Chapters (38)
- Chapter I
- Chapter II
- Chapter III
- Chapter IV
- Chapter V
- Chapter VI
- Chapter VII
- Chapter VIII
- Chapter IX
- Chapter X
- Chapter XI
- Chapter XII
- Chapter XIII
- Chapter XIV
- Chapter XV
- Chapter XVI
- Chapter XVII
- Chapter XVIII
- Chapter XIX
- Chapter XX
- Chapter XXI
- Chapter XXII
- Chapter XXIII
- Chapter XXIV
- Chapter XXV
- Chapter XXVI
- Chapter XXVII
- Chapter XXVIII
- Chapter XXIX
- Chapter XXX
- Chapter XXXI
- Chapter XXXII
- Chapter XXXIII
- Chapter XXXIV
- Chapter XXXV
- Chapter XXXVI
- Chapter XXXVII
- Chapter XXXVIII
Screevers can sometimes be called artists, sometimes not. Bozo introduced me to one who was a ‘real’ artist–that is, he had studied art in Paris and submitted pictures to the Salon in his day. His line was copies of Old Masters, which he did marvellously, considering that he was drawing on stone. He told me how he began as a screever.
‘My wife and kids were starving. I was walking home late at night, with a lot of drawings I’d been taking round the dealers, and wondering how the devil to raise a bob or two. Then, in the Strand, I saw a fellow kneeling on the pavement drawing, and people giving him pennies. As I came past he got up and went into a pub. “Damn it,” I thought, “if he can make money at that, so can I.” So on the impulse I knelt down and began drawing with his chalks. Heaven knows how I came to do it; I must have been light-headed with hunger. The curious thing was that I’d never used pastels before; I had to learn the technique as I went along. Well, people began to stop and say that my drawing wasn’t bad, and they gave me ninepence between them. At this moment the other fellow came out of the pub. “What in——are you doing on my pitch?” he said. I explained that I was hungry and had to earn something. “Oh,” said he, “come and have a pint with me.” So I had a pint, and since that day I’ve been a screever. I make a pound a week. You can’t keep six kids on a pound a week, but luckily my wife earns a bit taking in sewing.
‘The worst thing in this life is the cold, and the next worst is the interference you have to put up with. At first, not knowing any better, I used sometimes to copy a nude on the pavement. The first I did was outside St Martin’s-in-the-Fields church. A fellow in black–I suppose he was a churchwarden or something–came out in a tearing rage. “Do you think we can have that obscenity outside God’s holy house?” he cried. So I had to wash it out. It was a copy of Botticelli’s Venus. Another time I copied the same picture on the Embankment. A policeman passing looked at it, and then, without a word, walked onto it and rubbed it out with his great flat feet.’