A postscript on Eaton Nurseries

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The previous post [1] on the Victorian plant nurseries concentrated in a single Norwich parish seems to have struck a chord in this city with a long history of horticulture. The feedback has been tremendous and, since personal reminiscences and comments brought the topic alive, I felt they deserved to be recorded. The scale of some of the nurseries was astonishing: Adcock’s glasshouses ‘totall(ed) a quarter of a million square feet of glass’. One reader said she’d heard gardeners on Upton Road remarking on how much broken glass they keep digging up. Another, whose garden backs onto the site of Adcock’s nursery, found a subterranean cistern underneath her garden. As we’ll see, other comments provide a fascinating insight into the seed shops maintained by nurseries in the city centre.

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Adcock’s Nursery ca 1904. ©Norfolk Industrial Archaeology Society 2014

On Twitter, Huw Sayer made the comparison between Adcock’s nursery and the subject of an article in the Eastern Daily Press. More than a century after Adcock, a giant tomato glasshouse is being built just outside Norwich, using ‘More glass than the Shard.’ [2]

Low carbon project to grow tomatoes at Crown Point, Kirby Bedon. (Crown Point was where Victorian balloonist Colonel Money built his mansion). Photo credit: Step Associates

The only surviving nursery lives on as Notcutt’s Garden Centre. As we saw [1], this started as Mackie’s nursery, which was so large that clients could drive around in their carriages. It became the Townclose Nurseries and, after being sold to the Daniels brothers was bisected in the 1930s by the Daniels Road portion of the ring road.

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Daniels Brothers’ receipt, courtesy of Pamela Clark.

I show the Daniels Bros receipt (1892) again as a reminder that in addition to their out-of-town seed grounds and nurseries around Newmarket and Ipswich Roads, they had city centre warehouses in Exchange Street and Bedford Street. This latter area, around the north-west corner of modern-day Jarrolds Department Store, provided a shop window for out-of-town nurseries. The location is perhaps not surprising since the Corn Exchange was built at this junction between the two streets. The area was therefore a focus for the gardening as well as the farming seed trade.

The arrow points to the entrance to Bedford Street off Exchange Street. The Corn Exchange of 1861 stands at the corner, now replaced by an extension to Jarrolds Department Store. ©georgeplunkett.co.uk
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Inside the Corn Exchange 1960. ©Historic England Archive ref: AA98/12867

In 1854, Mason’s Directory records that William John Ewing of the Royal Norfolk Nurseries, Eaton, had a seed warehouse at 9 Exchange Street, while Mackie’s and Stewart had a ‘seed establishment’ next door at 10&11 [3]. Correspondent Don Watson provides a link with the Daniels store around the corner: ‘I remember Daniels’ shop in Bedford Street because, being at school in Norwich, it became my job to buy the vegetable seeds there – much better quality than Bees Seeds from Woolworths (so I was told). That establishment was one of a few which still in the 1950s had only a beaten earth floor’.

Dick Malt confirmed this recollection: ‘Don Watson is quite right, the shop stood about opposite Little London Street and became The Granary when Daniels left. The facade is still the same as it was.’‘The Bedford St premises were where, at that time, seeds were cleaned and dressed for sale, both horticultural and agricultural. The cleaning floor was the topmost, under the roof. By the time I remember it, that aspect of the business had ceased and orders were packed there for posting out. There was a sack hoist from the ground floor and the warehouse manager’s office on the first floor was connected by a speaking tube to the upper floor’. 

Daniels Bros Seed Store in Bedford Street 1960s ©Richard Malt

Simon Gooch said, I ‘thought you might be interested in a little more information about The Granary in Bedford Street, filling in a bit of a missing link between Daniels seedsmen and Jarrolds taking over. My late father Michael Gooch (who was in partnership with my mother Sheila as M & S Gooch, Architects, in Norwich) converted the warehouse into a new shop for the owners Chapman & Pape in 1971-2. They called it The Granary, and at a time before Habitat or John Lewis had arrived in the city it was a bit of a mecca for good furniture and kitchenware. I have a couple of black & white photos taken just after the shop opened, showing the smart typography of the name on one of the windows; the ground floor facade was painted a dark colour, I think purple (though being the Seventies it might have been chocolate brown). The interior’s handsome pine beams and supports were exposed, and the wood and steel staircase inserted.’ The building is now Jarrolds’ modern furniture and design store and they retained the name, The Granary.

The Granary as redesigned by M&S Gooch for Chapman & Pape c1972. Photo Trevor Wood, courtesy of Simon Gooch

Dick Malt’s account continues: ‘This picture of Bedford St [2 above] shows the shop in the 1960s. It had a long mahogany counter which had almost certainly come from the Arcade. My father, A.E. (Jim) Malt was the firm’s manager and later managing director, having spent his working life in the horticultural and agricultural seed trades, beginning as an apprentice to Daniels. The shop was then in the Royal Arcade – I still have the keys!’

Jim Malt’s keys to Daniels shop in the Royal Arcade ©Richard Malt

‘My father was born in 1909, so was most likely apprenticed to the firm in about 1923. Some of the time he had to work on the firm’s farm at Tunstead, near Coltishall, where seeds were grownHe had to collect the keys to the Arcade from the Guildhall on his way to open up the shop. One sharp March morning he found the lock on the gates frozen up – a policeman thawed them out with a blow lamp’.

‘Daniels Bros, ‘The Royal Norfolk Seed Establishment’, had a shop at 16-20 Exchange Street (as seen on the printing block image (below) – reversed for ease of reading) …

Printing block (reversed) showing Daniels Bros seed establishment 16-20 Exchange Street. ©Richard Malt

The plate shows the building was originally five storeys high but numbers 16-20 are now much reduced.

16-20 Exchange Street to the left of Thorns ©OnTheMarket

The discrepancy is explained by George Plunkett’s photograph of the collapse in 1991 of the north-west end of the street.

Looking from the Duke Street carpark towards the Market, the scaffolding marks the collapse of 16-20 Exchange Street ©georgeplunkett.co.uk

Dick Malt suggests that Daniels may have moved to the Royal Arcade ‘when it was opened in 1899’. Below, Stuart McPherson’s ‘ghost’ photo, shows the location of Daniels’ shop in the arcade.

©Stuart McPherson

Holders of the Royal Warrant awarded by King Edward VII advertise their prestigious address in the newly-opened Royal Arcade.

Newspaper clipping 1903

The list of Daniels’ locations from a 1939-40 catalogue indicates the firm owned seed farms at Tunstead and Ashmanhaugh. It also shows they still maintained the Royal Arcade address up to the Second World War.

From a 1939-40 catalogue. Courtesy of Dick Malt

The shop moved to the Daniels Road nursery site in 1967 – a new phenomenon then – a Garden Centre – and the Bedford St premises became ‘The Granary’.’

Opening of Notcutt’s Garden Centre. L-R, back row, the Directors: A.E. Malt, Managing Director (Dick’s father); Gordon Youngs (Accountant); W. (Bill) Martin, who was the son of a Daniels shop manager in the Arcade days and who owned a florists in Lower Goat lane, and Charles Daniels (Chairman).

The two seated celebrities were Percy Thrower (the country’s most famous gardener) and Ted Moult (farmer, radio and TV personality).

There is a short history of the firm in ‘Norfolk Fair’ magazine Vol.5, No.11, 1973, does anyone have access to a copy?

Thanks. I am grateful to the readers who made comments and those who provided further information, especially Dick Malt whose father’s working life is commemorated in this piece.

Sources

  1. https://colonelunthanksnorwich.com/2021/01/15/the-nursery-fields-of-eaton/
  2. https://www.edp24.co.uk/news/business/norfolk-and-suffolk-tomato-greenhouses-nearing-completion-1593518
  3. https://www.gutenberg.org/files/62401/62401-h/62401-h.htm

The Nursery Fields of Eaton

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In these covid times I cycle. Along the celestial Unthank Road to the junction with Newmarket Road, down the hill to Eaton and out to open countryside. Before the crossing is a house with two intriguing names carved in stone on the gate pillars. The first is badly spalled and its few remaining letters … CRO … would be unknowable except for a modern house-plate, Hillcroft. Although a few of its letters are obscured the other sign can only be for the Royal Norfolk Nurseries.

I was curious to look into this because for several years I’d wondered about the clear, unbuilt-upon spaces on the early maps marked ‘nursery ground’ or ‘garden ground’. The OS map of 1879-86 shows that the Royal Norfolk Nurseries occupied sites from the junction with Unthank Road (yellow) down the hill to Bluebell Road (blue) and a larger area between Bluebell Road and the river, now in the shadow of the A11 Eaton flyover/bypass (green).

Courtesy of Ordnance Survey

Much of the land, from the Unthank’s estate east of Mount Pleasant in Norwich [1] down to Eaton, was owned by the Dean and Chapter of Norwich Cathedral; this applied to the village itself with the notable exception of a few oases, including the 12 and 17 acre plots owned by the Corporation of Eaton.

Plots owned by the Corporation of Eaton (red), Blubell Road (blue), Unthank Road (yellow). Plan of Norwich 1807 courtesy of Norfolk Record Office.

The 1838 tithe map and accompanying apportionment record (1839) gives the name of landowners liable to pay church tithes and, within the two outlined areas, William Creasey Ewing (1787-1862) owned most of the individual numbered plots.

Plots owned by WC Ewing. Tithe map of Eaton 1838, courtesy of Norfolk Record Office

The son of William Creasey Ewing, John William Ewing (1815-1868), evidently inherited the land from his father and is listed as Nurseryman, Florist, Lime burner (and there is a lime pit on the site) and Seedsman [2].

John William Ewing. Courtesy of Vivien Humber

Below is The Old House, Church Lane, Eaton (formerly known as Shrublands) where William Creasey Ewing lived. The National Census records his son John William living there in 1851 [2].

Prior to this census return, John William Ewing lived in Shepherd’s House near Mackie’s, the city’s long-established and foremost nursery, founded in the 1700s on Ipswich Road [1]. We’ll come to Mackie’s shortly.

Ipswich Road (red), Newmarket Road (blue), present-day Daniels Road (green) with Mackie’s Nursery spread around the crossroad. Bryant’s map 1826 courtesy of georgeplunkett.co.uk

Between 1833 and 1840, John William Ewing and Frederick Mackie entered into a partnership, forming Mackie and Ewing’s Nurseries, but in 1845 the partnership was dissolved. A newspaper advertisement to this effect places JW Ewing in Ewing’s Nursery at Eaton, indicating that JW Ewing was managing the nursery when he was 30, if not before.

A year later, (incidentally the year his son and successor was born) an invoice from JW Ewing, Nurseryman and Seedsman, shows that the Eaton Nursery was selling ‘Forest & Fruit Trees, Flowering Shrubs etc’ and, in smaller script, ‘Garden & Agricultural Seeds, Dutch Bulbs, Russian Mats (anyone?)*, Mushroom spawn etc.’ *(A reader, Lyn, provided the answer. Russian Mats, exported via the port of Archangel, were closely woven from the leaves of aquatic plants and used to protect fruit trees and young plants etc).

Private collection, courtesy of Pamela Clark

When he died, Ewing’s Royal Norfolk Nurseries were inherited by his son, John Edward Ewing (1846-1933), but when John left Norwich in 1893/4 the business at Eaton was lost.

John William Ewing’s headstone at St Peter’s Church, Cringleford

In his History of the Parish of Eaton (1917), Walter Rye wrote that ‘the chief trade of the village is now growing fruit trees and roses for the market’ [3]. He went on to say that other well known Eaton nurseries are the three rose nurseries of C Morse, E Morse and RG Morse and the ‘old-established nursery of Mr Hussey in the Mile End Road.’

From [4]

Ernest Morse appears in this 1910 book of local worthies and businessmen [4] advertising himself as a grower of fruit, cucumbers and grapes. His older brother Henry took out a full page advert announcing his 20 acres of rose bushes and fruit trees in the Westfield Nurseries, Eaton.

From [4]

John Ewing’s partnership with Mackie’s was dissolved in 1845, leaving Mackie’s to stand alone as the city’s predominant nurserymen.

Mackie’s receipt 1828. Private collection, courtesy of Pamela Clark

The industrial scale of Mackie’s operations made it one of the largest provincial nurseries [5, 6]. Bryant’s 1826 map (above) shows Mackie’s 100 acre site was situated around the crossroads where present-day Daniels Road intersects Ipswich Road but the business can be traced back to John Baldrey’s nursery in the city where, around 1750, he was selling plants and trees on a wholesale basis. In 1759, this was taken over by the Aram family – who were selling ‘Scotch firs’ at ten shillings per thousand – and in 1777 John Mackie joined the business. This was around the time the nursery moved to what, in its final days, was to be known as ‘the Daniels Road’ site.

Parson Woodforde knew Mackie:

“Mackay, Gardener at Norwich, called here (the parsonage at Weston Longville) this Even’, and he walked over my garden with me and then went away. He told me how to preserve my Fruit Trees etc. from being inj’ured for the future by the ants, which was to wash them well with soap sudds after our general washing, especially in the Winter.”(from Parson Woodforde’s diary, July 13 1781).

As Louise Crawley describes in her essay on the Norwich Nurserymen, Mackie’s site was so extensive that clients recorded being driven around it by carriage [6]. Mackie’s was to remain in the family for four generations until it was sold in 1859 when they emigrated to America [5, 6].

The Norwich Nursery ca 1833. Courtesy Norfolk Record Office

Fifty years after this map was made the Ordnance Survey recorded that a portion of Mackie’s Nursery at Lakenham had become the Townclose Nurseries. Later still, this was to be purchased by the Daniels brothers.

Daniels Brothers’ receipt used at the nursery grounds in Eaton and their ‘shop front’ – the warehouses in the city centre. Private collection, courtesy of Pamela Clark

Daniels was sold to Notcutts in 1976. By superimposing modern roads on the nineteenth century map we can see how construction of the Daniels Road portion of the ring road in the 1930s (circled in red) bisected the Townclose Nurseries, with the ‘Notcutts’ portion on the south-western/left side.

Daniels Road bisected the Townclose Nurseries. Newmarket Road runs from lower left to upper right. Note also another nursery circled in green on the other side of Newmarket Road. 1883 OS map, courtesy of the National Library of Scotland.
From the Newmarket Road roundabout in 1933, the Daniels Road section of the new ring road cuts through the Mackie’s/Townclose Nurseries. ©georgeplunkett.co.uk
Plantsman Close and Roseacre Close both built on the eastern side of what had been Mackie’s nurseries

In 1849 Mackie’s ventured beyond the parish of Eaton when they bought The Bracondale Horticultural Establishment, situated in the crook between City Road and Bracondale. Patrons were welcome to visit the nurseries but orders could be placed at Mackie’s warehouses in Exchange Street where customers could also buy seeds and catalogues.

Mackie’s Bracondale Horticultural Establishment. City Road (red). The nursery is outlined in green. Six-inch OS map 1886 courtesy National Library of Scotland. The 1:2500 map (not shown) indicates the location of glasshouses and these are marked on the 6 inch version in blue.

A print in JJ Colman’s album shows Read’s Bracondale windmill (1825-1900). Photographed from the Bracondale Horticultural Establishment it shows a plot with supporting canes and, in the background, heated glasshouses.

Bracondale Windmill c 1855. Courtesy of Norfolk County Council, Picture Norfolk

The trade card, below, from around 1830, shows the extent of the glasshouses that Mackie inherited when he bought the Bracondale Horticultural Establishment from JF Roe. Their exotic produce appears in the foreground:  grapes, melons, ‘forced fruits’ and – most romantically foreign – the pineapple.

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Trade card from c1830 when the Horticultural Establishment was run by Mackie’s predecessor, JF Roe. The engraving of extensive glasshouses is framed with grapes, pineapples, melons and ‘forced fruits’

As a young boy, before I knew words like ‘epicurean’, I visited Cardiff Castle and was shown a table with a hole through which a pot-grown vine would be placed for the Marquess of Bute’s family to snip their own grapes. Unless, of course, they are peeled for you, grapes are pretty low down on the totem pole of self-indulgence since they can be readily grown outdoors or in an unheated glasshouse. But in previous times the seriously rich would grow pineapples in hothouses, as much a show of wealth as a token of their hospitality. Indeed, from the sixteenth century onwards there was something of a pineapple mania. Large country estates with heated glasshouses and staff could afford to grow their own tender fruit and plants. Norfolk estates may have produced pineapples, but this would have been beyond the dreams of the villa-owning classes in the Norwich suburbs [5] who looked instead to commercial nurseries like Mackie’s to provide their hothouse products. 

Charles II presented with the first pineapple (reputedly) grown in English soil by his gardener John Rose (possibly). English School C17. Royal Collection Trust ©Her Majesty Queen Elizabeth II

On a national basis, however, Mackie’s reputation rested not with fancy fruit and bedding plants but with the quantity of their arboricultural stock. In 1849 they auctioned ‘one million forest trees’ and in 1796 they were able to send 60,000 trees to an estate in West Wales. The journey from Norwich to Pembrokeshire required the trees to be carted to London then onwards by sea: such transportational hurdles would be largely overcome by the arrival of the railways. When trains came to Norwich in the 1840s, Mackie’s were able to offer ‘instant arboretums’ of 650 varieties of trees and shrubs for £35 [5].

In his History of the Parish of Eaton (1917) [3], Walter Rye mentions ‘the old-established nursery of Hussey in the Mile End Road.’ An advertisement from 1869 shows that their Mile End Nursery was, like its larger competitor (Mackie’s) on the other side of the Newmarket Road, offering trees and roses.

Husseys 1869. Courtesy Vivien Humber

In 1885, Husseys occupied much of the area between Unthank(s) Road and Newmarket Road, stretching from the Mile End Road (now ring road) to what would become Leopold Road.

The 1885 Ordnance Survey map labels a tree-filled nursery (green) between the Mile End Road (yellow) and what would become Leopold Road (dotted purple line). Upton Road (dotted red line), Judge’s Walk (blue) was then Green Lane. Courtesy of National Library of Scotland.

By the time of the 1908 Ordnance Survey (though for clarity I show the 1919 map), Hussey’s had another nursery on its doorstep. What had been open ground to the west/left of Upton Road was now occupied by large structures, longer and wider than the terraced roads that had arisen on Hussey’s land.

Glasshouses occupy the land between Judge’s Walk (blue) and Upton Road (red). OS map 1919 courtesy of National Library of Scotland

In the period between the 1885 and the 1908 Ordnance Surveys, EO Adcock had bought the open land to the west of Upton Road and established a nursery producing plants on an enormous scale. Meanwhile, Hussey’s had contracted, a good part having been sold to build Waldeck, Melrose and Leopold Roads. The remainder was still accessible through the entrance off Mile End Road [7].

Edward O. Adcock started as an amateur cucumber grower with eight glasshouses at a time when a dozen cucumbers commanded £1 [7]. To put this in perspective, in 1900 the pound was worth over a hundred times what it is today (although cucumbers are still 95% water).

Adcock’s Nursery ca 1904, including about 15 of his workers. ©Norfolk Industrial Archaeology Society 2014

In an article eulogising Adcock as one of the ‘Men Who Have Made Norwich’ [7], he is said to have had 125 glasshouses, each 120 feet long, totalling a quarter of a million square feet of glass. As well as cucumbers, Adcock grew chrysanthemums and, by selling 300,000 per annum, he was claimed to be the largest grower in the world.

Packing chrysanthemums at EO Adcock’s Nursery ©Norfolk Industrial Archaeology Society 2014

Twenty two acres were devoted to asparagus. Adcock also grew tomatoes in prodigious quantities: in one day his staff picked and packed over two tons of tomatoes to be dispatched by rail [7].

Packing tomatoes. ©Norfolk Industrial Archaeology Society 2014

What fascinates is the sheer scale at which fruit, vegetables and flowers were produced in just one small part of Norwich. Adcock’s were operating well into the steam age and were evidently able to supply their produce around the country in reasonable time. On a less industrial scale, maps of nineteenth century Norwich give tantalising hints of allotments and other small nurseries such as: Cork’s nursery ground; Allen’s Nursery around Sigismund and Trafford roads in Lakenham; the nursery ground off Dereham Road; the Victoria Nursery in Peafields, Lakenham; George Lindley’s nursery at Catton. Long before refrigerated transport and the concept of food miles it was this web of horticultural enterprises that, together with our farms and markets, fed Norwich.

The Trafford Arms on the site of The Nursery Tavern where, in the 1860s, Robert Allen ran a nursery in this semi-rural parish of Lakenham

If you liked this article you may like the Norfolk Gardens Trust Magazine. Membership of the NGT is only £10 per annum, £15 joint, and for this you will receive two copies of the magazine annually, invitations to visit gardens not always open to the public, and talks by leading figures on gardens and the history of designed landscape. Click the link to see more: https://www.norfolkgt.org.uk/membership/

©Reggie Unthank 2021

Sources

  1. https://familypedia.wikia.org/wiki/William_Creasey_Ewing_(1787-1862)
  2. https://familypedia.wikia.org/wiki/John_William_Ewing_(1815-1868)?fbclid=IwAR0nbF2FtFgtEnV6xWSr66pwNxH0IxCt3TjeGZ09a16Apjz8B4DvjQ24DHo
  3. Walter Rye (1917). History of the Parish of Eaton in the City of Norwich . Online at: https://babel.hathitrust.org/cgi/pt?id=uc1.$b756725&view=1up&seq=7&q1=fruit
  4. ‘Citizens of No Mean City’ (1910). Pub: Jarrolds, Norwich.
  5. Louise Crawley (2020a). The Growth of Provincial Nurseries: the Norwich Nurserymen c.1750–1860. Garden History v48 pp 119-134.
  6. Louise Crawley (2020b). The Norwich Nurserymen . In, The Norfolk Gardens Trust Magazine No 29. This article appears in the magazine, available online at: https://www.norfolkgt.org.uk/wp/wp-content/uploads/2020/06/NGT-magazine-Spring-2020.pdf
  7. Edward and Wilfred E Burgess (1904). Men Who Have Made Norwich’. Reprinted in 2014 by The Norfolk Industrial Archaeology Society in 2014. A truly fascinating read – visit http://www.norfolkia.org.uk/publications.html

Thanks My main source for information on Mackie’s was Louise Crawley, postgraduate researcher at UEA, and I am grateful for her generosity in sharing her researches into ‘The Norwich Nurserymen’. Local historian Vivien Humber kindly shared information on nurseries in the parish of Eaton. I am also grateful to Pamela Clark, Susan Brown, Sally Bate, Tom Williamson and Beverley Woolner. Thanks to the Norfolk Industrial Archaeology Society for allowing me to reproduce the Adcocks photographs, to Clare Everitt of Picture Norfolk, and to the George Plunkett archive.

Vanishing Plains

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In two recent posts [1,2] I wrote about Norwich’s ‘plains’, a loan-word from the Dutch for the city’s open spaces that were largely established before the fashion for urban squares. Only five of the 15 Norwich plains identified by Richard Lane in his book, The Plains of Norwich [3] are recognised by a formal street sign, some of the others don’t appear on early maps and some of this final six may not seem to you like defined spaces at all.

St Margaret’s Plain on Westwick Street to the rear of St Margaret’s Church. From OS map 1884.

The 1884 Ordnance Survey map appears to show St Margarets Plain occupying much the same space as it does today, although Richard Lane [3] notes that Westwick Street ‘used to widen slightly at this point until pre-war demolition and German bombs altered the northern side completely.’ The demolished houses to the west of St Margarets churchyard are marked with the red star.

St Margaret’s Plain from Westwick Street, the church top right.

In general outline, a similar open space appears on King’s map of 1766 but I wonder if this northern end of the churchyard was lost to pedestrianisation.

St Margaret’s Plain on King’s Plan of 1766

St Margaret is purported to be the figure carved in the left hand spandrel above the porch.

The crossroads in the main shopping area, dominated by Marks and Spencer, and Debenhams, is St Stephens Plain. St Margarets Plain was treated kindly by history but St Stephens’ Plain has been pulled hither and yon by planners, trams and the Luftwaffe.

St Stephens St lower left; Rampant Horse St top left; Red Lion Street top; and Westlegate right. OS map 1884. Starred, The Rampant Horse Hotel, which gave name to the street.

Here is St Stephens Plain on Braun and Hogenberg’s map of 1581.

Circled, St Stephens Plain; starred, St Stephen’ Gates. St Stephens Street runs between the two. Yellow arrow marks site of The Boar’s Head. From Braun and Hogenberg 1581

When Queen Elizabeth I came to Norwich on one of her royal progresses she entered at St Stephens Gates. Here she was met by the Mayor and a demonstration of Norwich weaving featuring religious refugees from the Low Countries whose immigration had been supported by the queen. The area was badly damaged in the bombing of WWII. Some buildings survived but the opportunity was taken to demolish the entire south side of St Stephens Street – including The Boar’s Head –  in order to widen the road.

Old Boar Inn.jpg
At the corner of St Stephens and Surrey Streets, The Boar’s Head, a C15 thatched inn, was badly damaged by bombs in 1942. Its location is marked on the map above.

Red Lion Street, the road on the north side of St Stephens Plain, had already been widened at the very end of the nineteenth century in order to accommodate the new electric trams, whose city hub was in Orford Place. Built in 1900, the south side of Red Lion Street was comprised of buildings designed by Edward Boardman and Son or by George Skipper.

Red Lion Street, widened in 1899 for the electric trams. The women stand at the corner now occupied by Curls (later Debenhams) department store. Opposite, the child caryatids on Skipper’s Commercial Chambers are arrowed. ©Norfolk County Council at Picture Norfolk
The child caryatids (probably by Doulton Lambeth) supporting the balcony of George Skipper’s Commercial Chambers. He also designed the adjacent Barclays Bank in 1905

Looking down Westlegate towards St Stephens Plain we come to Marks and Spencer, a department store built for Buntings in 1912 by local architect AF Scott [4]. It was badly damaged in WWII but, probably due to its steel-framed construction, it survived and was rebuilt without its attic storey and corner cupola. Opposite is Debenhams department store and one wonders about the fate of purpose-built department stores now that the occupiers are in receivership.

St Stephens Plain from Westlegate. M&S to the left, Debenhams to the right

To see what the plain looked like at the end of the nineteenth century we rotate ourselves 90 degrees clockwise so that, below, we walk down St Stephens Street with Buntings (now Marks and Spencer) on our left. The red star marks The Peacock pub at 1 St Stephens Plain. The narrow street straight ahead is Red Lion Street before it was widened to take the new electric trams.

Pre-1899. Buntings/M&S is on the left (arrowed). A narrow Red Lion St is straight ahead and Westlegate is right. ©Norfolk County Council at Picture Norfolk

The ‘Debenhams’ site was originally occupied by a collection of buildings that became the Curl brothers’ department store. As the 1884 OS map shows (above), the site once contained The Rampant Horse Inn, which gave name to the street.

Rampant Horse mosaic in the doorway of Debenhams – a reminder of the ancient inn

Curls was badly damaged in the 1942 air raids and was rebuilt from 1953 to 1956. In the 1960s the store was bought by Debenhams but still traded as ‘Curls’ until the 1970s. Below, we look across the building site to the south side of Red Lion Street designed by Boardman and Skipper in the early 1900s.

Rebuilding the corner of Red Lion and Rampant Horse streets. ©georgeplunkett.co.uk

Walking westwards, Rampant Horse Street merges into Theatre Street, the site of Theatre Plain. An advertisement placed by Francis Noverre gives the address of his first annual ball as being in the Assembly Rooms on Playhouse Plain. Neither Playhouse Plain nor Theatre Plain seem to refer to the theatre immediately west of the Assembly House.

Theatre Street. The red arrow points to the Assembly House; the yellow arrow to the Theatre Royal

Millard and Manning’s map of 1830 shows Theatre Plain occupying the forecourt of the Assembly House.

Theatre Plain off Chapel Field Lane (now Theatre Street). Millard and Manning (1830).

Somewhat ironically for a city claiming to have plains instead of squares, White’s Directory of 1845 refers to the space as Theatre Square [3]. This may be because we were now in an age when squares – unlike the irregular medieval spaces where streets collided – had been made fashionable by the development of polite Georgian London.

The Assembly House

The Assembly House occupies a site established around 1250 as the College of St Mary-in-the-Fields. After the Dissolution, the church itself was demolished and in 1573 the remaining buildings converted by Sir Thomas Cornwallis into a town house, second only in size to the Duke of Norfolk’s Palace [3]. In 1609 the mansion was bought by the Hobart family who, in 1753, leased the building for public assemblies, for which purpose it was converted the following year by Thomas Ivory, the architect of Georgian Norwich. Rather than demolishing the old house, as once thought, it appears that he used a significant part – its central part and wings – in remodelling the ‘House of Assemblies’ [5].

The Assembly House by James Sillett 1828. ©Norfolk County Council at Picture Norfolk

In contrast to the popular entertainment offered in some of the larger inns around the marketplace, the Assembly House was where the gentry could come for a game of cards, a glass of wine and sometimes dance the minuet in polite surroundings. However, in Assize Week ‘the double doors between ballroom, card-room and tea-room were opened up, and country dances danced along the lengths of all three rooms’ [6]. Some scorned country dances as half an hour of standing still as long lines of paired dancers took their turn to run the gauntlet. But imagine the fun of galumphing the whole 143 feet beneath candle-lit chandeliers.

St Paul’s Plain no longer exists; it could have been restored after being damaged in the Blitz but was marked for destruction by the City Engineer’s 1944 plan for the inner and outer ring roads. The church was founded in the twelfth century as a hospital for poor strangers. It was  also recorded in the sixteenth century being used as a bridewell (prison) before William Appleyard’s house took over that function in what is now Bridewell Alley [7].

St Paul’s church in 1937 ©georgeplunkett.co.uk

The octagonal top of the tower, rebuilt with white bricks around 1819, survived the incendiary bombs in 1942. Had it been been saved it would be the largest of the city’s five round towers (just as St Benedict’s tower stands alone) but it stood in the way of post-war improvement and the site was cleared in preparation for the St Crispin’s Road flyover and the Barrack Street roundabout.

The 1970 flyover (left) and the Barrack Street roundabout superimposed approximately upon the 1884 OS map. St Paul’s at the left edge of the roundabout was demolished, leaving St Paul’s Square. St James’ church (right) survives as the Norwich Puppet Theatre.

The site is now a small public garden and children’s play area. The evidence, though, for calling the space ‘St Paul’s Plain’ is slim. White’s Directory of 1845 describes it as ’the square called St Paul’s plain’ [3] and – surrounded by streets on four sides – it does look on Samuel King’s map of 1766 more like a square, albeit somewhat on the huh. ‘Square’ may work in this instance but is a poor definition of the other variously irregular open spaces we have seen. George Nobbs’ explanation comes closer: ‘In Norwich the term Plain is usually used to describe the area of a meeting of streets’ [8].

The playground in St Paul’s Square

In his short book on Norwich Plains, Richard Lane [3] generally found White’s Directory of 1845 to be a useful source of addresses as supplied by trade subscribers but he found no mention of St Benedict’s Plain. He wrote that one unnamed author mentioned it as the square where Pottergate, Willow Lane, Cow Hill and Ten Bell Lane met; ‘others’ defining it as the widening of Pottergate from Ten Bell Lane westwards. These two spaces are conjoined in the map below.

The general area of St Benedict’s Plain. Only the tower of St Benedict’s church (red star) survived the war. Ten Bell Lane is marked in yellow. The green star marks St Giles’ church standing high on Cow Hill. OS map 1899.

However, the National Archives records that the Norfolk and Norwich Eye Infirmary stood on St Benedict’s Plain from 1823-1854 [9]. And there is an early C20 watercolour entitled ‘St Benedict’s Plain’ by a local painter [10].

‘St Benedict’s Plain Norwich’ by Robert J Gedge, early C20. The artist looks eastwards down Pottergate with Cow Hill to the right ©somersetandwood.com

The Norfolk County Council’s Picture Norfolk site has a photograph labelled ‘St Benedict’s Plain/Pottergate’.

Photographer George Swain labelled this ‘St Benedict’s Plain/Pottergate’, 1937. The timber frame house does not survive and only the tower of St Benedict’s church, seen through the gap, remains. ©Norfolk County Council at Picture Norfolk

This photograph looks down to the plain from the junction of Cow Hill and Willow Lane …

Looking northwards down Cow Hill. Pottergate runs left-right at the bottom of the hill

… while this shows where Pottergate widens to the west of Cow Hill.

Yellow-painted Kinghorn House, named after a local Baptist minister ca 1800.

The legitimacy of St George’s Plain is beyond question for it is enshrined in Pevsner [11]. It is a part of Colegate, on which the Late Medieval and Georgian houses of the rich wool merchants still stand. On the 1886 OS map the plain appears as a widening of the road between a block labelled ‘Boot and Shoe Manufactory’ and the churchyard of St George’s Colegate.

St George’s Plain ringed in red. St George’s Colegate, red star. The green arrow points down St George’s Street, over the river to the present-day Norwich University of the Arts. OS map 1886.

The ‘Boot and Shoe Manufactory’ was Howlett and White’s factory, once the country’s largest producer of footwear under one roof. Viewed from the west end of Colegate, the seven bays up to the tower were built by Edward Boardman in 1876; left of the tower is Boardman’s extension of 1894, making a facade of 200 feet [11]. In 1909 the company introduced the brand name Norvic and in 1935 the business itself was renamed the Norvic Shoe Company Ltd [12]. Norvic, short for Norvicensis, is the address adopted by each Bishop of Norwich but it can be traced back to a time before the Normans raised the cathedral. In the preceding Anglo-Scandinvian period, this defended trading settlement, or wic, on the north bank of the river was sufficiently stable to mint its own coins and to stamp them Norvic. Colegate is part of that north wic.

Howlett & White’s Norvic factory on St George’ Plain, facing St George’s Colegate. Below the factory tower, which separates two phases of expansion, is a carved brick canopy (red arrow)

That carved brick canopy, probably by Guntons of Costessey, contains an upright anchor not to be confused with the tilted anchor of Bullards Brewery across the river. The expansion of the factory absorbed two lanes that had led down to the riverside; the upright anchor commemorates Water Lane, marked on the OS map above.

On the north-east corner of this expanded area of Colegate, adjacent to St George’s churchyard, is a piece of street furniture that we’ve seen before – a public water fountain with a marble basin for people and troughs below for dogs [13].

ColegateFountain.jpg
Fountain sculpted by J Stanley of Norwich, installed in 1860

The red brick wall to the left of the fountain marks the junction between Muspole Street and St George’s Plain. A little way up Muspole Street, on the opposite side, is a pub whose various names relate to the wool that made Norwich wealthy: Crown and Woolpack (1740s); Wool Packet (1760s); Old Woolpack (2016) and The Gatherers (opened 2020). This was once the site of the town house of the Augustinian Priory of Our Lady of Walsingham, conveyed to John the Prior in 1298. The present building is Georgian with a nineteenth century pub front [14].

From the late nineteenth century, the employment provided by factory-based shoe-making took over from the more fragmented weaving industry that had sustained the city for centuries but by the early 1800s our textile trade was being outcompeted by the power mills of the north. Below, the two trades are represented by the pub and its association with wool, and by the saw-tooth roofline of the Norvic-Kiltie shoe factory that overlooks it. Howlett & White had bought the business from local shoe manufacturer SL Witton Ltd. [12], completing their domination of this part of Norwich-over- the-Water.

The Gatherers on Muspole Street with the Norvic-Kiltie factory to the rear. St George’s Plain is to the left.

St George Colegate (c1459) is a fine church with austere Georgian furnishings. It was one of the few things in the city that architectural commentator Ian Nairn could persuade himself to like. John Crome, co-founder of the Norwich School of Artists, is buried here.

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Postscript After this was published, a reader informed me that the space outside The Forum in the city centre is named Millennium Plain – a latter-day plain to add to University Plain and the three on the old Norfolk and Norwich Hospital site.

©Reggie Unthank 2020

Something for the Christmas stocking? ‘Colonel Unthank and the Golden Triangle’, which describes the development of south Norwich by the Unthank family, has been recently reprinted and can be ordered by mail by clicking these links: Jarrold’s Book Department (bookorders@jarrold.co.uk) and City Bookshop (citybookshopnorwich.co.uk).

Colonel Unthank AD.jpg

Sources

  1. https://colonelunthanksnorwich.com/2020/09/15/the-plains-of-norwich/
  2. https://colonelunthanksnorwich.com/2020/10/15/norwich-city-of-the-plains/
  3. Richard Lane (1999). The Plains of Norwich. The Larks Press, Dereham.
  4. https://colonelunthanksnorwich.com/2020/08/15/twentieth-century-norwich-buildings/
  5. https://colonelunthanksnorwichdotcom.files.wordpress.com/2020/12/d9567-ahtbooklet.pdf
  6. Marc Girouard (1990). The English Town. Pub: Yale University Press.
  7. http://www.georgeplunkett.co.uk/Norwich/mediaevalcitychurches.htm
  8. George Nobbs (1978). Norwich: City of Centuries. Pub: George Nobbs Publishing, Norwich.
  9. https://www.nationalarchives.gov.uk/hospitalrecords/details.asp?id=472
  10. https://somersetandwood.com/robert-j-gedge-st-benedicts-plain-norwich-early-20th-century-watercolour-jn-601
  11. Nikolaus Pevsner and Bill Wilson (1997). The Buildings of England: Norfolk 1: Norwich and North-East. Pub: Yale University Press.
  12. Frances and Michael Holmes (2013). The Story of the Norwich Boot and Shoe Trade. Pub: Norwich Heritage Projects.
  13. https://colonelunthanksnorwich.com/tag/street-furniture/
  14. http://www.norfolkpubs.co.uk/norwich/wnorwich/ncwpk1.htm

Parson Woodforde goes to market

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In 1775, Reverend James Woodforde came to Weston Longville, a small village north of Norwich, and remained as rector until his death in 1803. During this time he kept a diary of his life as a country parson but city-dwellers will find it intriguing for his forays into late eighteenth century Norwich.

“… we both agreed it was the finest City in England by far …”

On first visiting Norwich with a friend (1775)

I am following a fascinating booklet on Woodforde’s walks around Norwich by the Parson Woodforde Society [1]. Much has changed across the two hundred and forty five years between his time and ours: World War II bombing raids; the Industrial Revolution; slum clearance; and fitting a medieval city around the motor car. These things changed the city but what is striking is how much of Woodforde’s Norwich still glimmers through. We start at the Marketplace but there is so much to see that we won’t wander far.

The Market established by the Normans, which supplanted the Anglo-Scandinavian trading place in Tombland, has been the thriving hub of the city for almost a thousand years. Here it is in Cotman’s illustration of 1807, not long after Woodforde’s death.

Norwich Marketplace from the North by John Sell Cotman. Courtesy Abbot Hall Art Gallery

Looking back from the south end, Robert Dighton’s illustration (below) just manages to catch the medieval Guildhall (red arrow), obscured by the tall buildings to the rear of the marketplace. Centre left, the gap between the buildings is Dove Lane but note the absence of a major north exit from the far right corner. To the right of the market is a range of inns and from one of them the London coach is exiting at speed (yellow arrow).

Norwich Market by Robert Dighton 1799.

In acknowledgment of the stables behind the coaching inns, Blomefield’s map of 1741 names the lane to the rear as Backside of the Inns.

Blomefield’s map of Norwich 1741. ©georgeplunkett.co.uk

But by 1766 Samuel King had dignified it as Back of the Inns – the name still used today. He also lists the inns along the east side.

Samuel King’s Plan of Norwich 1766

There were inns all around the marketplace but the ones on the east side are given as The Half Moon, The King’s Head, The Bear Inn and The Angel Inn. From The Angel, Parson Woodforde is known to have caught the coach, which he refers to as the ‘London Machine’ or ‘the machine’ [1].

A post chaise

In 1775, Woodforde’s journeyed from London to Norwich, by post chaise and four (horses): ‘109 miles, and the best of roads I have ever travelled.’ Arriving after ten o’clock at night he found the city gates shut (presumably St Stephen’s Gate), reminding us that the medieval defences were still largely intact at that time. In a telling metaphor for the changes inflicted upon a medieval city by the Victorian age, the stretch of city wall to the north of St Stephen’s Gate was to be used as hardcore for the new Prince of Wales Road. Built in the 1860s, this was intended as a grand approach to connect the new Thorpe railway station with the city centre. The advent of steam was to affect other routes to the city’s markets.

Small changes to the Marketplace accrued after Woodforde died. In 1840, when Queen Victoria married, the fifteenth century Angel Inn was patriotically renamed The Royal. In 1899 it would be demolished and replaced with a fashionable arcade designed by George Skipper [2]. Moulded in marble-like Carrara Ware by Doulton’s WJ Neatby, the figure above the Back of the Inns entrance commemorates the original Angel Inn. As the Royal Inn was disappearing (1896-7), Edward Boardman was building a new Royal Hotel on Agricultural Hall Plain, close to various livestock markets around the Castle, and closer to the railway station.

The Royal Arcade, 1899

The fronts of these inns were separated from the Norman Great Market by what appears on King’s Plan of 1766 as ‘Nether Row or Gentleman’s Walk’. ‘Nether’ refers to a lower row of market stalls arranged outside the inns but as early as 1681, Thomas Baskerville had written about ‘a fair walk before the prime inns and houses of the market-place…called gentlemen’s walk or walking place…kept clear for the purposes from the encumbrances of stalls, tradesman and their goods’. Evidently, the walkway outside the inns had become an acceptable place for members of an increasingly polite and enlightened society to promenade, separated from the hurly-burly of the market. An early photograph from 1854 shows The Walk as a paved boulevard set apart from the market by a line of posts [3].

Gentleman’s Walk and Market 1854 ©Norfolk County Council

Newman’s lithograph provides a sense of the fashionable shops along the east side of the marketplace – an early shopping parade.

Shops along Gentleman’s Walk from a print by J Newman 1850. Source: Norfolk Museums Collections NWHCM: 1929.90.5

Woodforde is known to have visited John Toll’s draper’s shop in the Marketplace. He paid seven shillings and sixpence for a pair of cotton stockings for his niece Anna Maria (Nancy) who was his housekeeper and companion [4]. At the shop of Mr Tandy (a ‘Chymist and a Druggist’) he spent three shillings on an ounce of ‘Rhubarb’, presumably tincture of rhubarb, taken for digestive complaints. For thruppence he also purchased Goulard’s Extract, used for inflammation of the skin, although this was later discontinued as it was found to cause lead poisoning.

Although Parson Woodforde drank coffee at The Angel he did not often stay there, preferring to lodge at The King’s Head. It was from here that the Norwich mail coach departed for Yarmouth [1]. And from 1802, two mail coaches left here daily for London, one via Ipswich and one via Newmarket [5].

Coach departing the King’s Head (From Dighton’s painting, see [5]. Courtesy of Norfolk Museums and Archaeology Service)

Below, Newman’s painting of 1850 shows key changes to the Marketplace as Woodforde would have known it.

Norwich Market, from the south. J Newman 1850. Red arrow = coach exit from the Royal Hotel (formerly the Angel Inn). Yellow arrow = Exchange Street. Note the gas lampposts. Courtesy of Norfolk Museums Collections

In Woodforde’s time there was no wide street exiting the square at the north-east corner but, in 1832, Exchange Street was cut through, connecting the market to St Andrew’s Street then over the newly erected Duke’s Palace Bridge and on towards North Norfolk [6]. On the map above, the purple arrow points to something that would have rocked Parson Woodforde’s world.

Davey Place, for pedestrians. The steps at the end are blocked by a wagon cutting across Back of the Inns. Courtesy Norfolk County Council at Picture Norfolk

In 1812, Alderman Jonathan Davey – Baptist Radical of Eaton Hall –announced in a council meeting that he would put a hole in the king’s head. These apparently seditious words were taken sufficiently seriously for a guard to be placed upon his house but what he actually intended was to put a hole in Gentleman’s Walk. He bought the King’s Head Hotel at auction, demolished it and in place of Woodforde’s preferred coaching inn built a shop-lined thoroughfare that connected those attending the livestock markets around the Castle with the Marketplace [7]. Along with Exchange Street, Davey Place is one of the rare post-medieval streets of Norwich.

The ‘Davey Steps’ connecting Davey Place to Castle Meadow provided a barrier to animals, although the stairway was not insurmountable. In April 1823: “A man who sold sand about the streets of Norwich drove his cart and pair of horses up the flight of ten steps, leading from Davey Place to the Castle ditches. The horses did it with much ease and without receiving any injury, to the astonishment of the spectators” [8].

Running westward from the Guildhall, at the back of the market, was the fish market.

‘Fishmarket with St Peter Mancroft’ by GS Stevenson. Courtesy Norfolk Museums Collections

Here, Woodforde bought soles from Mr Beale, which were sometimes less than fresh [1]. In the days before refrigeration he would take home oysters from the market, although he could also buy them from ‘an old man of Reepham’ [4]. The insanitary Fish Market was replaced in 1860 by a Neoclassical building approximately where the Memorial Gardens are today. This building is at centre of the photograph below. To the right, the building with roof lucams is The Fishmonger’s Arms, a Youngs, Crawshay and Youngs house.

The Fish Market and buildings in St Peter Street, looking down to the Guildhall from the railings of St Peter Mancroft’s churchyard, ca 1890. Courtesy Norfolk County Council at Picture Norfolk

All the old buildings at the back of the market were cleared as part of the construction of City Hall and the Memorial Gardens (1938).

The back of the Marketplace in 1938, looking from Gentleman’s Walk. The City Hall and the Memorial Gardens have just been constructed and buildings at the back of the market demolished. The white stone structure at centre is Lutyens’ war memorial, moved from the Guildhall. © georgeplunkett.co.uk

In 1914 the Fish Market was transferred out of the Victorian building and re-sited to Mountergate.

Marking a plaque commemorating the Fish Market. On the Rose Lane car park

As the Back of the Inns followed the curve of Castle Meadow it flowed into medieval London Lane. This route was narrow and far from ideal. The opening of Norwich (later, Norwich Thorpe) railway station in 1844 created demand for better access to and from the market and London Street was widened accordingly[6]. Most of the medieval buildings familiar to Woodforde were demolished. He would, though, have known this grand doorway from the house of John Bassingham, a goldsmith from Henry VIII’s time, now inserted into the Magistrate’s Entrance of the Guildhall [10].

BasshmGate.jpg

The premises of Edward Freeman were in Back of the Inns. We previously encountered this family of cabinet makers when looking at a framed medallion of Amelia Opie [11]. Freemans made high quality picture frames and furniture for country houses like Felbrigg and Blickling Halls but Woodforde’s requirements were more humble: he paid a guinea deposit for two mahogany chests of drawers and half a dozen ash kitchen chairs.

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Cockey Lane was at the Guildhall end of London Street, just around the corner from Back of the Inns, and this is where Woodforde visited his upholsterer, James Sudbury. In 1793, two of Sudbury’s workmen – Abraham Seely and Isaac Warren – are claimed to have carried a ‘large New Mohogany Cellarett’ and a sideboard ‘on the Men’s shoulders all the way’; that is, nine miles to Weston Longville [12]. For this Herculean feat Woodforde fed and watered the men and gave them a shilling tip but I can’t help wondering if Sudbury’s cart was hidden down the lane.

A George III mahogany cellarett used for storing and/or chilling wine. Photo: © antiques.co.uk

Kerrison’s Norwich Bank in the Back of the Inns was where Woodforde brought tithe money collected on behalf of his friend Henry Bathurst (later, Bishop of Norwich) who was then non-resident parson of a neighbouring parish [4]. Woodforde would exchange bills and cash for a banknote that he sent by post to his friend in Oxford. On one occasion he celebrated his good deed by dining at the King’s Head on a mutton chop and a bottle of wine. Five years after Woodforde’s death, Sir Roger Kerrison was to die in an apoplectic fit after which his bank failed, unable to pay the Government the money he had collected as Receiver-General [13].

Kerrison & Kerrison bank note of 1807. Photo: ©Spink

In 1793, Parson Woodforde banked £2-12s-0d, collected at Weston Longville for emigré French clergy. These refugees from the French Revolution joined a line of French Protestants who had been finding sanctuary here since the sixteenth century [14]. Just south of the Marketplace, in the smaller Haymarket (and Cheese Market), Woodforde had his watchspring repaired by master watch-maker Peter Amyot, a descendant of French Huguenots [1]. In his diary, Woodforde also mentions other descendants of immigrants: like James Rump, grocer and tallow chandler (whose name had been anglicised from Rumpf [14]); Elisha de Hague, attorney; and the influential Martineau family, underlining the contribution that newcomers made to this city’s commerce.

Watch movement c1770 by Peter Amyot of The Haymarket, Norwich. ©catawiki

©Reggie Unthank 2020

Sources

  1. ‘Walks Around James Woodforde’s Norwich’ (2008). Published by The Parson Woodforde Society https://www.parsonwoodforde.org.uk/. The booklet is still available from  editor@parsonwoodforde.org.
  2. https://colonelunthanksnorwich.com/2016/03/12/the-art-nouveau-roots-of-skippers-royal-arcade/
  3. https://en.wikipedia.org/wiki/Norwich_Market
  4. https://archive.org/stream/in.ernet.dli.2015.227134/2015.227134.The-Diary_djvu.txt
  5. http://www.norwich-pubs-breweries.co.uk/norwich_pubs_past/norwich_pubs_past.shtm#
  6. Nikolaus Pevsner and Bill Wilson (1997). The Buildings of England. Norfolk 1: Norwich and North-East. Pub: Yale University Press.
  7. https://www.eveningnews24.co.uk/views/derek-james/street-has-its-place-in-city-history-1-1520880
  8. In, Norfolk Annals, edited by Charles Mackie. Available online https://www.gutenberg.org/files/34439/34439-h/34439-h.htm
  9. Michael Loveday (2011). The Norwich Knowledge. Pub: Michael Loveday ISBN 978-0-9570883-0-6
  10. https://colonelunthanksnorwich.com/2018/01/15/the-norwich-coat-of-arms/
  11. https://colonelunthanksnorwich.com/2020/01/15/behind-mrs-opies-medallion/
  12. https://bifmo.history.ac.uk/entry/sudbury-james-sen-1743b-1814d
  13. Roger Ryan (2004) Banking and Insurance. In, ‘Norwich since 1550’. Eds Carole Rawcliffe and Richard Wilson. Pub: Hambledon and London.
  14. https://colonelunthanksnorwich.com/2019/08/15/going-dutch-the-norwich-strangers/

Thanks to Alan Theobald for introducing me to the booklet, ‘Walks Around James Woodforde’s Norwich’. Copies are available from editor@parsonwoodforde.org. I am grateful to Martin Brayne of the Parson Woodforde Society for his assistance. To learn more about Parson Woodforde and the society in which he lived, visit  https://www.parsonwoodforde.org.uk. I am grateful to Clare Everitt for permission to use images from the wonderful archive of local photographs: Picture Norfolk. Thanks, also, to Jonathan Plunkett for allowing access to his father’s photographs of Norwich and Norfolk: www.georgeplunkett.co.uk

Norwich, City of the Plains

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London has its famous residential squares, built to enclose green space and clean air against the awfulness outside. These enclaves mainly arose during the Georgian and Victorian periods and from the outset were part of the designed urban landscape.

Bloomsbury Square 1787. Image: English Heritage

Norwich, on the other hand, has very few formal, rectangular spaces. In this second post on Norwich Plains we try to define these irregular spaces by contrasting them with more formal squares.

The Anglo-Scandinavian marketplace, Tombland (meaning empty space), and the Norman marketplace that superseded it, are both rectangular but neither of these was called a ‘plain’ for they pre-dated the arrival of the Dutch who gave the name to our open spaces. And although we can point to several isolated Georgian gems there was never sufficient development within the confines of a medieval street plan (if ‘plan’ is the word) to add up to an eighteenth century square. The nearest thing to a London-like square is the Cathedral Close.

The Lower Close, looking east.
Georgian terrace on south side of the Lower Close

Before the word ‘close’ was appropriated by twentieth-century developers for their suburban cul-de-sacs, the name related more specifically to the area around an ecclesiastical building enclosed – cloistered – behind the precinct gates. It may never have been an appropriate name for the more casual, un-green places outside the cathedral walls. Norwich plains are irregular, rather tentative spaces that seem to have arisen where several medieval streets collide. Some plains have been so eroded by tramways, traffic-bearing roads, World War II and general ‘improvement’, that we may wonder whether they existed at all.

St Catherine’s Plain is one such open space. It was the land surrounding the pre-Conquest church of St Catherine that was given to the nuns at Carrow by King Stephen. Now it is one of Norwich’s lost churches and its demise can be traced to the plague that almost depopulated the parish; by the time of the historian Blomefield (1705-1752) it consisted of just one house [1].

Cuningham’s map of Norwich, 1558, showing the lost church of St Catherine, at centre

At the southern end of Queen’s Road, between the twentieth century junction with Surrey Street (formerly St Catherine’s Lane) and the following junction with Finkelgate, is a treed area still marked with an older-style cast-iron sign.

Finkelgate connects with the south end of Ber Street, which was once called St. Catherine’s Street [1]. The map below also shows a St Catherine’s Lane and a St Catherine’s Hill, emphasising that the district of St Catherine’s was at one time more extensive than we may now realise.

St Catherine’s Close, enclosing the church (purple star). Red line marks St Catherine’s Lane (now the continuation of Surrey Street); blue line marks St Catherine’s Hill. Green star = St Catherine’s Plain. Blue Star = St Catherine’s Close. Yellow star = All Saints’ Plain. Ber St runs along the right edge; modern-day Queen’s Rd to the left. Millard & Manning’s 1830 Plan of Norwich. Courtesy of Norfolk County Council
St Catherine’s Plain from the junction of Surrey Street with the widened Queen’s Road, which has absorbed some of the plain [2]

Walking down Surrey Street to the junction with All Saints’ Green we come to a fine building designed by local architect Thomas Ivory who is responsible for several of the high points of Georgian Norwich. This is his St Catherine’s Close (1780) – a name once given to the place where the parsonage had stood [1] . The Adam-style porch was damaged when the area was bombed during World War II and is a replacement [3].

St Catherine’s Close (or House) by Thomas Ivory, completed by his son William. Marked with blue star on the map above. Now the offices of solicitors Clapham & Collinge

Just east of this house is All Saints Green that, as marked by the yellow star in the 1830 map above, was once known as All Saints Plain. On Samuel King’s map of 1766 this open space is labelled All Saints Green – a name by which it is known today. It appears there was a fluidity in naming places. King’s map also gives the space the alternative name of ‘Old Swine Market’ but by 1806, when Blomefield’s History of Norwich was published, the hog market had moved to the castle ditches.

All Saints Green/Old Swine Market. Samuel King’s Plan of Norwich 1766

Born 1844 in Ludham, Robert Herne Bond owned a shop in Ber Street and bought adjoining properties that allowed him to extend through to All Saints’ Green [4]. One of these buildings started life as the Thatched Assembly Rooms before being converted to a ballroom then a cinema. Bond converted it back to a ballroom for his staff and it was also used as a restaurant and furnishing hall. The ‘Thatched’ was destroyed by incendiary bombs in 1942. Immediately the war ended, Bond’s son, the architect J Owen Bond, replaced this collection of vernacular buildings with a Streamline Moderne department store. In 1982, Bonds of Norwich was taken over by John Lewis [5].

Bonds at 21 All Saints’ Green, photographed in 1935. ©georgeplunkett.co.uk

St Giles’ Plain. The provisional nature of some of the Norwich plains is apparent from Richard Lane’s book The Plains of Norwich. White’s Directory of 1845 does not, he writes, list St Giles’ Plain in the street guide despite several traders giving their address there [2]. Nor could I find it on the 1884 OS map, the Millard & Manning 1830 map, Cole’s 1807 and King’s 1766. This is not to say that the plain didn’t exist but that locals were more ready than mapmakers to use the local name for these open spaces.

St Giles-on-the-Hill with Upper St Giles ahead, Churchman House left. Cleveland Street cuts left-right across the plain.

The church stands at the intersection of Upper St Giles and St Giles Streets, Cow Hill and Bethel Street, with Willow Lane to the rear. The area outside the church would have looked more tranquil before the 1970s when Cleveland Street joined the plain, bringing traffic off the Grapes Hill roundabout and the Inner Link Road.

St Giles church, red star. Cleveland Road (yellow) was built in the C20. Samuel King’s map 1766

Until the Conquest, the settlement’s main axis ran north-south, from Magdalen Street, through Tombland, to King Street. The Normans changed this by developing the ‘French Borough’ westwards from their Castle and Marketplace. Two Norman streets from the market converged at St Giles: Lower Newport (now St Giles Street) and Upper Newport (now Bethel, formerly Bedlam, Street).

The church is situated on a hill, 85 feet above sea level. If you were to stand on top of the magnificent tower you would be 205 feet above the sea; not as tall as the county’s high point, Beeston Bump (344 feet), but still dizzyingly elevated for Norfolk. Two thirds up the tower the single clock-face points down St Giles’ Street to the Guildhall, next to the marketplace. With a diameter of ten feet the dial should have been easy to see although visibility was improved in the mid-C19 by the addition of a six and half feet minute hand.

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St Giles’s single clock-face, from St Giles Street

Facing the south side of the church, across the plain, is Churchman House built in 1727 for Alderman Thomas Churchman and remodelled in 1751 by his son Sir Thomas. According to Pevsner &Wilson this is ‘the very best Georgian house in Norwich’ [3].

ChurchmanHse.jpg

For two years (1875-7), Churchman House was the first home of the Norwich School for Girls before it moved to the Assembly House and then to its present location on Newmarket Road in 1933 [2]. After the girls moved out in 1877, Churchman House was bought by Dr Peter Eade, sheriff and three times mayor. Dr Eade was an eminent citizen, being Chief Physician at the Norfolk and Norwich Hospital, on St Stephen’s Road. He was also first President of the Norwich Medico-Chirurgical Society at a time when meetings would be held on the night of a full moon to help members return home safely.

Sir Peter Eade. Courtesy: Jarrold & Sons Ltd

Dr Eade was also embroiled in the affair of Sir Thomas Browne’s skull, that I recently wrote about [6]. Physician and philosopher Thomas Browne, the city’s most famous citizen of the seventeenth century, was buried in the chancel of St Peter Mancroft. In 1840 his skull was stolen when his coffin was broken open during the burial of the vicar’s wife. After some years the skull was bequeathed to the Norfolk and Norwich Hospital Museum where, despite numerous requests for its return, it stayed until 1922. Peter Eade ‘must have been one of the leading figures behind the hospital’s refusal to return the skull’ [7]. At the time, skulls of the famous were used for phrenology, the pseudo-scientific name for ‘reading the bumps’ – the dubious procedure for deducing personal characteristics from the shape of the cranium. Yet while Eade the Physician fought against the restoration of the skull, Eade the Mayor championed the commission for Browne’s statue, which was installed in the Haymarket in 1905 [7].

St Mary’s Plain feels more of an open space than others in Norwich-over-the-Water, possibly because of the borrowed elbow room provided by the large churchyard.

St Mary’s Plain, off the north end of present-day Duke Street. Millard & Manning’s 1830 Plan of Norwich. Courtesy of Norfolk County Council

The plain takes its name from St Mary-at-Coslany, Coslany (or island with reeds) being one of the four original Anglo-Saxon settlements on which the city is based. On the belfry, the double openings with the recessed shaft reveal the church’s Anglo-Saxon origins. It is probably the oldest in Norwich [3].

St Mary-at-Coslany where John Sell Cotman was baptised in 1782

Until the late C19 the area consisted of ‘noxious courts and alleys’ [2] but all this was to change dramatically in the following century. Norwich-over-the-Water housed many light-industrial factories and was bombed several times during the Baedeker Raids. In 1942 the church was badly damaged by incendiaries.

From far left: St Mary’s Baptist Church; the thatched Pykerell’s House adjacent to Zoar Strict and Particular Baptist Chapel; the red-brick St Mary’s Works; and hidden by the tree, the tower of St Mary-at-Coslany.

Above, just visible to the left, is St Mary’s Baptist Chapel. It dates from 1951 although various versions had stood on this site since 1745. Below, is the chapel on the 12th of September 1939.

St Mary’s Baptist chapel, 12th September 1939 ©georgeplunkett.co.uk

War had been declared against Germany on the 3rd September 1939. A week later, fire swept through the Baptist church but this was not caused by enemy action – a hint of the damage can be seen on the roof. Rebuilt to the original design, the church was opened again a year later but in June 1942 was completely gutted, this time as a result of the Baedeker bombing campaign. The church we see today was opened in July 1951 (see [8] for the detailed history of this area and of wartime bomb damage).

The Baedeker raids of 1942 also claimed medieval Pykerell’s House, named after an early C16 Sheriff and three-times mayor. Extensively restored, it is one of only six thatched houses left in Norwich. Surprisingly, I can find no reports that its conjoined but unthatched neighbour – Zoar Strict and Particular Chapel – suffered any damage in the blaze. In evading the Luftwaffe’s incendiary bombs the church was echoing its biblical namesake, Zoar, one of the five cities of the plain (the Dead Sea Plain) to escape the fire and brimstone that destroyed Sodom and Gomorrah.

It is intriguing that Zoar, a small Baptist chapel, should be sited so close to the large, general Baptist Chapel further along the plain. This break-away branch of the Baptist faith is ‘strict and particular’ in allowing only those baptised by immersion to receive communion.

The shape of the plain as we saw it on King’s map of 1766 was further changed in the 1920s. Then, old slum dwellings were demolished to make way for St Mary’s Works, home to Sexton, Son and Everard, one of the city’s large shoe-making factories. But it, too, was extensively damaged in 1942 by the summer bombing campaign. The building was restored but the business closed in 1976 and now it awaits redevelopment.

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Postscript

In researching the city’s open spaces I came across an article that gave insight into the extent to which the cathedral’s brethren fulfilled their moral obligation to feed the poor [9].

Cathedral precinct. Upper Close outlined in red. Erpingham Gate (purple) and St Ethelbert Gate (yellow). Almary House leading onto Almary Green (blue star). 1885 OS map

Almary Green is not named for the Virgin Mary but because of its proximity to the Almonry. The Almoner’s House and Almonry Green are situated in the south-west corner of The Close conveniently near the paupers soliciting alms at St Ethelbert’s Gate. Here, the almoner had his own granary, distinct from the priory’s Great Granary. This separation ensured that the needy were fed mainly rye or ‘horse’ bread to accompany their soup or pottage based on pulses while wheat from the other store was used to make the white bread eaten by the brethren. From the accounts, the monks appeared to have eaten and drunk in ‘truly heroic quantities’. Bread and ale comprised about half their diet while fish and meat (but little dairy and no fruit and vegetables) made up the other half. Modern nutritional guidelines suggest the paupers had the better deal.

Almary Green and 1-4 The Close, Norwich Cathedral

In 1422, on Maundy Thursday, sufficient supplies were distributed to feed 5,688 poor. And on the anniversary of the death of the founder, Herbert de Losinga, around 10% of the annual allocation of rye, peas and barley was doled out in one day. It is not clear how the remainder was distributed throughout the rest of the year. In 1310-11, 33,000 loaves, 28,500 portions of pottage and 216,000 gallons of weak ale were given to the poor. If no food was distributed outside the charity season then the soup kitchen could have catered for around 1350 persons, possibly served by the monks. If, however, food was provided throughout the year then the almoner could have fed around 500 paupers a day [9]. Despite the fact that Norwich was a relatively wealthy city it is clear that a large part of the population required social care and it was the church that provided it before the Elizabethan Poor Laws.

Sources

  1. https://www.british-history.ac.uk/topographical-hist-norfolk/vol4/pp120-145
  2. Richard Lane (1999). The Plains of Norwich. Pub: The Larks Press, Dereham.
  3. Nikolaus Pevsner and Bill Wilson (1997). The Buildings of England. Norfolk I: Norwich and the North-East. Yale University Press.
  4. http://www.georgeplunkett.co.uk/Norwich/agr.htm#Allsg
  5. https://colonelunthanksnorwich.com/2020/08/15/twentieth-century-norwich-buildings/
  6. https://colonelunthanksnorwich.com/2020/07/15/thomas-brownes-world/
  7. http://www.racns.co.uk/sculptures.asp?action=getsurvey&id=307
  8. http://www.georgeplunkett.co.uk/Norwich/stj.htm#Stmap
  9. Philip Slavin (2012). Bread and Ale for the Brethren. In, Studies in Regional and Local History vol 11. Pub: University of Hertfordshire. https://www.academia.edu/3346435/Bread_and_Ale_for_the_Brethren_The_Provisioning_of_Norwich_Cathedral_Priory_1260_1536

Thanks

The main source for this post has been Richard Wilson’s excellent book on Norwich Plains. As ever, I am grateful to Jonathan Plunkett for generously allowing access to his father’s collection of C20 photographs of Norwich.

The Plains of Norwich

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I recently came across that quotation by Dorothy Parker about members of the Bloomsbury Group living in squares, painting in circles and loving in triangles. They couldn’t have done that in Norwich for although we have circles and triangles we don’t have squares. Instead, we have plains, an import from the Low Countries. 

In modern Amsterdam, a ‘plein’ is an open rectangular space surrounded by buildings

Plains aren’t restricted to Norwich for you’ll stumble across them in Norfolk and Suffolk; I came across this one in Great Yarmouth.

Hall Plain, just off the Quayside in Great Yarmouth

It was in 1566 that the Fourth Duke of Norfolk requested Queen Elizabeth’s permission to invite ‘thirty Douchemen’ to help revive Norwich’s flagging textile trade. The following year this trickle became a flood when Protestants from the Spanish Netherlands escaped the religious intolerance of Philip II of Spain [1]. But the word ‘plain’ for an open space predated these arrivals: Nicholas Sotherton’s eye-witness account of Kett’s 1549 rebellion refers to ‘the playne before the pallace gate’ [2] so the word was an earlier introduction, part of the city’s already long association with the Low Countries.

‘The playne before the pallace gate’. Looking out from the gate of the Bishop’s Palace towards St Martin at Palace Plain. Cotman’s house is the tallest of the red brick buildings, the churchyard of St Martin at Palace is to the right

St Martin at Palace Plain – now the site of the Wig & Pen pub and John Sell Cotman’s house – was the site of a pitched battle between the King’s forces and Robert Kett’s men.

St Martin at Palace Plain. The church of St Martin at Palace is marked with a cross. The gate to the Bishop’s Palace is marked with a star and a plaque marking the death of Lord Sheffield is further along the Cathedral wall (arrow). 1884 OS map courtesy of [3]

Lord Sheffield fell from his horse and, as was the custom, he removed his helmet expecting to be ransomed. Instead, he was bludgeoned to death by a butcher named Fulke. Sheffield and 35 others were buried in the adjacent church. 

In his book The Plains of Norwich, Richard Lane wrote that only five of the fifteen Norwich plains are officially marked by a street sign; St Martin’s at Palace Plain is one of them as is Agricultural Hall Plain, at the east end of Castle Meadow [4].IMG_2805

At one time the castle was ringed by various livestock markets for which the Agricultural Hall of 1882 provided formal focus. The sloping plain outside the Hall stands at the top of Prince of Wales Road, a wide, curving street.  It was built in 1865 to connect Norwich Thorpe Railway Station to the city; it was never finished as planned and is only graceful in parts.  However, the buildings on the plain at the top of the road ‘dignify the new entry to the city’ [5].  From the left (below) we see: part of Barclays Bank – a huge banking hall designed like a Roman palazzo by the local firm of E Boardman & Son with Brierley & Rutherford of York (1929); next, a monument to the Boer War – the statue of Peace sculpted by George and Fairfax Wade (1904); then the Royal Hotel, another local masterpiece by the Boardmans (1896-7), decorated in  moulded red brick from Gunton’s Costessey Brickworks [6]. To the right we get a glimpse of the Agricultural Hall itself. It was built in 1882 in local red brick and alien red Cumberland sandstone, again relieved with decorative Cosseyware.

The Agricultural Hall was inaugurated in 1882 by the Prince of Wales, the future King Edward VII, who was Patron of the Norwich Fat Cattle Show Association. This was the year that Oscar Wilde started his lecture tour of America where one of his topics was ‘The House Beautiful’. Two years later he came to the Agricultural Hall to deliver the same lecture, no doubt well received by cattlemen on both sides of the Atlantic.

The Agricultural Hall

Just visible to the left is the former Crown Bank of 1866 built by Sir Robert Harvey. As we saw in The Norwich Banking Circle, Harvey named his Crown Bank after the Crown Point estate, just outside the city at Whitlingham. The estate was bought from the aptly named Major Money – intrepid balloonist and someone who had served in the army at Crown Point fort in North America.

Harvey shot himself after his dubious investments discredited the bank. The crown carved into the pediment of the Crown Bank then doubled as an appropriate symbol for the Post Office until 1970

Before we leave Agricultural Hall Plain we should take some cheer from knowing that Laurel and Hardy stayed in the Royal Hotel in 1954.

Looking out from the Hall (now Anglia TV), across Agricultural Hall Plain, is its conjoined twin – Bank Plain.

Bank Plain, with the balcony of a Boardman building to the immediate left, the turreted Royal Hotel in the distant left, the Agricultural Hall ahead and the former Barclays Bank to the right.

On the site now occupied by the former Barclays Bank stood its predecessor, Gurney’s Norwich Bank, established in the late C18.

Gurney’s Bank and the adjacent Bank Plain. Courtesy of the Library at Friends’ House

At the time, the open space was called Redwell Plain but after Gurney’s opened it became known as Bank Plain. The well is still commemorated in Redwell Street, which runs between Bank Plain and St Andrew’s Street.

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In 1899, E Boardman & Son designed this Classical building for the Royal Insurance Company. It stands at the junction of Bank Plain and Queen Street, where the Boardmans’ own offices were situated in Old Bank of England Court.
Edward Boardman’s sign, carved from Costessey clay. Old Bank of England Court, Queen Street

Today, it is possible to travel to St Andrew’s (Hall) Plain by following the bend in the road down the hill to Suckling House/Cinema City. But, as the map shows, this extension of St Andrew’s Street did not exist in 1884; it was created so that the new electric trams, which ushered in the twentieth century, could avoid the tight corner where Redwell Street meets Princes Street.

The curved line shows the approximate route of the new tramway constructed in 1900, joining Bank Plain to the plain outside St Andrew’s Hall. 1884 OS map courtesy of [3]

Garsett House – also known as Armada House since it was reputedly built from the timbers of a ship wrecked during the Spanish Armada – was bisected in the process.

The right-hand side of Armada House, also known as Garsett House (Sir Robert Garsett d.1611), was demolished to make way for the electric trams. Note the overhead wires.
St Andrew’s Hall Plain. This scene was prior to 1892 when a public lavatory was built in the curved piece of wall. ©Norfolk County Council at Picture Norfolk

St Andrew’s Hall is the nave of what was the Blackfriar’s or Domican church of Norwich – the most complete surviving medieval friary in England. Present-day Blackfriars Hall was formerly the friars’ chancel and, as the map above indicates, was also once the church of the Dutch-speaking community [1].

The engraving by Wenceslas Holler (1607-1677) shows the nave and chancel meeting beneath an octagonal tower that collapsed in 1712. Home to the ‘Order of Preachers’, as the Dominican Friars are known, the large internal volume of St Andrew’s Hall was designed for spreading the word [7]. Outside, St Andrew’s Plain was also used as a preaching yard but during Kett’s Rebellion it witnessed less peaceable activity for it was on the plains, rather than the tortuous medieval alleyways, that pitched battles could be fought. Sotherton saw the rebel bowmen let loose ‘a mighty force of arrowes’… ‘as flakes of snow in a tempest’ but Captain Drury’s band of arquebusiers, with their early versions of the musket, replied with ‘such a terrible volley of shot (as if there had been a storm of hayle)’, leaving about 330 dead [2]. St Andrew’s Hall was used as stables until the uprising was quelled.

Maddermarket Plain is one of the city’s smaller plains [4]. It is situated at the junction of St Andrew’s Street, Duke Street, St John Maddermarket (formerly St John’s Street) and Charing Cross. The latter two names provide a thumping clue to the history of this district. ‘Charing Cross’ is thought to be a corruption of ‘shearing’ – the process where the raised pile on woollen cloth was cut to a standard height with shears. ‘Madder’, of course, refers to the red/deep pink dye derived from madder roots and used to colour fabric the famous ‘Norwich Red’.

Maddermarket Plain at the end of the raised graveyard of St John Maddermarket. Charing Cross is circled; the red dot marks the site of Michael Stark’s dyeworks adjacent to Duke’s Palace Bridge. The church of St John’s Maddermarket is marked XIX. Millard & Manning’s Plan of the City of Norwich 1830

The Charing Cross/Westwick Street area was at the heart of the textile industry [4] and the river was where its waste products ended up. Just above Charing Cross on the map is Fuller’s Lane – fulling being a process in which cloth is cleaned. In a previous post [8] we saw that in the C19 the master dyer Michael Stark emptied his dye vats into the Wensum from his factory next to the Duke’s Palace Bridge but this kind of pollution had been happening for centuries. On his journeys through England in 1681 Thomas Baskerville noted that the duke’s great townhouse was ‘seated in a dung-hole place’, surrounded by tradesmen cleaning and dyeing cloth [9]. The palace was later abandoned.

At the beginning of the 1500s, Norwich had been devastated by two fires that destroyed over 1000 houses [10]. The extent of the damage was such that some 70 years later the mayor was discussing how to deal with unrestored plots. When Queen Elizabeth I visited Norwich in 1578 she commented on the number of derelict properties despite the steps taken to shield her from the worst. To convey her from the Marketplace to the Cathedral (centuries before Exchange Street was open) the east wall of St John’s Maddermarket was rebuilt in order to widen the street [4].

In 1671 John Evelyn noted that the city’s churchyards were filled to the tops of the walls. Today the wall, perhaps the one rebuilt for Queen Elizabeth I’s visit, awaits repair.

 In his book, Richard Lane [4] skips forward a few centuries to end with the last recorded plain of the twentieth century. This is University Plain, the site of the University of East Anglia where Sir Denys Lasdun built his 1960s paean to concrete. You might imagine the plain to be an open meeting space, such as the amphitheatre-like Central Court, but it appears to refer to the large site as a whole.

University Central Court and waterfall 1990 ©georgeplunkett.co.uk

The use of the word ‘plain’ continues into the twenty-first century. In 1771 William Fellowes, a wealthy and philanthropic squire, built in Shotesham (ca. eight miles south of Norwich) what is claimed to be the earliest cottage hospital in England. Benjamin Gooch was the first surgeon and he, together with Fellowes, went on to propose a new general hospital for the city of Norwich. Designed by local architect William Ivory, the Norfolk and Norwich Hospital was built just outside the city wall at St Stephen’s Gate on land provided by the council at a nominal rent. Fellowes laid the foundation stone in 1771 and it was completed in 1775.

Memorial plaque to William Fellowes on the former N&N Hospital in St Stephen’s Road

In 2003 a new hospital was built on the outskirts of Norwich at Colney leaving the old N&N site to be developed for housing by Persimmon Homes on the newly-coined Fellowes Plain [11].

The Norfolk and Norwich Hospital, refurbished in the C19 by Edward Boardman

The word ‘plain’, as applied to Fellowes Plain, seems to refer to the entire site although three open spaces within this are named ‘plain’ in their own right. The first is Kenneth McKee Plain, dedicated to Ken McKee CBE (1906-1991), orthopaedic surgeon at the N&N who pioneered the total hip replacement.

Kenneth McKee CBE, sculpted by his daughter in law, Gina McKee 1988. Courtesy racns website [12]

The second is Edward Jodrell Plain. Dozens of searches provide no insight beyond repeating the salient fact that he was a major benefactor. The Jodrell family of Bayfield Hall, near Holt, were known to have been benefactors to the N&N [13]. As far back as 1814 Henry Jodrell left £200 to the hospital in his will. His nephew Edward (1785-1852) and Edward’s son Captain Edward Jodrell have the necessary forename but it was Captain Jodrell’s youngest son Alfred who seems best remembered for his philanthropy. He sent baskets of fruit and vegetables each week to the hospital and at Christmas gave 40 oven-ready chickens and the same number of turkeys, underlining the Jodrells’ tradition of giving to the Norfolk and Norwich Hospital.

The third plain on the site of the old hospital is the large green known as Phillipa Flowerday Plain.

Variously spelled ‘Phillipa’ or ‘Philippa’, the former is the spelling given in the UK 1881 National Census for Phillipa Flowerday, ‘sick nurse’.

Before being employed by Colmans at their Carrow Works, Phillipa Flowerday (1846-1930) trained and worked as a nurse at the Norfolk and Norwich Hospital. According to Rod Spokes, former Colmans manager, when the company’s dispensary was founded in 1864 a man was employed to visit male employees at home and report on cases of need. In 1872, Phillipa was employed to visit the families of the workpeople as well as assisting the doctor in the dispensary. She is therefore celebrated as the first industrial nurse in the country [14].

Phillipa Flowerday far right. Image courtesy of Norfolk Record Office at www.picture.norfolk.gov.uk

To be continued

©2020 Reggie Unthank

Sources

  1. https://colonelunthanksnorwich.com/2019/08/15/going-dutch-the-norwich-strangers/
  2. https://archive.org/stream/kettsrebellionin00russuoft/kettsrebellionin00russuoft_djvu.txt
  3. http://www.norwich-heritage.co.uk/norwich_maps/Norwich_map_1884_zoomify.htm
  4. Richard Lane (1999). The Plains of Norwich. Pub; Lanceni Press, Fakenham.
  5. Nikolaus Pevsner and Bill Wilson (1997). The Buildings of England. Norfolk I. Norwich and North-East. Pub: Yale University Press.
  6. https://colonelunthanksnorwich.com/2016/05/05/fancy-bricks/
  7.  https://historicengland.org.uk/listing/the-list/list-entry/1220456
  8. https://colonelunthanksnorwich.com/2018/07/15/the-bridges-of-norwich-1-the-blood-red-river/
  9. https://colonelunthanksnorwich.com/2018/12/15/the-absent-dukes-of-norfolk/
  10. https://colonelunthanksnorwich.com/2019/12/15/norwich-shaped-by-fire/
  11. https://en.wikipedia.org/wiki/Norfolk_and_Norwich_Hospital
  12. http://www.racns.co.uk/sculptures.asp?action=getsurvey&id=797
  13. https://en.wikipedia.org/wiki/Bayfield_Hall
  14. https://en.wikipedia.org/wiki/Philippa_Flowerday

Thanks: I was inspired to write this post by Richard Lane’s excellent book on Norwich Plains and I have drawn upon it freely. I am grateful to Clare Everitt of Picture Norfolk for permissions and the George Plunkett website for the use of photographs. I am grateful to Rod Spokes for information about the Colmans dispensary.

Twentieth Century Norwich Buildings

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The confrontation between the Classical Revival (based on Greco-Roman principles of symmetry and proportion) and the Gothic Revival (based on the pointed arches and pinnacles of  English medieval cathedral-building) dominated this country’s architecture in the nineteenth century. There is very little Victorian Gothic in Norwich but the Classical influence endured well into the twentieth century as the preferred style for temples of commerce. It took World War II and the post-war clearances before the modern took hold.

At the beginning of the century, George Skipper designed his masterwork for Norwich Union: “Without any doubt … one of the most convinced Edwardian office buildings [1].

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George Skipper’s Surrey House for Norwich Union (now Aviva) 1904

In 1926, FCR Palmer and WFC Holden designed a ‘splendid’ building for the National Westminster Bank in London Street. Pevsner and Wilson wrote that it was modelled on a Wren city church: “One would assign a much earlier date to it [1].”

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A Wren-like church in the first pedestrianised street in the country. Now the Cosy Club.

And as late as 1929 “a kind of Renaissance [1]” style was employed for the large Barclays Bank on Bank Plain that replaced the C18 bank of Gurney & Co, formed as an amalgamation of Quaker banking interests.

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Designed for Barclays Bank by Edward Boardman & Son with Brierley & Rutherford of York, it was last used by the Open Youth Charity, now in liquidation.

Below, the Stuart Court apartments in Recorder Road show that the Arts and Crafts Movement also survived into the C20. These were built in the manner of almshouses by ET Boardman; he had married into the Colman family and designed the Dutch-gabled houses in memory of his brother-in-law James Stuart who had been concerned about the poor quality of housing for the elderly. The Dutch gables are a perfect example of vernacular revival in a city whose population at one time contained one third or more religious refugees from the Spanish Netherlands.

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Stuart Court, designed by ET Boardman in 1914 but not completed until after the war

Behind the traditional facade the Stuart apartments were built around reinforced concrete but this material, and metal framework, had been used in the Boardman practice for decades. In fact a more forward-looking kind of architecture – neither Gothic nor Classical but proto-modern in the suppression of detail – had been introduced to the city by Boardman Senior with his factory buildings nearly half a century earlier.

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Haldinstein and Bally shoe factory (1872) by E Boardman 2-4 Queen Street

In 1912, Bunting’s Drapers and General Warehousemen of St Stephen’s Street was constructed by Norwich-based architect AF Scott using non-traditional techniques. Here, an internal steel support was clad with stone curtain-walling but there was still a diffidence in giving it a more modern external appearance. Instead, the building was decorated in a genteel Classical Revival style, the stone panels beneath the windows carved with ‘Adam’ swags.

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Buntings Department Store, early C20. It was to be bombed in WWII.  ©Norfolk County Council at Picture Norfolk

The structure was topped by a cupola of the kind that George Skipper had used as a signature on his buildings around 1900 [3].

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‘Buntings’ site at the corner of St Stephens’ and Rampant Horse Streets is now occupied by Marks and Spencer, minus the dome. The more modern infill to the right is the former site of F W Woolworth.

After WWI the city’s priority was to build, in Lloyd George’s words, “homes fit for heroes”. This involved massive slum clearance followed by a programme of local authority house-building that led to 40% of the population living in council houses by the end of the 1950s [1]. The most notable of the municipal estates was at Mile Cross, north of the city centre (1918-20). This was the council’s first foray into large estate building, for which they engaged Stanley Adshead, the first Professor of Town Planning at University College London, who laid out the estate on Garden City principles [4].

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Mile Cross 1928. ©http://www.britainfromabove EPW021219

Variety was achieved by modifying standard house plans. Local architects such as George Skipper (a long way from his ‘fireworks’ of the turn of the century) and AF Scott (better known for his work on Methodist chapels) adapted these to reflect early C19 Norwich neo-Georgian housing; others incorporated Arts and Crafts details, such as pin tiles on the first floor elevation that seem more reminiscent of Kent and Sussex than Norfolk [4].

While social housing was adhering to the traditional, a revolutionary new international movement was evolving. In 1927 the Bauhaus, founded in Germany by Walter Gropius, began teaching a new kind of architecture in which reinforced concrete was used to produce sweeping layers, its minimalist horizontal lines emphasised by long runs of ribbon window.

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The uncluttered International style of the Weissenhof estate housing designed by Le Corbusier in 1927. Photo by qwesy qwesy. Creative Commons Attribution 3.0 unported licence

It would be some years before the International style took hold in Norwich. Diffident nods towards Modernism were provided by the rounded steel windows of the Streamline Moderne version of Art Deco: first at the former Abbey National Building Society offices in London Street …

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Designed in the 1930s by FH Swindels of the Boardman office who also helped design Barclays Bank to the left

… and in the Pottergate Tavern.

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The Pottergate Tavern, now The Birdcage, 1930s

Pevsner and Wilson [1] presumed the pub to have been designed by J Owen Bond, a protégé of George Skipper, possibly because of the much larger building he is known to have designed with similar Streamline Moderne influences. J Owen, third son of Robert Bond, designed this replacement for his father, whose department store was damaged by bombing in WWII. A follower on Twitter said that her neighbour could see the flames from Arminghall, to the south of the city.

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Bond’s of Norwich (now John Lewis) designed by J Owen Bond. One of the first modern buildings to spring up after the war (begun 1946). 

By sticking with its medieval Guildhall throughout the C19, Norwich missed out on the grandiose Victorian town halls erected by its competitors in the industrial north. In the late 1930s Norwich did build a new city hall and Pevsner and Wilson [1] wrote that it “must go down in history as the foremost English public building of between the wars.”

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Norwich City Hall designed by CH James and SR Pierce in 1931, completed 1937-8

The essentially plain style was borrowed from the Swedish Classical of Stockholm’s City Hall with the colonnaded portico of that city’s Concert Hall. But, because of these backward-looking references, architectural historian Stefan Muthesius felt that the term ‘modern’ didn’t quite apply to Norwich City Hall [5].

Instead, Muthesius awarded the accolade for the city’s first real International Modern-style to David Percival’s City Library, opposite the City Hall. Percival had come from Coventry in 1954, “then the hot-bed of civic-minded modernism”; as Norwich’s new City Architect he designed the new library, which was completed in 1962 and burned down in 1994.

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Norwich Central Library destroyed by fire in 1994. City Architect, David Percival; Job Architect, Jim Vanston. ©Norfolk County Council at Picture Norfolk.

Percival was responsible for introducing mainstream Modernism into Norwich’s postwar public buildings though he strove to soften its hard edges with regional references, especially on domestic-scale projects. By tempering Modernism with the local spirit, Percival is credited with pioneering the Vernacular Revival style [6]. The impact of massed concrete panels on the library, for example, was moderated by pre-cast panels of split-flint cladding (although a glance at the nearby Guildhall shows just how far this was from vernacular techniques).

Perhaps the most famous example of Vernacular Revival in Norwich’s public housing is the Camp Grove scheme off Kett’s Hill. Here, Tayler and Green’s signature decorative brickwork and patterned bargeboards – combined with changes in roof pitch, four different pantiles and 16 types of brick and flint – provide an unexpected degree of variation [7].

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St Leonard’s Road 1973-6.

In contrast to the City Hall, Norfolk County Hall – built in 1966 in the International Modern style – never attracted much praise. Pevsner and Wilson dismissed it as “an ordinary steel-framed office tower.” 

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Norfolk County Hall 1966 by Reginald Uren. Photo: Keith Evans geograph.org CC BY-SA 2.0

Other forays into the International Style, such as the eight-storey block to the right of Skipper’s building for Norwich Union in Surrey Street, were also poorly received. Never one for mincing his words, Ian Nairn thought it “a completely anonymous slab” [8]. Evidently not a style for an ancient county town.

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The 1945 City Plan envisaged a post-war Norwich in which the car played a major part [9]. In 1971 the inner ring road split Norwich-over-the-Water: the two halves were to receive different treatments. The northern half was to be the site of the Anglia Square development with a large cinema, offices, multi-storey parking plus that symbol of the new age – a pedestrian shopping precinct. Her Majesty’s Stationery Office at Sovereign House was a key part of the scheme and it was this New Brutalist building that marked the rise and fall of the site as a whole – the HMSO pulling out well short of its 40-year lease, leaving the building derelict by the new millennium.

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The raw concrete and glass of Sovereign House by Alan Cooke and Associates 1966-8. 

Currently, we await the outcome of a planning application to redevelop the entire Anglia Square site with 12-storey blocks and a 20-storey tower. The scale of the proposal shows that no lessons have been learned from the brief history of Anglia Square in which an ‘out of scale’ [10] development was imposed upon a historic site. For an appreciation of the Gildencroft area see [11].

There was no such grand project on the city side of the inner ring road and this part of Norwich-over-the Water fared better.

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Inside the inner ring road, looking westward: in the distance, St Mary’s House; the glass and concrete St Crispin’s House; and the red brick of Cavell House. 

In this snapshot from the evolution of office building, the 1960s curtain-walling of St Mary’s House on the far side of the St Crispin’s roundabout was succeeded by the 1970s layers of concrete and glass in St Crispin’s House, built for HMSO when permission was denied for an extension to Sovereign House at Anglia Square. A starker contrast was between the Brutalist concrete of St Crispin’s House juxtaposed against the red brickwork of 1990s Cavell House. This was part of what has been recognised as a “welcome softening of approach since the late 1980s” [1] for, as part of the Postmodern credo, Cavell House reacted against Modernism by providing local context missing from Anglia Square. Here, the windows on the upper floor referenced the long through-light weavers’ windows once common in this, the heart of the city’s textile trade. The flat arches heading the lower windows were borrowed from Sherwyn House, an old brush factory (now renovated apartments by Feilden & Mawson) further down St George’s Street. (See [12] for more about this district).

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C20 Cavell House above, C19 Sherwyn House below

There was no such confrontation between new and old at the University of East Anglia where Denys Lasdun in the 1960s (replaced by Bernard Feilden in 1969), and Rick Mather in the 1980s, were able to build on a green-field site without planning constraints [1]. A Teaching Wall snaked through the original scheme, separated from the residential blocks by a first-floor walkway. Lasdun’s residences consisted of a cascade of study/bedrooms forming the ziggurats that have become emblematic of the UEA.

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 Denys Lasdun’s concrete ziggurats of 1966-7

As part of the second-phase of the masterplan, Rick Mather’s Constable Terrace echoed the serpentine form of Lasdun’s original layout but its smooth white rendering was a deliberate break from the hardline grayness of the earlier student housing.

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Rick Mather’s highly energy-efficient Constable Terrace of 1991-3

Facing Constable terrace is the Sainsbury Centre for the Visual Arts (1974-8). Designed by Norman Foster and Wendy Cheeseman, the tubular steel exoskeleton represents what is probably this country’s first use of High-Tech industrial architecture applied to a museum or gallery. The superstructure encloses a magnificent open space, some 130 metres long, that accommodates Sir Robert and Lady Sainsbury’s art collection, along with university teaching areas.

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The High-Tech Sainsbury Centre by Foster & Associates. The glass bridge is a continuation of the pedestrian walkway that winds at first floor level along the university’s spine.

Just squeaking in at the close of the twentieth century The Forum, funded by the Millennium Commission, was begun in 1999. Designed by Hopkins and Associates the Forum replaced David Percival’s flint-clad Central Library of the 1960s, destroyed by fire. This ‘Son of High Tech’ building [2] houses BBC studios, a restaurant, a café and what has become the most popular library in the country. The  jaws of the horseshoe-shaped plan are closed by a glazed wall that – in a display of good manners – withdraws from, rather than confronts, the glorious St Peter Mancroft opposite.  IMG_2530.jpeg

©Reggie Unthank 2020

Sources

  1. Nikolaus Wilson and Bill Wilson (1997). The Buildings of England. Norfolk 1: Norwich and the North-East. Pub: Yale University Press.
  2. Vic Nierop-Reading (2013). Twentieth-century Norwich in a nutshell. Norfolk Historic Buildings Group Newsletter No.25 pp 14-15.
  3. https://colonelunthanksnorwich.com/2017/02/15/the-flamboyant-mr-skipper/
  4. Mary Ash and Paul Burall (2019). Norwich leading the Way: Social Housing. Pub: The Norwich Society.
  5. Stefan Muthesius (2004). Architecture since 1800. In, ‘Norwich since 1550’ by Carole Rawcliffe and Richard Wilson pp 323-342. Pub: Hambledon and London.
  6. John Boughton (2018). Municipal Dreams: The Rise and Fall of Council Housing. Pub: Verso.
  7. Elain Harwood and Alan Powers (1998). Tayler and Green, Architects 1938-1973: The Spirit of Place in Modern Housing. Pub: The Prince of Wales’s Institute of Architecture.
  8. Ian Nairn (1967). Norwich: Regional Capital.  Reprinted, with an introduction by Owen Hatherley, in Nairn’s Towns (2013). Pub: Notting Hill Editions.
  9. CH James and SR Pierce (1945). City Plan of Norwich 1945. Pub: Norwich Corporation.
  10. Charles McKean (1982). Architectural Guide to Cambridge and East Anglia since 1920. Pub: ERA Publication Board.
  11. https://colonelunthanksnorwich.com/2017/10/15/gildencroft-and-psychogeography/
  12. https://colonelunthanksnorwich.com/2017/11/15/reggie-through-the-underpass/

Thanks: to David Rimmer, Martin Shaw, and Clare Everitt of Picture Norfolk.

Thomas Browne’s World

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Knighted by King Charles II in St Andrew’s Hall, Sir Thomas Browne (1605-1682) was probably Norwich’s most famous inhabitant of the seventeenth century. He was born in London, the son of a silk merchant and, after being educated in Oxford, Padua, Montpellier and Leiden, settled in Norwich where he practiced as a physician until he died [1].

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Sir Thomas Browne, from St Peter Mancroft, Norwich

He was famed as a polymath whose writings reveal an inquisitive mind that explored subjects as diverse as: the fault line between his training as a physician and the Christian faith (in Religio Medici, 1643); his debunking of myths and falsehoods (Pseudodoxia Epidemica, 1646); the incidence of the number five in patterns in nature (The Garden of Cyrus, 1658); and his celebrated and lyrical musings about death, prompted by the discovery of funerary urns in a Norfolk field (Hydriotaphia, or Urne-Buriall, 1658).

This was at a time when modern science was in its infancy. The scientific method, promoted by Sir Francis Bacon (1561-1626), involved framing hypotheses based on observations viewed through the filter of scepticism.

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Sir Francis Bacon 1561-1626. From Gainsborough Old Hall, artist unknown

Browne was appropriately sceptical in his examination of Vulgar Errors (Pseudodoxia Epidemica) like: Does a carbuncle give off light in the dark? and, Do dead kingfishers make good weathervanes? He even attended the trial in Bury St Edmunds of two women who were hanged for witchcraft. But the Enlightenment had barely got going and the proto-scientist Browne found himself straddling two worlds that had yet to drift apart – even Sir Isaac Newton sought the philosopher’s stone that would turn base metal into gold.

My first encounter with Sir Thomas was when I was trying to understand how plant cells and other solid bodies pack together [2]. I had gained some insight from another early scientist, Stephen Hales (1677-1761). By squashing a pot of pea seed then counting the number of flat faces impressed onto each seed by its neighbours, Hales came up with the number 12. You can make a dodecahedron by joining together 12 pentagons, making one of only a handful of ‘ideal’ solid bodies (another is a cube made of six squares). Plato knew this [3].  

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Rotating dodecahedron. By André Kjell, Wikimedia Commons CC BY-SA 3.0

But in real life, the shapes of plant cells are far from perfect and don’t pack together neatly like Platonic Lego. Instead,  they tend, on average, to be 14-sided and each side tends, on average, to be a pentagon [3]. Nevertheless, this idea of fiveness took me back a further century to fellow citizen Thomas Browne.

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Frontispiece to The Garden of Cyrus (1658). The founder of the first Persian Empire, Cyrus, is believed to have based the optimal spacing lattice for planting trees on the quincunx.

In The Garden of Cyrus or The Quincuncial Lozenge (1658) [4] Browne developed his ideas about the quincunx – the X-shape with four points forming a square or rectangle with a fifth point in the centre.  IMG_2496

Browne saw this pattern throughout nature; he saw the quincunx on the trunk of the ‘Sachell palme’ and in the fruits of pineapple, fir and pine. In ragweed and oak he also noted that successive leaves followed a spiral, with every fifth lined up along the stem. These were, before the word, explorations into phyllotaxis or the pattern in which leaf buds emerge from the shoot tip (paired, alternating, spiral). Now, more than 300 years later, the spiral pattern is known to be far more complex than the quincunx. The number of intersecting left-handed-and right-handed spirals tend to be successive numbers on the Fibonacci series, usually 5 and 8, or 8 and 13. (Fibonacci’s series is 0,1,1,2,3,5,8,13,21 etc, where the next number is the sum of the last two). Browne may not have been correct but he was there in the first flush of modern science and deserves credit for offering a mathematical basis for patterns in nature.

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Left- and right-handed spirals in the base of a pine cone. Picture © Paul Garrett [5].

Many of the words from Sir Thomas Browne’s writings have found their way into the  Oxford English Dictionary; indeed, he stands 25th in the list of contributors [1]. Sadly, ‘retromingent’ – for peeing backwards – never made it into the OED but many others did, including:

electricity, pubescent, polarity, prototype, rhomboidal, archetype, flammability, follicle, hallucination, coma, deductive, misconception, botanical, incontrovertible, approximate, and an early example of ‘computer’.

Despite the scepticism required of a follower of Bacon, and ‘the scandal of my profession‘, Browne remained a convinced Christian who examined his spiritual beliefs in his most famous book, Religio Medici [6].

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1736 edition of Browne’s Religio Medici. Courtesy of Glasgow University Library

He was surprisingly tolerant for his time. In the first unauthorised edition of Religio Medici (The Religion of a Physician) in 1642, Browne expressed unorthodox religious ideas including the extension of toleration to infidels and those of other faiths. When the authorised version appeared the following year some of the controversial views had been excised but this didn’t prevent its inclusion on the papal list of prohibited books.

Browne’s major works were written in Norwich, at his house near St Peter Mancroft, close to the Norman marketplace.

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Browne’s world. Cole’s map of 1807 shows Thomas Browne’s house (red) and St Peter Mancroft (yellow) with the Haymarket between.

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Thomas Browne’s House off the Haymarket, by AW Howlings 1907. This version is changed little from a drawing of 1837 when the pairs of windows either side of the corner pillar were bow-fronted. Norfolk Museums Collections NWHCM: 1907.33.2.  

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The fireplace and overmantel from Sir Thomas Browne’s House by Miss Ellen Day and Mrs Luscombe 1841.Norfolk Museums Collections NWHCM: FAW19.

After posting this article, Wayne Kett of the Museum of Norwich informed me that this overmantel was in storage as part of their collection. One source had indicated that the coat of arms was that of James I but it seems to be that of Charles II, which makes more sense since – as we will see – it was he who knighted Browne.

Dr Browne’s overmantel ©Norfolk Museums Service

In 1671, the royal court of Charles II came to Norwich. The diarist and gardener John Evelyn was part of the entourage and wrote, “His whole house and garden is a Paradise & Cabinet of rarities, & that of the best collection, especially Medails, books, Plants, natural things” … “amongst other curiosities, a collection of the Eggs of all the foule & birds he could procure … as Cranes, Storkes … & variety of waterfoule” [6]. What Evelyn saw was the first attempt at listing the birds of Norfolk.

The house was demolished in 1842 but we know – because a green plaque tells us so –that it stood approximately where Pret a Manger is now housed in Haymarket Chambers, at the junction with Orford Place. Historian AD Bayne confirms that ‘Sir Thomas Browne is supposed to have lived in the last house of the southern end of the Gentleman’s Walk, where the Savings Bank now stands’ [7]. But the bank stood in the way of progress.

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Former site of Sir Thomas Browne’s house. Pret a  Manger currently occupies the ground floor of George Skipper’s Haymarket Chambers (1901-2). It was originally home to JH Roofe’s superior grocery store with the Norwich Stock Exchange above. ©RIBApix

To allow the new trams to turn the corner more easily into Orford Place, the Norfolk and Norwich Savings Bank was demolished and replaced with Skipper’s curved design. The corner-cutting is shown on the 1884 OS map that we’ll bear in mind while trying to figure out where Browne’s Garden House lingered on from 1844 to 1961.

Browne's Garden House

Green star = Green’s Outfitters; red Star = Star Inn; yellow line = Livingstone Hotel; purple line = Green’s Orford Place branch; blue circle = approximate site of Browne’s Garden House.  OS map 1884

According to George Plunkett, numbers 3-5 Orford Place (Little Orford Street on above map), which was demolished in 1956, had a stone inscription stating that this was the site (probably the side) of Thomas Browne’s house [8]. But Plunkett placed Browne’s timber-framed garden house a little distance from the main house, between the Livingstone Hotel (yellow line) and Green’s shop (green star). He said, ‘only the peak of its tall attic gable visible above the roof of the adjacent Lamb Inn’. So it couldn’t have been in Lamb Inn yard, adjacent to the former site of Browne’s house.

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The Livingstone Temperance Hotel 1936 ©georgeplunkett.co.uk

Later, Green’s the Outfitters, whose main shop faced the Haymarket, opened a branch next door to the Livingstone in Orford Place and this will furnish us with an eye-witness description of Browne’s Garden House. In 1961, both buildings were demolished to make way for a Littlewoods Department Store, in turn replaced by Primark.

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Green’s Orford Place Branch, post 1936. ©Norfolk County Council at Picture Norfolk

On the opposite (Haymarket) side of this block of buildings, Green’s main branch stood adjacent to Skipper’s Haymarket Chambers. The slight bend in the building line marks where, around 1900, Green’s expanded into the former Star Hotel.

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Green’s in 1959. The upper floors of Skipper’s Haymarket Chambers are just visible, right, separated from Green’s by the entrance to the Lamb Inn. Photo courtesy of Archant Library.

Browne’s main house disappeared long before modern ideas of conservation, but the loss of his garden house in 1961 now seems an inexcusable loss. His botanical garden had been admired by John Evelyn and ‘Fellows of the Royal Society (thought it) well worthy of a long pilgrimage’ [7]. Our Protestant Dutch refugees – who held annual competitions called Florists’ Feasts [9] – imported a love of plant breeding and it would be surprising if, in such an environment, Browne’s garden was restricted to medicinal plants.

In 1950, Noël Spencer visited Greens when they ‘were using the Livingstone as a shop and, while making a purchase there (i.e., Green’s Orford Place branch), I noticed an ancient building in the yard behind, and obtained permission to draw it [10].’ This places the Garden House in the yard marked with a blue dot on the 1884 map, above.

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Drawing by Noel Spencer, former Head of the Norwich School of Art, of Sir Thomas Browne’s Garden House before its demolition in 1961. From [10] ©Estate of Noel Spencer. 

Further confirmation for the location of Browne’s Garden House came after this article was posted. On Twitter, Bethan Holdridge – Assistant Curator at Strangers’ Hall Museum – replied, mentioning that two of Browne’s Garden House doors in the museum were listed as being given by ‘Messrs Littlewood’ 1961. Also, ‘lying behind former Livingstone Hotel, Castle Street; part of premises of Messrs Green, outfitter 9 and 10 Haymarket.’

To supplement his home garden Sir Thomas leased a plot of land from the Cathedral, known as Browne’s Meadow. In his Adventures of Sir Thomas Browne in the 21st Century, Hugh Aldersey-Williams writes that Browne ‘let it go’, to see what would grow if untended [1]. After Browne died, the ground was used to produce vegetables for the Cathedral, then used as allotments for residents of Cathedral Close. Now it is a car park.

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‘Browne’s Meadow’ on the south side of the Cathedral Close 

In his book, Urn Burial (1658), Browne explored thoughts prompted by the discovery of funerary urns in a  field some 12 miles north of Norwich: ‘Life is a pure flame, and we live by an invisible Sun within us’.

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Frontispiece of Sir Thomas Browne’s Hydriotaphia, Urn Burial 1658

This was in the parish of Brampton, near the Pastons’ Oxnead Park where Sir Robert Paston had dug up urns containing ashes and coins (perhaps to pay the ferryman). In the early 1800s the historian Blomefield visited the field where he observed that urns were buried close enough to the surface to have been skimmed by the ploughshare. He observed that this site was near a fortified Roman town and that the Roman name Brantuna meant ‘the place where bodies were burned‘ [11].

Sir Thomas Browne died on the 19th October 1682. One claim is that he died, having eaten too plentifully of a Venison Feast [12] but others believe this was out of character for such an abstemious man. He was buried in the chancel of St Peter Mancroft, some 200 yards from his house.

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Sir Thomas Browne’s wall monument in the chancel of St Peter Mancroft. The lower panel records that he lies near the foot of this pillar.

In 1905, equidistant between his house and church, the city commemorated an adopted son by unveiling one of its rare statues. From his vantage point above the old hay market, Browne holds the base of a Romano-British funerary urn and meditates on death.

Browne asked,  “… who knows the fate of his bones, or how often he is to be buried? Who hath the oracles of his ashes, or whither they are to be scattered? … To be gnawed out of our graves, to have our skulls made drinking-bowls, and our bones turned into pipes to delight and sport our enemies, are tragical abominations [13].” This turned out to be a premonition.

Sir Thomas Browne lay undisturbed until 1840 when workmen are said to have broken the lid of the lead coffin with a pickaxe while digging the grave of Mrs. Bowman, wife of the then Vicar of St. Peter Mancroft. Mr Fitch, a local antiquarian, was suspiciously at hand and it is not clear whether the desecration was accidental or deliberate. Either way, the sexton, George Potter, removed the skull and some hair. The skull came into the possession of the surgeon, Edward Lubbock, upon whose death it passed to the old Norwich and Norfolk Hospital Museum on St Stephen’s Road (read various explanations of this dubious episode in [12-15]). Despite requests from the church, the skull remained on display at the hospital and was only reunited with Browne’s bones in 1922.Screenshot 2020-06-25 at 15.31.29.png

At the time of the reinterral the registrar recorded Browne’s age as 317.Screenshot 2020-06-25 at 15.50.17.png

Sir Thomas’s coffin plate, which had broken in two during attempts to remove it, had also been ‘mislaid’. One half of this 7×6 inch brass plate lies with other Browne memorabilia in a glass case in the St Nicholas Chapel of St Peter Mancroft.

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The accompanying text makes interesting reading, stating that it was collector and antiquary Robert Fitch who further disturbed Browne’s peace by removing his skull. 

An impression of the coffin plate revealed an inscription probably composed by his eldest son Edward, physician to Charles II, and President of the College of Physicians [15].

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Impression from the coffin plate of Sir Thomas Browne [14].

The inscription ends, ‘With the dust of this alchemical body he converts lead into gold’  –  something denied even the great Sir Isaac Newton.

Postscript

Thomas Browne’s knighthood: Ambiguity surrounds the circumstances of Thomas Browne’s knighthood. In 1671 King Charles II and his court came to Norwich where he stayed at the Duke of Norfolk’s Palace off present-day Duke Street (causing the famous indoor tennis court to be converted into kitchens). The corporation paid £900 for a sumptuous banquet at the New Hall (now St Andrew’s Hall) after which the king conferred honours.

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The New Hall, where Browne was knighted, once belonged to the Black Friar’s but was bought for the city from Henry VIII. The Duke’s Palace is to the left. From Samuel King’s map, 1766

According to some accounts Browne was unexpectedly knighted when the mayor, variously named as Henry Herne or Thomas Thacker, ‘earnestly begged to be refused’ and so the honour passed along the line. This played into the idea that a promiscuous monarch with several mistresses was as free in conferring honours as he was lax in his private life. Apparent confirmation of the king’s fickleness came within 24 hours when King Charles knighted 13-year-old Henry Hobart at Blickling. But Trevor Hughes picked out inconsistencies between various accounts, such as uncertainty about the name of the reticent mayor [16]. A more sympathetic  interpretation was given by historian Philip Browne who wrote: ‘After dinner his majesty conferred the knighthood on Dr Thomas Browne, one of the most learned and worthy persons of the age. The mayor, Thomas Thacker esq. declined the honour’ [17]. That is, the internationally famed Dr Browne was not accidentally knighted but honoured in his own right.

©2020 Reggie Unthank

––oOo––

Recently reprinted.  ‘Colonel Unthank and the Golden Triangle’ contains much more about the development of the Golden Triangle than covered in my blog posts, including photographs of the Unthank family. 

Available online. Click Jarrolds Book Store  or City Bookshop

Sources

  1. Hugh Aldersey-Williams (2015). The Adventures of Sir Thomas Browne in the 21st Century. Pub: Granta. Highly recommended.
  2. Clive Lloyd (1991). How does the cytoskeleton read the laws of geometry in aligning the division plane of plant cells? Development, Supplement 1, pp 55-65.
  3. Peter S Stevens (1976). Patterns in Nature. Pub: Peregrine Books.
  4. https://en.wikisource.org/wiki/The_Garden_of_Cyrus
  5. https://www.projectrhea.org/rhea/index.php/MA279Fall2018Topic1_Phyllotaxis
  6. Ruth Scurr (2016). https://www.the-tls.co.uk/articles/thomas-browne/
  7. AD Bayne (1869). A Comprehensive History of Norwich. https://www.gutenberg.org/files/44568/44568-h/44568-h.htm
  8. http://www.georgeplunkett.co.uk/Norwich/old.htm#Orfoh
  9. https://colonelunthanksnorwich.com/2019/08/15/going-dutch-the-norwich-strangers/
  10. Noël Spencer (1978). Norwich Drawings. Pub: Noel Spencer and Martlet Studio
  11. Francis Blomefield (1807). An Essay Towards a Topographical History of the County of Norfolk vol 6. Online at: https://www.british-history.ac.uk/topographical-hist-norfolk/vol6/pp430-440
  12. https://penelope.uchicago.edu/skullnotes.html
  13. http://www.cabinetmagazine.org/issues/28/dickey.php
  14. https://wellcomecollection.org/works/ykn7hdpz/items?canvas=5&langCode=eng&sierraId=b30623340
  15. http://drc.usask.ca/projects/ark/public/public_image.php?id=2384
  16. Trevor Hughes (1999). Sir Thomas Browne’s Knighthood. In, Norfolk Archaeology vol XLIII, part 11, pp 326-331.
  17. Philip Browne (1814). The History of Norwich from the Earliest Records to the Present Time. Pub: Bacon, Kinebrook & Co.

Thanks: I am grateful to Chris Sanham, verger at St Peter Mancroft, for his assistance.

The angel’s bonnet

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It started with a Tweet. Something cropped up on Twitter that led me a merry dance through the sub-species of medieval headgear. By the end, I felt I knew how many angels’ bonnets could fit on the head of a pin.

Five years ago, my very first post was on ‘Norfolk’s Stained Glass Angels’. In it I showed one of this county’s most beautiful glass paintings of an angel in a feather suit completed by a feather hat [1].

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Harp-playing angel wearing a feather suit. All Saints, East Barsham, Norfolk. Painted by the workshop of John Wighton from c1450.

When I want to know about a Norfolk church my first port of call is Simon Knott’s site for the descriptions of the astonishing 912 churches he has visited in Norfolk [2]. In May, Simon posted a Tweet on this C15 angel from Feering in Essex.

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Simon Knott’s Tweet

The feather hat I’d seen in East Barsham and other Norfolk churches was virtually identical to one that Simon had seen in Essex so I asked him via Twitter if feather bonnets were East Anglian, rather than an exclusively Norfolk thing.

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C15 painted angel from All Saints, Feering, Essex. Photo credit: Simon Knott 

In my first blog post [1], I found that it was possible to overlay the East Barsham head on top of other Norfolk C15 painted-glass angels. The exactness of the match suggested they were copied from the same template, meaning they were from the same workshop. One stylistic tic uniting glass from various Norfolk churches with the figures drawn in the great east window of Norwich’s St Peter Mancroft (the benchmark for Norfolk painted glass) was the double flap covering the entrance to the ear. I hope regular readers will forgive me banging on but this lug flap is known as the tragus. A double tragus is a developmental rarity, yet both the ‘Essex’ and the Norfolk angels share this distinguishing feature. Simon Knott pointed out that the glass in All Saints, Feering, Essex was a loose collection of English and Continental 15th to 18th century pieces brought together by Father Bundock, who died in 1989 [3]. So, the ‘Essex’ angel may well have been recycled from a Norfolk church and was almost certainly painted in Norwich. 

David King, the authority on Norwich School glass, detected the ‘hand’ of at least three artists responsible for painting the east window of St Peter Mancroft, Norwich [4]. The glass was made in the mid C15 in the Norwich workshop of Alderman John Wighton, who was succeeded by John Moundford of Utrecht (assisted by his wife), followed in turn by Moundford’s son John.

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A C15 angel from John Wighton’s Norwich workshop. From the east window, St Peter Mancroft, Norwich

But I digress. What I was really interested in here was the Feering angel’s feather bonnet. Sally Badham, former President of the Church Monuments Society, suggested via Twitter (@SallyBadham), that the headgear was an orle of the kind she had seen on glass and monuments in Yorkshire. I had to look this up. One definition of an orle is a border set in from the edge of a shield, giving a clue to the heraldic origin of the name.

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However, there is an alternative definition of orle that gets us closer to the angel’s bonnet. Wiktionary gives it as: ‘the wreath, or chaplet, surmounting or encircling the helmet of a knight and bearing the crest; a torse’.  ‘Torse‘ is an obsolete French word for wreath and appears to be synonymous with ‘orle‘.

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Knight with an eagle crest at the Saracen Joust in Arezzo, Tuscany. Wikipedia CC BY-SA 3.0 Cavalieredicasata,  to which I added the arrow pointing to the torse. The knight’s squire also wears one for decoration while the knight himself probably wears one inside the helmet for comfort.

In heraldic terms, the torse – introduced in the late C14 – is described as the cloth circlet  intended to hide the join between the ornate tournament crest and the helmet [5]. The colours in the coil were the same as the wearer’s livery colours except, it seems, when the knight wore a lady’s favour. Such a makeshift torse could be a handkerchief, a ribbon or even the lady’s sleeve, twisted into a rope and worn around the helmet.

This twisted rope – the torse or orle – also applied to something that the knight originally wore in combat. For comfort, he would have worn a padded, circular orle beneath the heavy helm to lift it away from the head and eyes. With the development of lined, padded helmets the orle became redundant but was retained for decorative purposes. Below, on the effigy of Sir Richard Vernon, a highly decorative orle is worn outside the helmet [6]. The sculptor has carefully depicted the roll of fabric studded with beads or even jewels and pearls. So, by this stage, not a utilitarian thing.

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The effigy of Sir Richard Vernon, St Bartholomew’s Church, Tong, Shropshire (d.1451) Wikipedia. CC-BY-SA/2.0. Photo credit: Sjwells53

Below, the two celestial beings appear to be wearing stuffed orles around their heads, in which case the material billowing out of the hollow doughnut could be a caul or crespine – a bag-like net  of gold, silver or silk thread.

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In the tracery of SS Peter & Paul, East Harling, Norfolk

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In the tracery of St Margaret’s, Paston, Norfolk. The doughnut-shaped headdress of this female saint is decorated with bosses. 

Another item – the chaperon – plays a key part in the development of medieval headgear. This gets quite technical but, basically, the chaperon seems to have evolved out of Marty Feldman’s hood from the film, Young Frankenstein.

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Marty Feldman as Igor in Mel Brooks’s ‘Young Frankenstein’. He wears a hooded cape with a long tail – the cornette or liripipe – at the back. It ends in a pom-pom glimpsed beneath his left hand.

By wearing the face-opening of the caped hood around the top of the head – not the face – and tying it up with the long tail, the cape evolved into a hat that was worn throughout Europe in the Middle Ages.

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Place the face-opening of your wife’s sweater over your head then wrap the loose arms around your head (or, in the case of a medieval hood, the long cornette hanging at the back).

The chaperon became ‘the most commonly worn piece of male headgear in Early Netherlandish painting’ [7]. And it is this form, with the long hood tied up on top, away from messy paint, that is being modelled in this probable self-portrait by Jan van Eyck (d. 1441). Sometimes titled, ‘Man in a Red Turban’ it should really be called ‘Man in a Red Chaperon (tied up with its Cornette or Liripipe)’.

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Probably a self-portrait by Jan van Eyck 1433. National Gallery, London. Known to have been in the collection of the 1st Earl of Norfolk ,’The Collector Earl’ (1585-1646), when he was exiled in Antwerp. 

Van Eyck was one of the first (Vasari said the first) artists to paint with oil, using thin translucent oil glazes to build up luminous flesh. In this, the painters of the Northern Renaissance were ahead of the Italians. Based in Bruges, the Italian Giovanni Arnolfini spent most of his life in Flanders; van Eyck painted his portrait wearing another complicated headpiece of red woollen fabric, this time the flaps are down and the loosely-twisted roll is clearly visible.

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Portrait of Giovanni di Nicolao Arnolfini by Jan van Eyck c.1435. Gemäldgalerie, Berlin

The earliest of van Eyck’s portraits to survive shows a man in the same three-quarter profile pose. Here, the chaperon appears to have developed into a more formal version, pulled over the head like a mob cap or Scotch bonnet, instead of something wound around the crown.

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Portrait of a Man with Blue Chaperon by Jan van Eyck c1430. Brukenthal National Museum

These examples of men’s headwear suggest how fashions from heraldic dress worked themselves into everyday life. They also transferred to female fashion: a C14 chronicler (quoted in [8]) described how ladies riding to a tournament would affect a masculine appearance by wearing short hoods that were wrapped about their heads by the liripipe. 

Again on Twitter, Sally Badham suggested that the angel’s headpiece could also be based on the bourrelet.  Like chaperons, bourrelets appear to have originated by rolling up a hood around the head but by the mid-C15 they had developed into a more formal, doughnut-shaped padded roll [7].  Now, however, the doughnut-shaped bourrelet had undergone a further transformation into a ring of fabric folded around a framework, possibly made of wire [9].  

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The very large bourrelet of Philip the Good, Duke of Burgundy c1450. After Rogier van der Weyden

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The doughnut-shaped bourrelets of ‘The Tax Collectors’, late 1520s by Quentin Massys. The Collections of the Prince of Liechenstein, Vaduz-Vienna

Planché [8] suggests that the turban-like headgear worn by European men and women in the mid C15 evolved out of the chaperon – the hooded cape, twisted into fanciful shapes. On the other hand, both the stuffed or hollow bourrelet and the twisted torse have been likened to the turban that crusaders had seen in the Middle East. Separate influences or convergent evolution?

The bride in the Marriage Feast at Cana, from SS Peter & Paul East Harling, was said by Norwich-glass expert Christopher Woodforde to be wearing a good example of a ‘turban head-dress decorated with a large jewelled ornament’ [10]

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C15 Norwich School glass by the Wighton workshop. SS Peter & Paul East Harling, Norfolk. 

Clues to the kind of headwear fashionable in mid-to-late C15 Norfolk can also be found in this county’s outstanding painted rood-screens. For instance, St Cecilia is illustrated (below) wearing a wreath of lilies to symbolise her virginity (the purity of which has been sullied by political emblems: the red rose of Lancaster and the white rose of York – two houses united by Henry Tudor in 1485). The copy of the floral wreath she holds in her hand reveals it to be made of two twisted strands. This perhaps tells us more about wreath-making than contemporary fashion but I’ll show this fine portrait of sorrowful Cissy anyway, since it is so different from the usual stereotypes.

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St Cecilia with her wreath of virginity, from St Mary’s North Elmham, Norfolk.

The remarkable series of screen paintings in St Michael and All Angels at Barton Turf, painted in the late C15 [11],  illustrates three Saints and nine Orders of Angels. This figure is a protective Principality from the Third Order of Angels. Ignoring the gold crown, this appears to be a twisted bourrelet or turban encircling a conical cap.

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One of the Principalities (First Order of Third Hierarchy), incidentally holding a flask of urine. St Michael and All Angels, Barton Turf, Norfolk

Again from Barton Turf, Archangel Michael in late C15 armour (below) wears a hat that encircles the head. This floral headwear, seen against the background of the halo, could be a hollow bourrelet studded with foliage.

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 Archangel (Second Order, Third Hierarchy) in late C15 plate armour. St Michael and All Angels, Barton Turf, Norfolk. 

The Cherubim below, from the Second Order of the First Sphere of Angels, wears a crown encircled by a red, doughnut-shaped wreath – the dabs of white suggestive of feathers.

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A Cherubim with two pairs of wings, its omniscience symbolised by the all-seeing eyes on the wing feathers; the cap seems to be covered with smaller contour feathers. St Michael and All Angels, Barton Turf, Norfolk

The leader of the Powers, Archangel Raphael, is seen below thrashing the devil. His headgear is comprised of a helmet encircled with overlapping feathers decorated with a central badge.

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Archangel Raphael, usually depicted in armour. St Michael and All Angels, Barton Turf, Norfolk

Similar feather hats are depicted on painted glass.

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From St Mary’s, Burnham Deepdale, Norfolk

An angel in the tracery of the east window at SS Peter & Paul, East Harling also wears a feather bonnet. If made at the same time as the superb main panels then this glass was painted around 1480 by John Wighton’s successors in his Norwich workshop. Angels were often depicted wearing feather onesies that ended neatly at neck, cuff and ankles, reflecting the outfits worn by actors in medieval mystery plays [12]. In this case, the angel’s feather hat could simply be the natural accompaniment to these outfits. However, there is evidence that by the late fifteenth- early sixteenth century, caps and bonnets were also in great vogue in secular life, ‘ornamented with a profusion of feathers‘[8].

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From Saints Peter and Paul, East Harling, Norfolk 

Postscript

After posting this article, photographer Paul Harley (whose site contains superb images of Norfolk angels https://paulharley.wordpress.com/category/angels/ ) sent me this photograph of a harp-playing angel from Weston Longville.

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From All Saints, Weston Longville, Norfolk. ©Paul Harley

It is a beautiful painting. Not only does the angel wear a very similar bonnet to the one worn by the East Barsham angel, but the overall pose is identical – the angels sharing many details, including that double tragus in the ear.

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Left: East Barsham; right: Weston Longville (©Paul Harley)

Paul also sent images of two ‘Powers’ from the Order of Angels, set in the tracery of the east window at Salle. Note the decorative orles worn around their helmets.

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The Powers hold chains and bundles of birch to vanquish evil, around their heads are suns representing the heavens. ©Paul Harley

©2020 Reggie Unthank

Thanks: I am grateful to fellow Tweeps: Simon Knott (@last_of_england) and Sally Badham (@SallyBadham), for their readiness to help and for starting me out on this trail, and to Sue Roe (@SueRoeGardener) for the mugshots. Thanks, too, to Paul Harley for sending photos from his collection of Norfolk Angels.

Sources

  1. https://colonelunthanksnorwich.com/2015/12/19/norfolks-stained-glass-angels/
  2. http://www.simonknott.co.uk/
  3. http://www.simonknott.co.uk/essexchurches/feering.htm
  4. King, D. J. (2006) The Stained Glass of St Peter Mancroft, Norwich, CVMA (GB), V, Oxford.
  5. Arthur Charles Fox-Davies (1909). A Complete Guide to Heraldry. A project Gutenberg e-book (2012). https://www.gutenberg.org/files/41617/41617-h/41617-h.htm#page402
  6. https://en.wikipedia.org/wiki/Chaperon_(headgear)
  7. Paul F Walker (2013). The History of Armour 1100-1700. Pub: The Crowood Press Ltd.
  8. James Robinson Planché (1876). An Illustrated Dictionary of Historic Costume: from the First century BC to c1760. Reprinted by Dover Publications Inc in 2003.
  9. https://www.virtue.to/articles/women_roll_hats.html
  10. Christopher Woodforde (1950). The Norwich School of Glass-Painting in the Fifteenth Century. Pub: Oxford University Press.
  11. Nikolaus Pevsner and Bill Wilson (1997). The Buildings of England. Norfolk I: Norwich and the North-East. Pub: Yale University Press.
  12. https://colonelunthanksnorwich.com/2016/08/18/angels-in-tights/

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Suleiman the Magnificent by Titian c1530

After the Norwich School

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Influenced by the Dutch Realists, painters of the Norwich Society of Artists depicted Norfolk’s flat land and tall skies in a largely naturalistic way that avoided the religious or mythological themes that had dominated Italian and French landscape painting [1].  Although this society only lasted as a formal entity from 1803 to 1833, the succeeding generations of Cromes, Cotmans, Stannards and their followers ensured that the Norwich School of Painters continued  into the Victorian era. But by the end of the nineteenth century the influences of Impressionism could no longer be resisted and new groupings evolved.

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‘Haddiscoe Church’ by Sir John Arnesby Brown RA. Norwich Castle Museum and Art Gallery NWHCM 1949.129.5

Sir John Arnesby Brown R.A. (1866-1955), born in Nottingham, was never part of even a late continuation of the Norwich School. After he and the Welsh painter, Mia Edwards, married in 1896, the Arnesby Browns split their time between St Ives, Cornwall, and Haddiscoe to the south-east of Norwich [2]. ‘AB’s’ admiration of Corot’s and Millet’s Impressionist landscapes [3] was reinforced by his visits to Cornwall where the Newlyn School were painting rural scenes in an impressionistic manner. 

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‘Cattle on the Marshes’ by Sir JA Arnesby Brown R.A. Norwich Castle Museum and Art Gallery NWHCM: 1948.99. Brown became known for his painting of cattle, suggested by impressionistic flicks and dabs

Sir Alfred James Munnings (1878-1959), the son of a Suffolk miller, came to Norwich when aged 14. For six years he was an apprentice lithographic artist at Page Brothers printers; he also found time to attend the Norwich School of Art where he painted in the room below.

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‘The Painting Room at the Norwich School of Art’ that won 19-year-old Munnings a National Bronze medal in 1898. Norwich Castle Museum and Art Gallery NWHCM : L2001.4.1. Elsewhere, this room was called the Antique Room, reflecting the Greco-Romano statues that students were expected to draw ‘from the cast’.

This would have been in the old School of Art, built as a third floor extension of the Free Library formerly at the corner of St Andrews Street and Duke Street.

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The School of Art occupied the third floor of the Norwich Free Library, opened in 1857. It was always an unsatisfactory arrangement: the floor needed reinforcing, the lavatories stank [4]. Photo 1955 ©georgeplunkett.co.uk

In 1901 the School of Art moved into the newly-built Norwich Technical Institute, occupying the upper two of its four floors.

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A stone portico fronts the building made from red Gunton Bros’ bricks

We have previously seen young Munnings’ early commercial designs, including the Jolly Brewer for Bullards’ Brewery and the art nouveau-influenced illustrations for Caley’s chocolates and Christmas crackers [see 5].

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Munnings’ illustrations c1900 for the Norwich firm of Caley’s, makers of chocolate and Christmas crackers. Courtesy Norfolk Museums Collections. 

Sir Alfred Munnings took on George Stubbs’ mantle as the country’s leading equestrian painter. He would paint working, hunting and racing horses – even maintaining a studio in Newmarket.  

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‘Gravel Pit in Suffolk’ c1911 by Alfred Munnings. Norwich Castle Museum and Art Gallery. NWHCM : 1928.108

President of the Norwich Art Circle 1932-4, Munnings was knighted in 1944, the year he was made President of the Royal Academy. In a notorious retirement speech broadcast by the BBC, a sozzled Munnings lashed out against modernism and accused Cezanne, Matisse and Picasso of adulterating art.

There must have been something in the East Anglian air for, 53 years earlier, similarly reactionary views had been expressed by a critic from the Eastern Daily Press when he attacked Catherine Maude Nichols (1847-1923) for daring to introduce elements of French Impressionism to the Norwich Art Circle. Miss Nichols was well able to fight her corner for she had travelled to Barbizon near Paris, and Newlyn in Cornwall to familiarise herself with painting outside the East Anglian bubble [see previous post on CM Nichols].

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‘Lime Pit Cottages, Ipswich Road, Norwich.’ NWHCM: 1917.1

Edward Seago (1910-1974) was born in Norwich, the son of a regional manager of a Norwich coal merchant. From his sixteenth birthday and ten years after, Seago exhibited with the Norwich Art Circle . The Circle had formed in 1885 but Alfred Munnings and Arnesby Brown were still contributing when Seago joined. Although Munnings took a personal interest in the young man’s work [6], and Arnesby Brown is said to have given him tuition [7], Seago is generally thought of a self-taught artist with influences ranging from East Anglian artists like Constable, Cotman and Crome to the Dutch Realists. From 1947 he lived on the Broads at the Dutch House, Ludham, and in the decades that followed he was to enjoy enormous success, with collectors queueing down Old Bond Street to make sure of buying a Seago at one of his annual exhibitions at the Colnaghi Gallery. 

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‘Winter Landscape, Norfolk’ by Edward Seago. Norwich Castle Museum and Art Gallery. NWHCM : 1963.253

Despite his enormous popularity with the public, Seago did not achieve enduring critical success, probably because his instincts were derived from East Anglian tradition instead of the avant garde.

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‘The Haystack’ by Edward Seago. Norwich Castle Museum and Art Gallery. NWHCM : 1976.77

Mary Newcomb (1922-2008) was born in Harrow-on-the Hill but spent most of her painting life in East Anglia, including farmhouses at Needham, in South Norfolk, and Newton Flotman, ten miles south of Norwich [3]. She exhibited at the Norfolk and Norwich Art Circle from 1951 to 1963, was a member of the Norwich Twenty Group, and  was a visiting tutor at the School of Art in the 1980s. As someone trained in science, Mary Newcomb had a clear idea of how nature worked, yet as a self-taught artist she remained unbothered – perhaps deliberately so – by the traditional spatial concerns of setting down the countryside on canvas. Perspective, depth, recession seem to play little part in her paintings, which can be read as mood boards in which ideas float in a shallow picture plane. These poetical works were often enlivened by descriptive titles: e.g., ‘Lady defying advancing waves and hot driving sand (she is quite safe).’

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‘Moths and Men with Hay, August’ © estate of  Mary Newcomb (1960). Norwich Castle Museum and Art Gallery. NWHCM: 2002.2.1

Jeffery Camp (1923-2020) was born in Oulton Broad, south of the border, down Lowestoft way. In the 1950s he taught at the Norwich School of Art and it was during this period that he won a competition run by the Eastern Daily Press to paint a reredos above the altar of St Alban’s – a beautifully-detailed interwar church in the Norwich suburb of Lakenham.

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‘Christ in Majesty above Norwich’ by Jeffery Camp 1955

It was in London that Camp made his reputation. In the 1960s he taught first at the Chelsea School of Art then at the Slade. In 1961 he had been  elected a member of The London Group, which had been set up in 1913 by metropolitan artists such as Walter Sickert and Wyndham Lewis to ensure that contemporary art, of the kind not supported by the Royal Academy, would have a voice. In 1984 he became a Royal Academician [8].

In some ways comparable to the London Group (although not composed exclusively of artists), the Norfolk Contemporary Art Society was founded in 1956 to suggest contemporary art to the Norwich Castle Museum and Art Gallery that would counterbalance its fine collection of Norwich School painting. In 1959, an exhibition that included works by Lucian Freud and Jeffery Camp raised enough money for NCAS to purchase a painting by Camp and to loan it to the museum.

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‘Golden Clifftop 1959’ © estate of  Jeffery Camp. NWHCM: 1960.30

In the 1950s, Sheffield-born Derrick Greaves (b. 1927) achieved early fame as one of the four Kitchen Sink painters (along with Ed Middleditch, John Bratby and Jack Smith). In the post-war years their work focused on everyday lives. But by the time Greaves set up the Printmaking Department at the Norwich School of Art (1983-1991) Pop Art had made incursions and his own style had undergone a radical change: ‘I made attempts to form a pictorial language which would be easily accessible to all who cared to look’ [9]. His paintings became highly stylised, involving abstracted outlines of objects often set in intense fields of colour. He still lives and works in rural Norfolk.

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‘Irises’ © Derrick Greaves. Courtesy of Mandell’s Gallery, Norwich

The enterprising Mandell’s Gallery of Elm Hill is holding an online exhibition of Derrick Greaves’ recent work. Click here for further details.

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Edward Middleditch R.A. (1923-1987) – another member of the Kitchen Sink School – came to the Norwich School of Art as part-time Head of Fine Art (1964-1984) before becoming Keeper in charge of ‘Schools’ at the Royal Academy.  After the early fascination with social realism his work, too, became more stylised, although he retained his love of flowers and landscape throughout.

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‘Cow Parsley'(1956) by Edward Middleditch. ©Estate of Edward Middleditch. Photo credit: Walker Art Gallery

Michael Andrews (1928-1995) was born in what would become known as Norwich’s Golden Triangle. He was born in 142 Glebe Road at a time when older residents could still remember the site as open fields belonging to the Dean and Chapter of Norwich Cathedral. His association with the Norwich School of Art began in the Sixth Form, when he attended Saturday morning painting classes held by Lesley Davenport.

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© Estate of Lesley Davenport, self-portrait. Member of the Norwich Twenty Group

In the early 1950s, Andrews was taught at the Slade School of Fine Art by the Principal, William Coldstream; later, he taught at the Slade himself. In 1976, RB Kitaj wrote about ‘The School of London’, conjuring up a loose group of ‘world class’ painters who were adhering to figurative art in the face of abstraction. Michael Andrews was one of this group, along with Lucien Freud, David Hockney, Howard Hodgkin and Francis Bacon.

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Taken in Wheeler’s Restaurant Soho 1963, The School of London artists: Tim Behrens, Lucian Freud, Francis Bacon, Frank Auerbach and Michael Andrews CREDIT: JOHN DEAKIN / GETTY

Despite being included in a cohort that represented the human form in a largely figurative way, Andrews himself painted very few portraits [10]. However, his painting showing him teaching his daughter to swim sold for over a million pounds in the 1980s and is one of the favourites hanging in the Tate Gallery.

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‘Melanie and me swimming’ by Michael Andrews 1978-9. ©The estate of Michael Andrews

In 1981 he returned to Norfolk to live at Saxlingham Nethergate, about 10 miles south of Norwich. Michael Andrews was a member of the Norwich Twenty Group. 

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‘The Lord Mayor’s Reception in Norwich Castle Keep on the eve of the installation of the first Chancellor of the University of East Anglia’ (1966-9), by Michael Andrews. Norwich Castle Museum and Art Gallery NWHCM: 1968.820

In the second half of the C20, in an age of abstraction, life drawing was increasingly abandoned and Life Rooms closed down. To counteract this loss of essential skills the Head of Fine Art at the Norwich School of Art, Edward Middleditch, recruited the ‘Two Johns’,  John Wonnacott (b.1940) and John Lessore (nephew of Walter Sickert), to develop the Life Room. wonnacott.jpg

 ‘The Life Room (Norwich School of Art)’ © John Wonnacot (1977-1980). Norwich Castle Museum and Art Gallery. NWHCM : 1981.92. The plaster casts were still there when I attended life drawing classes in the mid-1980s.

Between 1978 and 1986, Wonnacott taught the traditional skills necessary for figurative painting: looking, measuring, seeing the relationships between objects, the negative shapes, looking again. Wonnacott’s own work is characterised by a wide-angle view.

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‘The Norwich School of Art’ (1982-4). © John Wonnacott

Colin Self (b.1941), born in Rackheath and living in Norwich, is firmly rooted in East Anglia and can trace his Norfolk ancestors to the Domesday Book. He studied at the Norwich School of Art where he was encouraged by Michael Andrews, but it was after his time in London, at the Slade School of Fine Art, that he emerged as a major figure in the Pop Art movement [3, 11]. Pop Art took its cues from supposedly ‘low’ culture – movies, pop music, consumerism – but Colin Self’s early work was influenced by Cold War politics and thoughts about the nuclear threat. This work, which depicts a battery of Bloodhound missiles, was influenced by staying on a Norfolk farm near a US airbase [12].

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Guard dog on a missile base, No1′ by Colin Self 1965 ©Colin Self. Photo Credit: Tate

‘The landscape in some ways is my visual script’ (Colin Self) [13].

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 ‘Large Harvest Field with two Hay Bales at Happisburgh, Norfolk, Wednesday, 19th September’ © Colin Self 1984. NWHCM : 1998.505.9

As far back as 1885, ‘Schools of Art turned out droves of talented academic female artists’ who, at least in Norwich, were winning most of the major annual prizes [4]: women were not to head those departments until a century later. In 1985 (to 89), Brazilian-born Ana Maria Pacheco (b.1943) succeeded Edward Middleditch as Head of Fine Art at the Norwich School of Art, becoming the first female to hold such a post in the UK.

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‘Perils of Faith’ © Ana Maria Pacheco 1990. Etching. Photo credit: tooveys.com

Pacheco, also a printmaker and painter, is primarily known for her sculptures. These involve slightly larger than life-sized figures carved from single lime trees. Two main themes in these dark and thought-provoking works are the imposition of power and the tension between the Old World of her birth and the New.

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‘Shadows of the Wanderer’  ©Ana Maria Pacheco. Exhibited in Norwich Cathedral (2008). Photo credit: Pratt Contemporary Art

Gerard Stamp (b. 1955), who lives in Norfolk, was educated at Norwich School where he was taught painting in a room above the cathedral’s Ethelbert Gate [14].

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‘St Ethelbert’s Gate’ by John Sell Cotman 1817. The upper chamber, where Stamp was taught art, was once a chapel that figured in the riots of 1272. The gatehouse has been restored since Cotman’s day.

Gerard Stamp does paint landscape though he is better known for his ethereal watercolours of Norfolk’s medieval churches. His experience as an illustrator and designer is part of his painting but it never dominates; the overriding impression is of the kind of mystery and stillness that Cotman imparted to his own unpeopled churches. To achieve this, Stamp makes a pencil drawing that he completes in watercolour as a first stage. ‘Then (when it’s bone dry) I wash over the entire painting with copious quantities of water, sometimes with a sponge. That removes pretty well everything (including pencil) but leaves the stained paper (which looks a bit like an image seen through tracing paper). Then I rework the entire painting again.’

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‘Salle Choir Stalls, 2005’ © Gerard Stamp

Cotman thought that St Michael Coslany in Norwich-over-the-Water provided one of the nation’s finest examples of flintwork [15]. Here, Stamp captures the beautiful tracery flushwork that echoes the lacework of stone in the upper part of the window.

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‘St Michael Coslany’ by ©Gerard Stamp. 

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‘St Michael Coslany’ by John Sell Cotman 1814

The influence of the Norwich School of Painters continued to be felt throughout the C19 but, by the end of that century, Impressionism had arrived and local art became open to the many art movements that followed. As we have read, it wasn’t until the latter part of the C20 that women occupied positions of influence in the art schools and from 2001-2008 Susan Tuckett became Principal of the Norwich School of Art and Design. Of course, many of Norwich’s female artists work outside any formal or academic grouping. Here are two personal favourites:

Zheni Maslarova Warner, born in Bulgaria in 1954, has lived in Norwich since obtaining her degree in Fine Art in her early twenties. At the Norwich School of Art she studied under Ed Middleditch and Derrick Greaves and later taught life drawing at the NSA. Since then she has migrated from the figurative to the abstract, producing canvases reminiscent of the colourist Howard Hodgkin. The titles of her works seem playful rather than descriptive for Warner is motivated largely by colour, building up depth and luminosity with rich layers of paint. After a viewer at a gallery looked at the back of one painting, convinced it was lit from behind, Warner started to use light boxes and neon, embroidering her paintings with illuminated wire as a further play with colour and light.  

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‘Show us the caskets of your rich memories/Those wonderful jewels of stars and stratosphere’ © Zheni Warner (2008). Photo credit: saatchiart.com

 Jayne Ivimey’s (b.1946) artistic connection with Norwich runs deep: her great-great-great-grandfather was one-time President of the Norwich Society of Artists, James Stark. Ivimey went to the High School, studied art at The Sorbonne before returning to Norwich for her Master’s degree at Norwich University College of the Arts (one of the Art School’s various incarnations). Like her friend Mary Newcomb, she is fiercely observant of the natural world. She seems as much an investigator as artist with works including: a study of the effect on salt meeting fresh water; the Beaufort wind scale; coastal erosion; and the grim drop in the number of bird species.  

The Red List makes shocking reading for it numbers the endangered bird species that have declined by at least 50% in the last twenty five years. In response, Jayne Ivimey visited Norwich Castle Museum and other collections to see the preserved bird ‘skins.’ These were then sculpted in stoneware clay that was fired to matt bisque, which – in contrast to shiny ceramic – confronts us with the ghostliness of things we are about to lose. In her words, ‘a material that remains a material rather than an art form.

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‘The Red List’ 2016 © Jayne Ivimey

This is a personal look at art in Norwich and I am only too aware of the many fine artists I’ve omitted. Apologies.

©Reggie Unthank 2020

Sources

  1. https://colonelunthanksnorwich.com/2019/09/15/the-norwich-school-of-painters/
  2. https://en.wikipedia.org/wiki/Mia_Arnesby_Brown
  3. Ian Collins (1990). A Broad Canvas. Pub: Parke Sutton Publishing, Norwich.
  4. Marjorie Allthorpe-Guyton and John Stevens (1982). A Happy Eye: A School of Art in Norwich 1845-1982.  Pub: Jarrold & Sons Ltd., Norwich.
  5. https://colonelunthanksnorwich.com/2019/03/
  6. https://www.richardgreen.com/artist/edward-seago/
  7. http://www.portlandgallery.com/artists/30911/biography/edward-seago
  8. Adrienne May and Brian Watts (2003) Wide Skies Pub: Halsgrove.
  9. https://www.artuk.org/discover/artists/greaves-derrick-b-1927
  10. https://gagosian.com/artists/michael-andrews/
  11. https://en.wikipedia.org/wiki/Colin_Self
  12. https://www.tate.org.uk/art/artworks/self-guard-dog-on-a-missile-base-no-1-t01850
  13. http://www.bbc.co.uk/norfolk/content/articles/2005/05/16/visual_pob_colin_self_feature.shtml
  14. Ian Collins (2010). Watermarks: Art in East Anglia. Pub: Black Dog Books, Norwich.
  15. https://colonelunthanksnorwich.com/2016/07/07/flint-buildings/
  16. https://jayneivimey.com/index.html

Thanks. For discussions, I am grateful to Keith Roberts, John Allen, Gerard Stamp and Jayne Ivimey. Ian Collins’ books were invaluable. The Norwich Castle Museum and Art Gallery was the source of many paintings in this post; explore their treasures on http://norfolkmuseumscollections.org/#!/home.

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