor having tried to revive him with brandy, Nicholas Cock died.

The news of the shooting reached Old Trafford police station within minutes, and PC Cock’s superior officer Superintendent James Bent sent out his men immediately to arrest the culprits. He was convinced that the three Habron brothers were responsible for his officer’s death and now all he had to do was find the evidence to build his case against them.

Originally from Ireland, John, aged 24, Frank, 22, and William Habron, 18, worked in a garden nursery close to the spot where PC Cock was killed. Superintendent Bent and his officers surrounded the outhouse where they lived. On his command they rushed into the building, which was in darkness. The three brothers were in bed.

The crime scene

Bent ordered them to get dressed, after which he handcuffed them and charged them with the murder of PC Cock. The eldest brother, John, claimed that he had been in bed at the time, although the police hadn’t mentioned when the event had taken place. The younger brothers hung their heads down and looked ‘very nervous’.

Superintendent Bent observed that their boots were muddy and the candle on the table was soft, as if recently extinguished. Bent ordered for them to be taken to the police station while he went to West Point to examine the crime scene.

At the junction, near where PC Cock had been shot, Bent found several sets of footprints. Covering them with a cardboard box, as it had started to rain, he sent to the police station for the Habrons’ boots. He made impressions with them in the cinders next to the prints and found that William’s left book was a match – the rows and patterns of nails corresponded exactly. William Habron became his prime suspect.

Back at the police station, a search of the prisoners’ clothing yielded two percussion caps from a firearm, which were discovered in William’s waistcoat pocket. There were also the key eyewitnesses, John Simpson and PC James Beanland, who had spotted a man on the corner of the junction, as they were standing with PC Cock.

PC Beanland described the stranger as about 22 years old, of medium stature and dressed in dark clothing. He had walked quickly ‘in an ordinary way’. However, John Simpson thought that the man had been older and that he had stooped, walking ‘in a faltering, loose kind of way’. When the law student saw William Habron at the police station, he couldn’t say with certainty that he was the man he had seen on the night of PC Cock’s murder.

Despite the circumstantial nature of the evidence against him, 18-year-old William Habron was convicted of the murder of Nicholas Cock. Due to his youth, his death sentence was commuted to life imprisonment. However, three years later, a startling confession by a notorious burglar, who was facing the gallows for the murder of his lover’s husband, challenged the foundation of the case and Constable Cock’s real killer was finally revealed.

Find out what really happened to PC Cock in Who Killed Constable Cock? by Angela Buckley, out now in ebook and paperback. There is more information about Angela’s work on her website, http://www.angelabuckleywriter.com/ and on her Facebook page Victorian Supersleuth.

The tale of the indecent actor on a Victorian omnibus

A London omnibus

William Alfred Elliott was a 40-year-old actor with a bit of a problem. A pornography problem. Of course, it being the 1890s, this was not porn as we would know it – William’s penchant was for indecent photographs, that he carried around with him. They weren’t of nubile young Victorian women – but of a naked William himself.

William was not ashamed of his predilection. In fact, he got particular enjoyment from getting his images out in public (although, luckily, he doesn’t appear to have got anything else out in public), and seeing people’s reactions to them.

One night in October 1897, Elliott got on a District Railway omnibus in central London, and sat on one side, at the top. The bus travelled along Regent Street, picking up passengers as it went. Joining William Elliott upstairs were two 16-year-old girls, who sat in front of another passenger, the wonderfully named Henry Le Butt Boss, a hotel keeper, who was in turn opposite Elliott.

After a while, the girls noticed something odd in the seat opposite, and became increasingly distressed. Henry Le Butt Boss noticed their distress, which seemed to be result of ‘suspicious movements’ being made by Elliott. Out of the corner of his eye, he started to watch the actor.

“He had something in his hand,” Boss later told a court, “which he thrust forward many times, evidently with the object of the ladies seeing it.”

The bus turned into Cavendish Place, and Boss leaned over to the extent that he could now see what Elliott had in his hand – he was exhibiting some indecent photos that he regarded as being ‘of a very gross character’.

Boss wondered what to do. He continued on the bus for a while, but when it reached Marylebone Lane, he got off, with the intention of finding a policeman. Elliott got off at the same stop, and immediately starting running, ‘as fast as he could’.

Boss got the attention of a police constable, who set off in chase, and caught Elliott at Queen Anne Street. As he was grabbed, the actor starting tearing something up and throwing bits away. As the constable took him into custody, another one was dispatched to pick up the discarded items. They were duly pasted together, and, as the magistrate who later heard the case commented, ‘I call them filthy’.

In court, Elliott’s counsel admitted that his client was ‘very foolish’ for looking at naked pictures of himself in public, but argued, rather unfeasible, that ‘he had no intention of showing them to the ladies’ because ‘Mr Elliott was most respectably connected’. Apparently, posh men couldn’t be perverts too.

The counsel went on to insist that Elliott had a ‘large circle of friends’ and therefore Boss must have been ‘mistaken’ in his belief that the actor had displayed such images. Victorian logic was a wonderful thing. Elliott had simply been indiscreet, and had already been punished sufficiently as a result of the ‘mental anguish’ he had suffered being taken first to a police station, and then to Holloway Gaol to await his appearance before the magistrate.

Luckily, this absurd defence was viewed dimly by the JP. Although he believed that it was nobody’s business if Elliott wanted to photograph himself in indecent poses, it was not much of a stretch to believe that someone who did this kind of thing might then want to show others the photographs too.

In conclusion, the magistrate said, this middle aged actor had been ‘guilty of an act of a very odious character’, and should be fined 40 shillings. Elliott promptly paid his fine, and made his ignominious exit.

If you’d like to know more about the private and professional lives of Victorian actors, my book, Life On The Victorian Stage, will be published on 30 August. You can pre-order it from Amazon now.

Sources: The Illustrated Police News, 16 October 1897; Reynolds’s Newspaper, 17 October 1897

 

 

New crime and punishment records online

The Findmypast search page for its crime collection

Findmypast added a final 68,000 records to its collection of England and Wales Crime, Prisons and Punishments records last Friday, with its collection now being the largest set of English and Welsh crime records available online.

All these new records have come from The National Archives at Kew, and are taken from five separate series:

  • Home Office (HO 8) – convict hulks, convict prisons and criminal lunatic asylums, quarterly returns of prisoners
  • Central Criminal Court (CRIM 9) – after-trial calendars of prisoners
  • Home Office (HO 140) – calendar of prisoners
  • Home Office/Prison Commission (PCOM 2) – prison records
  • Home Office/Prison Commission (PCOM 3) – male licences, 1853-1887

This image is from Findmypast’s collection, and originated in the HO8 files (HO 8/161). Part of the ‘Convict Hulks, Convict Prisons and Criminal Lunatic Asylums: Quarterly Returns of Prisoners’, it records names, ages, offences, where and when convicted, the sentence, and the convict’s health and behaviour during the quarter of the year in which the returns were compiled. So here, we can see that William Jeffs, a 22-year-old burglar, had displayed ‘bad’ behaviour, whereas another convict had shown ‘exemplary’ behaviour despite being a convicted rapist.

As you might be able to tell from this image, not all the names are written out in full – several are just initials and a surname – and the location and year are not evident from this simple search result, so you may need to do a bit of cross-referencing or scrolling back through images to give you more information.

FMP’s records have come from The National Archives at Kew

Also, do not assume that the place listed at the front of the entire document is the only one mentioned – for example, with this image, some prior pages are from the Attested List of the Convict Department, Criminal Lunatic Asylum, Broadmoor, and for the quarter ending on 30 September 1864 – but the last entries in the original book are for the Invalid Convict Prison at Woking.

But if you suspect you have a criminal ancestor, these online records may help you track them – and their crimes – down; and even if you don’t have a convict in your family tree, they make for fascinating reading!

You can access the Crime and Punishment collection on Findmypast here – a subscription is needed for full access.

A case for the Fingerprints Department

The Illustrated London News’ coverage of another burglary case – this time from 1928 – where fingerprint analysis was crucial

It was in Argentina in 1892 that Eduardo Alvarez, a police inspector, made the first criminal identification through an analysis of fingerprints. Francisca Rojas, who had murdered her two sons, denied she was responsible for the deaths, but a bloody print on a door was identified as hers.

Various 19th century individuals – such as Sir Francis Galton – had already established that fingerprints could be used for identification purposes, but it was actually fiction that first showed their use for criminal purposes, with one of the stories in Mark Twain’s Life On The Mississippi (1883) using fingerprints to identify a murderer.

In Britain, the first conviction in the UK made on the basis of fingerprint evidence came in 1902, when Harry Jackson was convicted of burglary. The first British murder case to rely on fingerprints was in 1905, when South London shopkeepers Thomas and Ann Farrow were killed.

The case that I’m looking at this week is from the same decade; just a year after the first case to depend on fingerprints. It clearly shows the novelty of this type of evidence.

It was October 1904, and 22-year-old labourer George Gage stood in the dock at the Central Criminal Court. The court heard that Gage had broken into a house in Hammersmith, and helped himself liberally to some wine he found in there. He then stole silver goods worth £15 (these seemed to have mainly been spoons), before escaping.

Mention of George Gage in the records of the Old Bailey (from Old Bailey Online)

Unfortunately for George, his desire for a drink was his downfall. He left his fingerprints all over the wine glass he had used. It was duly examined by the Fingerprints Department of Scotland Yard, and within half an hour, the prints were found to be ‘absolutely identical with the fingerprint marks of an ex-convict named Gage’.

George Gage, as the records of the Old Bailey show, had appeared in court in September 1903, charged, with another man, of being found at night with housebreaking implements in their possession.

They were both sentenced to 12 months’ hard labour – but it was also noted that Gage had a prior felony conviction dating from July 1897 (when he would have been around 15), and ten other convictions to boot. It is no wonder that the Met had his details on file.

Now, not long after being released from prison, Gage was being arrested again. The police told him he had left something behind at the Hammersmith house. He immediately replied,

“Do you mean my fingerprints?” (London Daily News, 21 October 1904)

There was no other proof of his involvement in the crime, but George promptly pleaded guilty. He was sentenced to four years in prison, with the Recorder noting, as he sentenced Gage, that:

“Finger-print identifications were most valuable, and were likely greatly to assist in the detection of crime.” (Gloucestershire Echo, 21 October 1904)

The science was so new that prior to sentencing, a discussion was had court about the history of fingerprinting, from Egyptian mummies being found to have the same fingermarks, to the tests carried out on fingerprints at Scotland Yard, where out of 600,000 examples, none had been found to be identical.

The Recorder at court noted that using fingerprints would avoid innocent men being sent to prison, although it seems that George Gage wasn’t unduly bothered by being convicted in this way. In fact, when he was told he would serve four years inside, he simply responded,

“Is that all?” (London Daily News, 21 October 1904)

Sources: DL Ortiz-Bacon and CL Swanson, ‘Fingerprint Sciences’ in Max M Houck (ed), Forensic Fingerprints (Academic Press, London, 2016), p.61; Jan Burke, ‘Mark Twain and Fingerprints: Part 1’ (2013)

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