By Stephen Basdeo
Pierce Egan the Younger (1814–80) is one of my most favourite Victorian authors. The son of the more famous Regency journalist and writer, Pierce Egan (1772–1849), he was an artist, illustrator, journalist, newspaper editor and novelist who, although rarely studied or read today, made a significant mark on Victorian popular fiction.
He was rather fond of outlaws and rebels and liked to tell their stories: throughout the early part of his career he published Robin Hood and Little John; or, The Merry Men of Sherwood Forest (1838); Wat Tyler (1841), in which the eponymous rebel is depicted as a medieval Chartist; Adam Bell (1842), a story of a lesser-known medieval outlaw who is said to have lived around the same time as Robin Hood; Paul Jones (1841), which is the story of a man who defects to the American side during the war of independence; and Captain Macheath (1842), which tells the tale of the hero of Macheath the highwayman who originally appeared in John Gay’s The Beggar’s Opera (1728). All of these stories were melodramatic and politically radical tales in which the protagonists fight against an unjust and oppressive government.
Before all of these, however, Egan wrote Quintin Matsys (1838).
It was his first literary project and he took an unlikely historical figure for its subject, the Flemish painter Quintin Matsys (1466–1530). Matsys will be familiar to all art history students as the founder of the Antwerp School of painting and some of his most famous works include A Portrait of an Elderly Man (1513), A Grotesque Old Woman (c. 1513) and The Money Changer and His Wife (1514). The first of these has become a popular meme in today’s internet culture while the latter is famous throughout the world.
Shortly before Egan put pen to paper, a short story fictionalising Matsys’s life was written by A. B. Slous, entitled ‘The Pearl of Brabant’, and appeared in volume one of The Story Teller, Or, Table Book of Popular Literature (1833), so this may have been where Egan got some inspiration from, as the opening chapter in Egan’s novel which tells of Matsys’s early life bears much resemblance to the first chapter in Slous’s short story.
Yet Egan’s was no dry novel about the life of a painter. Matsys starts out in the novel as a humble and starving painter but becomes embroiled in a revolution against the noblemen of the City of Antwerp. Matsys leads a secret society of men known as ‘Redressors’ who punish noblemen who commit wrongs against the working and middle classes of Antwerp and its surrounding regions. Issues come to a head when a (very melodramatic and characteristically bad, scheming, and evil) aristocrat has Matsys’s future father-in-law arrested on a spurious charge of treason.
After this, the Redressors lead the middle classes and working classes to the barricades in which they drive out the bad aristocrats and their private armies from the city. The many illustrations which accompanied the novel—which Egan engraved himself—are in fact highly reminiscent of the imagery of the French Revolution of 1830 (not the ‘big’ French Revolution of 1789 but the one featured in Victor Hugo’s Les Miserables). Eventually the Holy Roman Emperor steps in and brokers a truce between the classes; when the working classes and bourgeoisie have secured certain political rights, Matsys is able to devote himself full time to the profession for which he would become famous. This is what might be termed an ‘origin’ story if we were talking about pop culture today.
Obviously, Egan intended this novel to be a commentary on the politics of England at the time, and not those of Belgium and there are allusions in Egan’s text to ‘the present day, when society is, in all its relations, as opposite as it can possibly be to that which 400 years since existed’. And there is, in fact, no evidence to suggest that the historical Quintin Matsys ever led a revolt against the nobles of Antwerp.
However, this did not bother the authors of penny bloods like Egan as they regularly made stuff up anyway.
Egan’s radicalism is more of a pre-1832 style of English radicalism; the cause was the political enfranchisement of the people at large, and their struggle was conceived of in terms of a conflict between the bourgeoisie and the workers, with their main enemy being the aristocratic political establishment. This is the politics of Henry Hunt and those in attendance at St Peter’s Fields in Manchester, 1819; it harks back to a time in British politics when, prior to the ‘Great’ Reform Act of 1832, the workers and the middle classes had indeed allied together to campaign for the vote. But ever sneaky, the British establishment used that classic tactic of divide-and-rule; they gave the vote to some middle-class householders (those who owned or rented property worth more than forty shillings), which left poorer people out in the cold. So, the working classes had to organise themselves, and in 1836, the London Working Men’s Association was formed to secure the vote for the working man, and two years later the Chartist movement was born. Egan’s depiction of the middle classes and working classes working together, writing as he does in 1838, suggests that he believes such an alliance is still possible.
Much emphasis is placed by Matsys and his fellow rebels upon the ‘rights and sovereignty of the people’ and ‘the people’s liberties’. The people of course are the working and middle classes, but the generalised idea of the people and of liberty recalls not only Henry Hunt but also Thomas Paine. The Chartists likewise drew upon such language, but it has to be remembered that the movement was not fully formed at the period when Egan’s novel began its serialisation in early 1838, and later, it was the terms of the People’s Charter which the Chartists most emphasised. And in Egan’s Wat Tyler, we see a firmer idea of a ‘Charter of Liberties’ with specific demands, while it’s left a little more hazy in the early Quintin Matsys novel.
More research is needed into the early works. As we noted earlier, all of Egan’s early novels—Robin Hood, Wat Tyler, Adam Bell, and Paul Jones—include revolts against ‘the powers that were’. The fact that the revolt in all of these novels, but most markedly in Quintin Matsys and Wat Tyler, is led by men of the middle and working classes gives us an insight into radical ideas in what is often a rather understudied phase in English working-class history and thought between the 1832 Reform Act and the emergence of Chartism.
 A. B. Slous, ‘The Pearl of Brabant’, in The Story Teller, Or, Table Book of Popular Literature, 1 (London, 1833), pp. 668–70.
 Pierce Egan, Quintin Matsys, The Blacksmith of Antwerp (London: W. Barth [n.d.]), p.179.
See also: Stephen Basdeo, ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’, in Imagining the Victorians, ed. by Stephen Basdeo and Lauren Padgett, Leeds Working Papers in Victorian Studies, 15 (Leeds: LCVS, 2016).