On this date in 1635, Elizabeth Evans (known as “Canonbury Besse”) was hanged for murder.
Sometimes characterized as one of early modern Europe’s pioneer serial killers, Evans was not driven to slaughter by compulsion — merely by its emoluments. Using an early version of the timeless “Lonely Hearts killer” scheme familiar to a later era of classified adverts and Craigslist postings,* Evans and her beau Tom Sherwood committed at least five homicides via the expedient of Canonbury Besse’s allures.
Once the prospect had been enticed to a private rendezvous, Sherwood — “Country Tom” — would jump him, and the couple would rob the body. A straightforward enterprise, with a straightforward consequence. (Sherwood had already gone to the gallows on April 14th.)
The ballad “Murder Upon Murder” blames Evans for seducing Sherwood, “a man of honest parentage”, both bodily and spiritually:
she sotted so his minde,
That unto any villany,
fierce Sherwood was inclind,
His coyne all spent he must have more,
For to content his filthy (Whoore).
So shocking was the spree these lovebirds carried out — as reflected in nicknames that denote a degree of celebrity — that they were doomed to posthumous terrors as well.
Sherwood was hung in chains near St. Pancras Church where he so notably failed to deter crime that a later group of thieves, frustrated at finding their mark penniless, contempuously lashed him naked to Country Tom’s gibbet.
“Oh pity! Still running on to more mischief, having such a fearful spectacle before their eyes as Country Tom, which should rather have frightened and hindered them from doing this bold and insolent act,” laments Henry Goodcole in Heaven’s Speedie Hue and Cry, a narrative pamphlet trading on that same “fearful spectacle.”
Detail view (click for the full image) of Heaven’s Speedie Hue and Cry, a pamphlet narrating the crimes of Sherwood and Evans.
Canonbury Besse was bound over to the surgeons for anatomizing — well before this particular terror became a common extension of murder sentences. According to The Body Emblazoned: Dissection and the Human Body in Renaissance Culture, both Sherwood’s and Evans’s skeletons would ultimately became ornaments on permanent display at Inigo Jones‘s 1636 London anatomy theater,** and could be seen there as late as 1784.
** Diarist Samuel Pepys described a visit to this theater in 1663.