18th Century – Norfolk Tales, Myths & More!

Colman’s Revisited: The Real Mustard!

By Haydn Brown.

Jeremiah Colman was born 16 July 1777, the son of Robert Colman (1749-1807) and Mary (née Harmer); he was baptised on 6 August 1777 at Ashwellthorpe. Jeremiah was originally a farmer but went on to learn the business of miller at Bawburgh watermill, which was then processing corn, starting there in 1802.

Colmans (Bawburgh Mill).jpg — Bawburgh Mill. This is not the mill operated by Jeremiah Colman, but a later one which was built in the late 19th century to produce cloth pulp for paper making at Taverham Mill. Painting by Arthur Edward Davies.

In 1804 Jeremiah Colman transferred his flour milling business from Bawburgh, near Norwich, to Jeckall’s Pockthorpe Smockmill close to Magdalen Gates in the city itself.

Colmans (Pockthorpe Towermill) — Pockthorpe Towermill, formerly a Smockmill which Jeremiah James Colman bought in March in 1804. It was sometime during the following ten years that the smockmill was demolished and replaced by a towermill on the same site. Prior to moving to Pockthorpe, J. J. Colman ran the old wooden watermill at Bawburgh. During its years the towermill was also known as Bagshaw’s Mill, Bayfield’s Mill and St Paul’s Mill.Image: Norfolk Mills.

Some ten years later, on the 3 April 1814 to be precise,, Jeremiah Colman leased Stoke Holy Cross watermill on the river Tas as a going concern, paying £51 2s to his friend, Edward Armes, for his stock of mustard. One of Jeremiah’s account books survived from that very moment and records this sum. That particular business move between the two men was picked up by the press late on 30 April, and also on 7 May 1814 with the Norfolk Chronicle announcing that Jeremiah Colman had taken over the stock and trade of the mustard and flour mills at Stoke Holy Cross near Norwich, ‘lately carried on by Mr Edward Armes’.

With clear colaboration between the Colmans and the press, Jeremiah Colman had the following advertisement inserted. In it, Mr Colman:

‘respectfully informs his customers and the public in general that he will continue the manufacturing of mustard, and he takes leave to assure those who may be pleased to favour him with their orders that they shall be supplied in such a manner as cannot fail to secure their approbation’.

There was, of course, the inevitable press and business speculation as to why Mr Colman had taken over the Stoke Mills, and it transpired that the Ames and the Colman families knew each other very well. One of the Colmans had been engaged to Sarah Ames, the daughter of Edward, and although she had died before the marriage could take place the closeness between the families was unaffected. No only that, but Jeremiah Colman continued to visit Edward Ames and his remaining two daughters, Ann and Maria, in Yarmouth. Jeremiah’s own daughter recalled some years later that:

‘their names always bring before my eyes a childish recollection of alarming looking personages and rich plum cake’.

Thus, began the Mill’s most prosperous 50-year period at Stoke when Colmans’ began its aim of increasing its range of products, one of the first included the introduction of starch manufacture.

Jeremiah Colman had no children and adopted James who was the eldest of his brother Robert’s 15 children. Jeremiah was a devout Baptist, kindly, honest and a good master. Under his ownership, between 1814 and 1850, wages rose. Boys of 8 or 9 worked 12-hour shifts with two breaks and earned 3d per hour. A working day was normally 6.00am to 6.00pm, although sometimes a shift could go on until midnight; many workers then faced a long walk home.

February 15th 1823 was the day when Jeremiah Colman took his 22-year-old nephew, James, into partnership. James began with a quarter share which increased to one-third in 1827 and half in 1831. Thus, progressed the J & J Colman business which was to have such a beneficial effect on the life of the city, County and leading eventually to a change of the greatest importance to an agricultural region – the efficient processing, packaging and distribution of foodstuffs by industrial methods.

“Old” Jeremiah died on 3rd December 1851, aged 74. Then, barely two years later on 24 November 1853 James Colman, his adopted nephew and successor, also died, leaving his 24-year-old son, Jeremiah James Colman to take control of the family business.

At that time, Jeremiah James Colman controlled a small local company, employing a hand-full of workers and selling only modest amounts of mustard. In the space of 50 years he was to build the company into a global brand using innovative marketing techniques and through his hard-work, honesty and integrity as a business man and proved to be a brilliant innovator whose masterstrokes included creating Colman’s famous bull’s head trademark in 1855.

Then, in 1862 when the lease on the Stoke mill ran out, J.J. Colman transferred his production to a new and much larger factory built on land at Thorpe Hamlet near Carrow Road in the south of Norwich. He had earlier bought the land from the Norfolk Railway, an early railway company that controlled a network of some 94 miles around Norwich. This railway company had been formed in 1845 by the amalgamation of the Yarmouth and Norwich Railway and the Norwich and Brandon Railway. Thus, the Colman company had secured beneficial railway and river links, and also a ready-made workforce in the city – cloth workers made redundant by the industry’s exodus to northern mills.

Colmans (Factory-1850-photo-by-j-stewart) — Carrow Works in the 1850’s. Image: J Stewart.

Mustard Revolution (carrow works 19th century)2 — Carrow Works later in the 19th century. Photo: Norfolk County Council

Increasingly, Jeremiah James Colman took a benevolent interest in his workforce as his company grew far further then the numbers he had employed at Stoke Holy Cross. He continued to follow ‘Old’ Jeremiah’s, benevolent principles of believing in education for the employees’ children. In 1864, twenty years before parliament made any provision for compulsory education, Colman built a school on Carrow Hill for his workers children; its motto – ‘Sat cito, si sat bene’ (quick enough if it is well enough) When the school opened, Colman sent a letter to each of his employee’s extolling the benefits of education. Here are a few highlights from that letter:

‘In these days of progress, that man is sure to be left far behind, who has neglected the cultivation of his intellect while he who strives to improve his mind stands a fair chance of raising himself in the social scale’

‘Remember the motto of your Reading Society ‘KNOWLEDGE IS POWER’, power for advancement, power to be good and to do good, power to be happy and to cause happiness to others’

‘It is of the utmost importance that you should teach your children to be punctual, neat and industrious.’

Mustard Revolution (Colman's School 1864)2 — Colman’s School built on Carrow Hill in 1864. Photo: Norwich Museum Service.

A nursery was established for younger children and from 1864 a dispensary was set up for the benefit of his workers. In 1872 Colman set up a self-help medical club for his workers, encouraging them to contribute, matching their contributions with his own donations. By 1878, the Company had employed the first industrial nurse – a Philippa Flowerday. According to Reggie Unthank, in his blog about ‘The Plains of Norwich,

“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”

Colman (flowerdew) — Phillipa Flowerday is far right in this photograph. Image: Courtesy of Reggie Unthank and the Norfolk Record Office at www.picture.norfolk.gov.uk

In recent years, Phillipa has been commemorated by a third Plain on the site of the old Norfolk & Norwich Hospital, known as Phillipa Flowerday Plain.

Both images are courtesy of Reggie Unthank.

Then an onsite kitchen was opened and this provided tea or coffee in the morning and a hot meal for lunch, charged at cost – 4p bought hot meat, vegetable stew and a pint of coffee. Workers who were off sick long term would have food parcels delivered to them at home courtesy of the company (somebody was employed full-time to deliver these food provisions.)

Mustard Revolution (employees day trip 18th-century) — Colman’s Employees in the 19th century. Photo: Norwich Museum Service

This benevolence did not stop there; Colman also built and rented out houses to its workers and for those of its pensioners who had retired from a lifetime of serving the company. Many of the houses were in neighbouring Lakenham and Trowse areas, and some of the terraces in which these houses stood were said to have had mustard-coloured front doors. Special provision was made for single women who were provided with low-cost accommodation. He even provided public houses in which his workforce could enjoy a pint or two!!

Mustard Revolution (School Terrace) — Former Colman Cottages built in School Terrace, Norwich for employees by the Company. The doors of some houses, built by Colman’s, were said to have been painted mustard yellow. Photo: BBC

Colmans contributed towards its staff well-being with such treats as Christmas dinners in its granary plus regular staff outings They also provided a clothing club; this made saving towards the cost of clothing much easier. Additionally, the company contributed to the savings scheme. From 1874 a dressmaking teacher was hired to help female employee’s learn new skills that could be used in the home and to save money. In fact, a whole series of educational classes were provided free of charge to all employee’s. Colman insisted his employees were insured against sickness or injury, the company ran its own scheme for workers who could choose between that or joining a friendly society. A lending library and, as if to cap all these benefits, coffins for those of its workers and their families.

Artwork surrounding the title page of the Carrow Works magazine. Image: Joe Mason

There was even a works magazine and, with Art Nouveau well in vogue, the artwork surrounding the title page reflected this. The content was always topical with a good spread of photographs throughout. Individual headings included topics like the clubs and societies that employees could join and take an active part in. There was a gardening club to join, and that section would include illustrations via photographs showing examples of healthy plants and those on the other end of the scale. The Company’s footballing club was no forgotted with past cup winners etc. publicised. Then there was the Musical Society which boasted both a military band and an orchestra. There was, from time to time, plenty of other topics which found their way into the magazine.

Colmans (Military Band_Joe Mason) — J.J.Colmans Carrow Works Military Band from the early 1920’s. Image: Joe Mason

There was a large fire on the 30th June 1881 in the mustard packing factory. After this Colman acquired a 600-gallon steam engine (see image below) for use at the site and employed a dedicated team of fire fighters.

Mustard Revolution (carrow fire engine) — This engine is currently on display in the Bridewell Museum. Photo: Norwich Museum Service

In 1856, Colman’s employed just 200 people, by 1862 this had risen to 600 and by the time of his death in 1898 it was closer to 2,000. He expanded the range of products under production to include laundry blue, flour and starch. When Jeremiah James Colman was asked how he had made such a vast fortune from the sale of mustard he replied ‘I make my money from the mustard that people throw away on the sides of their plate’.

Being aware of the rise of Colman’s and of the work and life of Jeremiah James Colman himself is fundamental to understanding the history of Norwich in the 19th century. Colman’s influence could be seen everywhere and his morals, actions and achievements drastically altered the lives of many thousands of people living in Norwich. Clearly, the rapid growth of Colman’s Mustard runs counter to most people’s understanding of 19th century industrial growth, a time characterised by child labour, unsafe working environments and long hours for low pay, Colman, on the other hand, displayed a remarkable duty of care to his employee’s. Many industrialists of the time claimed that they could ill afford to treat their workers better or pay them more and to do so – that would destroy their business and the nation’s economy. Again, Colman demonstrated his ability to dramatically grow a profitable business whilst treating his employee’s with humanity. When Jeremiah James Colman died, he left £2,000 in his will to the employee’s trust and the money from this was used to set up a pension fund. By the time he had departed Colman had built up a system of nurseries, schools, medical care, food provision, housing and pensions. A system of protection for his workers from cradle to grave and 50 years before the creation of the welfare state!

Colmans (Leaving Work) — Leaving work at carrow Works. Photo: Unilever BNPS.

Why did Colman feel the need to provide such assistance? He could very easily have turned a blind eye to the plight of his workers, like the majority of his contemporaries did. He was no social revolutionary, in an age of socially radical ideologies when Colman was politically a liberal. He was however a devout Christian, paying strict adherence to the Protestant religion. This drove his belief in a strong work ethic but also his compassion for his fellow man and his ethical approach to business. Colman’s brand of charity was that of self-help; he believed in helping people, but he also believed that once helped, people had a duty to do everything in their power to help themselves.

Mustard Revolution (Production Line 1800's) — Colman’s production line during the late 19th century.

Such was Colman’s religious conviction that he was even tempted to turn down the opportunity to run the family business in the first place; he feared it would impinge upon the time he could devote to religion and self-improvement. He also questioned the morality of wealth and feared he would become corrupted and greedy. In time, he became a close friend of four-time Prime Minister William Gladstone, who offered Colman a baronetcy; Colman declined the offer saying:

‘anything I can do to promote the principles I have always supported … I am glad to do, but I much prefer that it should be without the reward or rank a title is supposed to give’.

So how was a small local company able to transform itself into one of the top 100 British companies in just under 50 years, whilst simultaneously providing a decent living for its workforce? Well, marketing was the key to Colman’s success, and Jeremiah James Colman was the man driving this forward. In 1855 they adopted the now instantly recognisable bright yellow packaging with the distinctive bulls head and in 1865 they gained a royal warrant from Queen Victoria. Colman’s products are still used by the Royal household today.

Colmans (Goods Train 1896) — An 1896 Colman’s train with its distinctive brand advertising. Later, the brand would be painted permanently on each wagon. Photo: Unilever BNPS.

Colman’s was one of the first companies to really push forward the marketing of their products to a consumer market. As early as the 1840’s Colman’s made the decision to start selling their products in much smaller packages (penny tins). This enabled smaller amounts to be purchased more cheaply which opened up a huge new potential customer base. Railway carriages were decorated in the distinctive brand colours to transport their goods across the country. Before the age of Television this allowed the whole country to see the Colmans imagery. By the 1870’s Carrow had its very own marketing department, and by the late 1890s they had started hiring famous artists to create high quality advertising posters for them. Including the illustrator John Hassall and later the painter Alfred John Munnings.

Outside his business interests, Jeremiah James Colman also had a great sense of civic responsibility stating:

‘Men should go into municipal affairs to see what they could do for the town, instead of seeing what the town could do for them’.

At the young age of 29 he was elected to Norwich City Council. He was Sheriff in 1862-63, Mayor 1867-68, in 1869 he became a magistrate for Norwich and then for Norfolk in 1872. In 1871 he was elected as a liberal MP for Norwich, serving for 25 years. However, his political career was mixed; he did not thrive in the Houses of Parliament as a Liberal MP, in part due to his poor oratory skills, but also because he very quickly became disillusioned with national politics. He was however much more successful as a local politician he sought to end the corruption for which Norwich was well known.

Mustard Revolution (jeremiah james colman-1867-1868) — J. J. Colman.

He was a part of Norwich’s ‘Young Men’s Mutual Improvement Society’, this group met regularly and spent their time writing, reading and debating the great questions of the day, focusing on politics, religion, society, and morality. He was closely involved with the successful launch of the Eastern Daily Press in 1870 (a newspaper that is still going strong) and fought for and won having a preservation order placed upon the city walls.

Colman was one of the leaders of a subscription campaign that sought to argue for all public buildings in Norwich being used for the public benefit. By 1886 they had been successful in securing both the Castle and Blackfriars Hall for public use. At the time Colman was a trustee of Norwich Museums, whose collections were then housed in a purpose-built building on Exchange Street. After closing as a prison, the castle was offered to both the city and county councils for purchase, but they were unwilling to meet such expense. Briefly the decision had been made to allow the castle to become a ruin, however banker John Henry Gurney purchased the castle, and it re-opened as the museum we know today.

In the winter of 1896, he visited Egypt with several family members, for the purpose of offering re-cooperation to his ill son Alan. Sadly, Alan died in February 1897 and the family headed home, however Colman procured over 250 artefacts whilst there. In 1921 these were donated to Norwich Museums by his daughters and include an Egyptian shroud! After his son had died, he purchased and donated the land that was used to build the extension of the Jenny Lind Hospital.

In the space of three and a half years Colman lost his son Alan his wife Caroline in 1895 and then his mother in 1898, himself dying at home in Corton, Suffolk shortly afterwards. His funeral procession numbered 1200 people, which is perhaps the greatest indication of how important Jeremiah James Colman was to so many people in 19th century Norwich. Today, Norwich has much more than just Mustard to thank this gentleman for!

THE END

Footnote:
In 1973 the firm celebrated 150 years of business since the first partnership, and to commemorate the occasion opened the Mustard Shop in Bridewell Alley, Norwich, which has become a firmly established tourist attraction. In 1995 Colman’s was bought by Unilever, and became part of the Van den Bergh Food Group. In January 2001 Van den Bergh Foods merged with Bestoods UK Ltd to form Unilever Bestfoods Ltd. Material relating to the Colman brand would. from that year, be found in the Unilever Bestfoods collection (UBF).

Sources:
Colman, H.C., Jeremiah James Colman: A Memoir, 1905; Norfolk Chronicle.
http://unilever-archives.com/Record.aspx?src=CalmView.Catalog&id=GB1752.CON
https://joemasonspage.wordpress.com/2011/11/30/comans-of-norwich/

A Murderer Amongst King’s Lynn School’s Staff!

By Haydn Brown.

The subject of the gibbet has become a topic of correspondence of late. Amongst the names of those who were so called ‘gibbeted’ for a crime is a Eugene Aram of Knaresborough in the County of Yorkshire. He suffered this fate in 1759.

Here, it should first be said that Eugene Aram was born in 1704 in the village of Ramsgill, near Harrogate to a family of labourers, his father being a gardener. But Aram was bright; his intellectual energy and quick mind enabled him to gain an education and to discover and develop a particular gift for languages, especially ancient ones. He was therefore, not the typical eighteenth-century murderer, for he had become an educated professional, a published author of works of philology who, at the time of his arrest at the King’s Lynn Grammar School, was working on his comparative lexicon of Latin, Greek and Celtic.

A note of Eugene Aram’s appointment as an usher at King’s Lynn Grammar School in February 1758, as it appears in the minutes and memoranda of the King’s Lynn Town Council. King’s Lynn Borough Archives, Hall Books, KL/C 7/13.

But before then, and after spending some time without success in London, he returned to Knaresborough and became a teacher, marrying and fathering seven children whilst at the same time gradually running up debts. Matters became particularly sour when he made the acquaintance of a shoe-maker, Daniel Clark, whose wife was a woman of means. Clark was spending lavishly and running up debts with local traders. Then, on 7 February 1744 he vanished. This set tongues wagging and by April 1745, Aram was starting to feel insecure; he abandoned his wife and children, moving from town to town before he was appointment as an usher at King’s Lynn Grammar School in February 1758. At that time the school was housed above the 14th-century Charnel Chapel, alongside St Margaret’s Church on Saturday Market Place. Later it was to become a Workhouse.

A pre 1914 view of the ‘New Shambles’ (meat market downstairs and King’s Lynn Grammar School upstairs) once stood near the site of the Saturday market place until 1914. Eugene Aram taught in the grammar school. Wikipedia.

The Plaque showing the site of the former St John’s Charnal Chapel between 1364 and 1779. In front was a row of butcher’s Shambles. Above, for a time, was the King’s Lynn Grammar School in which Aram’s taught until his arrest.

At first it was thought Aram had run away to escape his debts; his friends assuming that he had also fled with a quantity of valuable goods he had acquired illegally. At the same time Daniel Clark remained unaccounted for, even a ‘no questions asked’ reward of £15 (more than £3,000 in today’s money) was offered for information, but there were no takers.

Thirteen years later, the discovery of bones in St Robert’s cave. just outside Knaresborough led to speculation that Aram and another man, Richard Houseman, had conspired to kill Clark and steal his possessions. Aram was traced and arrested; this came about when a visiting horse trader to King’s Lynn recognised him, and the wheels of justice began to turn. In the same year, a skeleton was discovered in St Robert’s Cave near Knaresborough which did not do any favours for Aram. At some point his property was searched and some of Clark’s booty was found in Aram’s Garden as well as those of other friends. Aram was later to say that Clarke had left the goods there. Also, Houseman, who seemed by some to be far more suspicious, was to turn King’s Evidence and testified that Aram had murdered Clark.

St Robert’s Cave, Knarsborough in which bones were found. Mark Pallant.

The saying “hell hath no fury……” seems to have been appropriate for Mrs Aram, Eugene’s abandoned wife; she was quick to accuse him of the murder of Daniel Clark. Added to this was the rumours going around of an affair between her and Clark, which added more fuel to the fire. Aram was taken back to Yorkshire and tried for murder.

At his trial, in August 1759, Aram decided, unwisely as it turned out, to conduct his own defence. He questioned the identification of the bones and asserted his own good character but did not challenge the shaky, inconsistent and unreliable evidence of his former friend, Houseman. Despite the lack of conclusive evidence, Aram was convicted and sentenced to death. Accordingly, Aram was executed at York Castle, after an unsuccessful attempt to end his own life in prison, and his body returned to Knaresborough, where his gibbet was erected close to the scene of crime, overlooking the river Nidd; his body remained there, gradually decomposing, for at least 25–30 years.

There was great public interest in Aram’s crime and trial. The association between the apparently gentle and scholarly man and violent murder for material gain was unusual and, combined with the instability of the evidence on which he was convicted, resulted in a widespread belief that the wrong man had been executed. His biographer, Norrison Scatcherd, even described the riots and threats with which Houseman was greeted on his own return to Knaresborough.

Historical image of Eugene Aram

Historical image of Eugene Aram and the incident.

Aram’s story was irresistible to cultural producers of the period. Bulwer-Lytton’s novel ‘Eugene Aram (1831)’, giving Aram a beautiful and brilliant lover, romanticised the story. Bulwer-Lytton’s Eugene Aram, though involved in the death of Clark, was the victim of circumstances and no murderer. The novel was adapted for the stage and had a successful run with Henry Irving in the title role. Thomas Hood’s narrative poem “The Dream of Eugene Aram” (1829) was recited by generations of schoolchildren. PG Wodehouse even has Bertie Wooster quoting Hood’s poem in proper Wooster style – (something along these lines): Tum-tum, tum-tum, tum-tumty-tum, I slew him, tum-tum tum! (PG Wodehouse, Jeeves Takes Charge, 1916) Hood’s Aram, though guilty, was thoughtful, penitent and intelligent: a sympathetic hero. Bulwer-Lytton’s novel and Hood’s poem are the best known of Aram’s literary incarnations, but there were many more – forty-one, including a stage play and at least three films.

Gustave Doré’s engraving of Eugene Aram. Photostock.

At some point, probably before the end of the eighteenth century, a doctor called Hutchinson, then practising in Knaresborough, decided to augment his private cabinet of curiosities with the skull of Eugene Aram and managed to remove it from its gibbet cage. But why was Hutchinson so keen to acquire Aram’s skull? Maybe it was simply that he wanted it as a curiosity because of its association with a significant local event—and one which had attracted national attention – who knows!

The skull resided in Hutchinson’s personal museum until he died, when it passed to his widow’s second husband, and his former assistant, Mr Richardson, a surgeon from Harrogate. When, in 1837, the young Dr James Inglis, burning with phrenological zeal, took up a post as physician at the public dispensary in neighbouring Ripon, it is probable that he found out about Aram’s skull from Richardson, as a fellow medical man working in a neighbouring town. It was Inglis who presented the skull to the Newcastle meeting of the British Association for the Advancement of Science in 1838.

5. Aram’s skull. Norfolk Museums Service.

The skull then passed from Dr Richardson to his step-grandson, John Walker, in whose private collection it remained, first at Malton in Yorkshire and then at Great Yarmouth in Norfolk, when Walker moved house. He presented the skull to the Royal College of Surgeons in 1869, by which date it had become something of a strange embarrassment to its owner, an Anglican minister, who therefore sought to place it in a museum. The skull was included in Sir William Flower’s catalogues of the Royal College collections in 1879 and 1907 and remained in that museum until 1993 when it was given to King’s Lynn Borough Council and passed to the Old Gaol House Museum in the town.

Today, and for anyone who is interested, there are three last bits to this story. In the Stories of Lynn Museum there are exhibited in the old gaol cells: Aram’s skull, a fragment of Clark’s skull, and a small pill box made of the wood from the gallows on which Aram was hung.

THE END

Sources: Tarlow S. (2017) The Afterlife of the Gibbet. In: The Golden and Ghoulish Age of the Gibbet in Britain. Palgrave Historical Studies in the Criminal Corpse and its Afterlife. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60089-9_3. Link: https://link.springer.com/chapter/10.1057/978-1-137-60089-9_3 Also: https://norfolkrecordofficeblog.org/2019/03/12/a-murderer-in-the-school-the-case-of-eugene-aram-of-kings-lynn/
https://web.archive.org/web/20151224161853/http://lifeloom.com/Eugene_Aram.htm

Banner Heading Image: This is the Caxton Gibbet, which is on the old Ermine Street Roman Road where it crosses the Cambridge to St Neots Road. Wikipedia.

Robert Walpole and ‘The Bloody Code’!

By Haydn Brown.

England in Georgian times is remembered as a period of great elegance and refinement but it was also notorious for the brutality of its judicial system and a time when more than 200 crimes on the statute book carried the death penalty. Imprisonment for debt was commonplace and public floggings and executions were a popular source of entertainment.

Walpole (Execution of Lord Ferrers) — The execution of Lord Ferrers at Tyburn (From an Old Print of the Period.). Image: Public Domain.

The Government of the day had no desire to to improve the life of ordinary people – and probably was not expected do so. It was however expected to protect the land and property of the 3% of the population with wealth; these were the lawmakers and the only ones who were permitted to vote in elections even though they were unlikely to be the victim of crime – unless it was the pickpocket on the street, the robber on the highway, or from poaching on the rich man’s estate. The true beneficiaries of the draconian laws were more often middle-class shop owners and tavern keepers who along with the poor were always more vulnerable to being the victims of crime; however, this was a by-product of, and not the intention of, those who made the law.

Walpole (bloody-code) — Sir Robert Walpole

The man most responsible for the shaping of Georgian England was Robert Walpole. He was born near Houghton in Norfolk on 26 August 1676, the son of a prominent Whig politician who upon his father’s death in January 1701, was elected as Member of Parliament for his old constituency of Castle Rising.

Walpole (Houghton Hall) — Houghton Hall, Norfolk.

British politics in the eighteenth century reflected a society divided between the pro-Church and pro-Monarchy landed aristocracy and the rapidly expanding commercial class that sought the primacy of Parliament in all things (the vast majority had no say at all) and it was a fraught arena where tensions often ran high. The Tories and the Whigs were not political parties as we would understand them today but factions who formed alliances to best serve their own interests, and it was no friendly rivalry. They were in effect two warring camps with both willing to take up the cudgel if required. Their mutual enmity was reflected in the names they called one another – a Tory was an Irish bandit or thief – a Whig a Scottish rebel or Presbyterian fanatic.

The fact that elections were held every three years guaranteed a febrile atmosphere with members of the different factions meeting in their own coffee houses to conspire with one another and plot their opponents, downfall. Also, Political meetings were violent affairs, graft and corruption was commonplace, votes and constituency seats bought and sold and the behaviour on the hustings would often border on riotous assembly.

Yet this would be the world in which Robert Walpole, the great manipulator not to say enabler, would thrive and prosper. Walpole’s connections ensured that he soon gained political office and he proved himself an able administrator and earned a reputation for probity at a time when such a thing was transparently lacking in politics, this despite the fact that he had been briefly imprisoned for embezzlement in 1712. Having gained the favour of King George I, as he would later his son George II, he began to rise through Government ranks but his ambition was a secret to no one and he was hated by the Tories who time and again tried to discredit him and have him impeached. But, Walpole’s reputation was to soar following the fiasco of the South Sea Bubble.

Walpole (bloody-code_Bubble) — The South Sea Company.

The South Sea Company had been formed in 1711 as a joint-stock company which through the sale of bonds would purchase the national debt but in reality, it was a get rich quick scheme underpinned by promises of vast profits to be made from trade. After all, the Company had been granted a monopoly of trade with South America. The fact that Britain was at war with Spain meant that there was little real trade to be had – a fact that was seemingly overlooked by most investors. The rich flocked to buy shares but by 1720 it was apparent that the South Sea Company was an empty shell and the rush to sell shares caused it to crash spectacularly.

Though Walpole had also invested heavily he had earlier been advised to sell his shares. Even so, he tried to re-invest but his purchase of further shares was delayed in the mail and did not arrive in time. This was to prove a stroke of good fortune both financially and more significantly politically for coupled with a few minor criticisms he had made of the Company’s behaviour in the House of Commons it appeared to many that he’d had the foresight to see the crash coming. However, nothing could have been further from the truth but it provided him with a reputation for financial rectitude at a time when others who should have known better had allowed their greed to overwhelm their common sense.

The King now turned to Walpole to help the Government out of the financial mess it now found itself in, and he seized the opportunity with aplomb. Walpole was quick to smooth things over making a series of emollient and reassuring speeches in the House of Commons and confiscating the estates of the Company’s Directors to pay off those worst hit financially in the crisis. He also deflected criticism away from the King who as Governor of the Company was heavily implicated in its wrongdoings. For this both the King and his successor George II would be eternally grateful. Appointed to the position of First Lord of the Treasury alongside a number of other high offices Walpole was the King’s indispensable man and effectively Britain’s first Prime Minister and he would remain so for the next 15 years. It was to be the beginning of the Whig Supremacy and Walpole was to refashion Georgian England in his own image – a country of both conspicuous wealth and extreme poverty, of unapologetic self-interest and punitive laws.

First Walpole, or Cock Robin as he was known, not always with affection, secured his own position. He accumulated for himself a vast array of patronage, ensured that people who would be his men in Parliament were elected to Rotten Boroughs, and aware that he could break as well as make political careers where bribery didn’t serve his purposes, he wasn’t averse to a little intimidation. As a last resort he could always turn to the King for support. Walpole’s policy would be to maintain the status-quo by appealing to the naked self-interest of those who mattered. He adopted a peace policy avoiding ruinously expensive wars, kept taxes low especially those on land, and introduced laws that would protect property, game, and livestock. The rich could sit back and enjoy their wealth comfortable in the knowledge that they were safe from ideological dispute, revolution, robbery, or foreign invasion, and as long as the calm waters of conspicuous self-indulgence and display remained undisturbed then all was well in Georgian England. It would prove for the time being at least a winning formula.

Walpole (bloody-code)2 — Debtor’s Prison Scene

The most potent symbol of Walpole’s England was to be the Debtor’s Prison. Every major city had at least one and there were seven in London alone, the most notorious of which were the Fleet Prison in Farringdon Street and the Marshalsea Prison in Southwark. These prisons were Government owned but privately managed, and were run for profit. For example, in 1728, Thomas Bambridge purchased the Letters of Patent to run the Fleet Prison as its Warden for £5,000, and like most Warden’s he immediately divided the prisoners into those who could pay for their keep and those who could not. Indeed, Bambridge was to become particularly notorious for extorting money from his inmates even manacling them on occasions until his demands were met. It was possible to be imprisoned for a debt as little as £2 and incarceration would often come as the result of a request from the creditor.

Walpole (bloody-code)3 — Debtor’s Prison Cell

Whilst in prison the interest on the debt would continue to accrue and release would only come after a financial arrangement had been made for repayment of the debt or the creditor himself relented, and with no specific time to be served a prisoner could be wrangling for his release ad nauseam. For those able to pay imprisonment would be less onerous and depending on how much money they had they might get a cell to themselves with a bed, they would also be able to purchase food, and beer that was often brewed on the premises. They could receive visits from their family, if they were not already imprisoned with the inmate which sometimes happened, and could even conduct business.

The Fleet Prison even permitted prisoners to live within a short distance of the confines of the prison itself, a practice known as the “Liberty of the Rules”. If you were unable to pay for your keep then you would be left to rot in the squalor of the common cells, the damp, windowless, rat-infested rooms situated on the ground floor where the petty criminals were confined. Forced to sleep on a bare floor strewn with straw, fed on gruel twice a day, and with nowhere to urinate or defecate disease was rife and life expectancy short.

The “Bloody Code” as it was to become known, saw offences ranging from poaching, the theft of a loaf of bread, and sheep stealing through to murder and treason carry the death penalty. It was harsh in the extreme, as also were the penalties for those crimes that did not carry the ultimate sanction such as being publicly whipped, branded with hot irons, and confined to the pillory for days on end. In the case of many women and children, and those men who could show themselves to have been of previously good character there was always the option of transportation to the colonies as an indentured slave.

Despite the many laws that now made up the statute book there were few formal structures in place with which to enforce them. There was no police force at this time and instead every parish was obliged to have at least a Constable but these were unpaid volunteers often concerned only with the status their position brought them and little concerned with the actual enforcement of the law. In London and other major cities there were paid Watchmen, these were often elderly ex-soldiers who patrolled the streets at night and at the top of every hour would ring a bell to declare the time and cry “All is well.” Though they were much-maligned at the time they did play a role in keeping the streets safe at night and provided reassurance if nothing else.

Walpole (Henry Fielding) — Henry Fielding

In 1749, the author Henry Fielding who had been appointed Chief Magistrate for London along with his brother John founded the Bow Street Runners. They now largely replaced the “Thief Takers”, the men often recruited from amongst the criminal underworld itself who would investigate crimes and arrest people for a fee. This had always been an unsatisfactory arrangement to say the least for the Thief Takers were most likely involved in the crime itself and were merely turning in their associates for money. The Bow Street Runners did not serve as policemen as we would understand them, they did not patrol the streets at night or make themselves available for emergencies. They did however serve writs and make arrests on the authority of the Chief Magistrate, and they travelled the length and breadth of the country to do so.They were also paid for the first time by central Government.

Walpole (Bow Street Runners) — Bow Street Magistrates’ Court in London: This engraving was published as Plate 11 of *Microcosm of London* (1808). Image: Wikimedia Commons.

Justice was administered by Local Magistrates who were invariably drawn from amongst the wealthiest of any parish. They were unpaid and often found their work burdensome and time consuming. Also, there was no oversight as to their activities and they were not necessarily disinclined to act maliciously or take a bribe. Indeed, the gothic novelist Horace Walpole, the son of Robert, remarked of the Magistrates in London: “The greatest criminals of this town are the officers of justice.” More serious crimes such as burglary, murder, and treason would be tried before the Quarterly Assizes and in London at Newgate, later to become the Old Bailey.

Unlike the trials for petty crime more serious offences were tried before a jury of the accused person’s peers. Even so, it was commonplace for such cases to be dealt with quickly as it was rare for there to be a defence barrister as none was provided by the State. Also, the presumption on the part of the Magistrates was always one of guilty. Also, the fact that the Courtroom itself would be liberally sprinkled with fresh smelling herbs and flowers to mask the smell of the filthy and unwashed prisoners indicates the attitude of those dispensing justice.

A guilty verdict at the Quarterly Assizes would invariably carry the death penalty and such trials were popular events that would be well attended and raucous affairs. The crowd would heckle and jeer throughout but a silence would descend upon the courtroom as the Judge would place the black cap upon his head and speaking these words pass the sentence of death:

“Prisoner at the bar, it is now my painful duty to pronounce the awful sentence of the law which must follow the verdict that has just been recorded, that you be taken to the place of execution there to be hanged by the neck until you are dead, and may the Lord have mercy on your sinful soul.”

Public executions in London were carried out at Tyburn and were occasions for a social gathering in an atmosphere that often resembled that of a fairground. Thousands of people would gather in the field where the gallows were located whilst others lined the streets of the three mile journey of the condemned man from his place of incarceration to his place of execution. Carried on a cart where he would be sat upon his own coffin and accompanied by the Sheriff, a Chaplain and an armed escort the condemned man was for a short period at least the centre of attraction and sometimes as the cart passed a tavern the landlord would offer him a last drink to which the Sheriff would invariably reply: “Not for him, he’s on the wagon.” There would be a celebratory feel to the day with music played, pies sold, and many people drunk. As in the Courtroom however once the condemned man mounted the gallows the crowd would fall silent to hear the Chaplain’s last words:

“You have been adjudged by the laws of this country unworthy any longer to live, unworthy to walk this earth, unworthy to breathe its air, and that no further good to mankind can be expected from you, only the example of your death to warn others in the future, and may God have mercy on your soul.”

Popular Heroes of the Period:
The common people knew full well that the justice system was not there to serve them as a popular saying of the time testifies: “The laws grind the poor, and the rich make the law”. As a result the more notorious a criminal, no matter how brutal, the more likely he was to be treated as a folk hero in the tradition of Robin Hood, and Highwaymen such as Dick Turpin, Claude Duval, and Sixteen String Jack who intercepted and robbed the Stage Coaches ridden by the rich were particularly admired and became celebrities. In 1774, when the famous Highwayman John Rann was found not guilty of robbery thousands of people who had gathered outside cheered and carried him aloft from the Court.

Claude Duval:
Claude Duval (or Du Vall) is credited with being one of the first great gentlemen highwaymen. Born in France in 1643, Duval emigrated to England after meeting a group of Royalist exiles, who were laying low in France during the Civil War. Once the war was over, Duval not only moved to England, but got an intimate look at the life of English nobility. Not content to live off a servant’s wage, he turned to the life of a highwayman, and he did it in style.

One of the most famous stories about him is his robbery of a carriage on Hampstead Heath. Here, upon meeting the beautiful young wife of the elderly knight he was robbing, Duval danced with the young woman on the side of the road. He then took only a portion of the money the knight was carrying as payment for the entertainment. He was well known but, by all reports, far from reviled. After fleeing to France for a short time to let the heat die down, he returned to England and was arrested during a drunken night out.

Once his death sentence was given, it was said that a number of his previous victims (mostly women that had been wooed by his courtly demeanor) tried to speak up on his behalf to get him a pardon. It didn’t work. He was executed in 1670, and his body was taken to lie in state at a local tavern. There were so many mourners present that the wake was cut short, as it was deemed rather unseemly.

John Rann:
John Rann, also known as “Sixteen String Jack,” was one of the first highwaymen (and indeed, criminals) to make his occupation as much about his celebrity status as about his actual crimes or the spoils of his robberies. He was a larger-than-life, over-the-top figure whose nickname came from his extravagant dress. He was always perfectly groomed and gentlemanly in his appearance, always wearing silk breeches that had eight silver strings hanging from them. He encouraged all rumors that were spread about him, and consequently, there are a couple of different versions of his story.

He was born somewhere around 1752, and at some point, he entered life as a coachman. He was strongly associated with several different women. His apprenticeship didn’t give him enough income to support his lifestyle or his women, so he turned to highway robbery. Many of his crimes were of the flamboyant, drunk and disorderly type. It was ultimately an attempt by one of his mistresses (who quickly gave up his name) to sell a stolen watch that earned Rann his first arrest. When he got off, it only made him that much more confident. He boasted to full pubs of his highwayman lifestyle and predicted his own early death. He got off on minor charges of attempting to climb through windows into homes where the ladies always seemed to come to his defence.

It was a similar situation—his female associates trying to sell stolen property—that led to Rann’s final trial, after he and an associate robbed a clergyman riding through Ealing. His female associates got off, stating that they unknowingly traded clean clothes for the stolen property, but Rann himself was executed in December 1774.

Jack Sheppard:
The most popular hero of his day however was the 22-year-old apprentice carpenter, Jack Sheppard. He had served five years of his apprenticeship and had been showing great promise at his chosen profession when encouraged by the other apprentices he began to frequent the Black Lion Tavern in Drury Lane, a popular haunt of the local criminal underworld and with his newly acquired taste for alcohol and having made the association of a local gang leader, Joseph “Blueskin” Blake, he soon found that there was easier money to be made in crime than there was in having to work for a living and he quickly progressed from petty theft and pick-pocketing to burglary.

Arrested on numerous occasions it was to be his increasingly spectacular prison escapes that made him a popular hero. Arrested once again and sentenced to hang he promised to escape on the day of his execution but the pocket knife he was carrying to cut the ropes that bound him was discovered. Nonetheless, he had another plan and remained supremely confident that he would not hang and boasted of his forthcoming escape calling upon public to come and witness it. The people expected him to be as good as his word.

Jack Sheppard, a wide-eyed young man with a ready smile was only 5’2” and weighed barely 100 pounds and he firmly believed that as the cart was wheeled away to leave him hanging he would not be heavy enough for the noose to break his neck, and so he had arranged for his friends to cut him down and take him to a doctor to be revived. On 24 January 1724, more than 200,000 people turned out to see Jack Sheppard hang – or escape?

On his journey to the gallows Sheppard joined in the celebratory mood revelling in the banter and urging on the crowd. He even persuaded the Sheriff to stop off at the City of Oxford Tavern so he could down a pint of ale.

As he stood beneath the gallows with his neck in the noose, he continued to play to a crowd that truly expected him to escape once again. As the cart was pulled away from beneath his feet the raucous crowd descended into a hushed silence as they watched his body squirm and twitch. But there was to be no escape this time and this Sheppard was to dangle from the rope for a full 15 minutes as he endured the agonies of slow strangulation. When the body was at last cut down the crowd surged forward to grab their souvenirs, they pulled out tufts of his hair, cut off his fingers, and gouged out his eyes.

His friends who had planned to rescue him before death’s deadly embrace took hold never even got close to retrieving his lifeless corpse. Such had been the popularity of Jack Sheppard that newspapers were forbidden to write of his exploits and theatres were banned from using his name for the next forty years.

Dick Turpin:
He was, perhaps, the best known English highwaymen, and he is possibly the worst example of what the idea of a gentleman robber was supposed to be. Born in 1705 in Essex, Turpin couldn’t be bothered to put in the hard work that would have allowed him to make a good, honest living as a butcher, following in his father’s footsteps. He joined a gang instead, raiding houses in the London area, stealing what he could, and outright destroying the rest. Turpin was one of the last members of the gang to be caught; he had since moved on from robbing houses to holding up carriages that were traveling to and from London.

The fictional stories that grew up around Turpin were largely just that: fiction. Turpin became a character in books that embellished the details of his life. Added to the story were dashing good looks, a beautiful, devoted black horse, and a family inheritance that Turpin was supposedly cheated out of. The historical Turpin was a cold-hearted murderer, whose egotistical boasting and a letter back home eventually led to his capture, trial, and execution. It was only after his death and the publishing of a book called Rockwood in 1834, that he was catapulted to fame as a gentleman robber. Perhaps more fitting to his memory was the fate of his corpse. The night that he was buried, Turpin was dug up by grave robbers, who sold his corpse to a doctor for dissection. His body was discovered missing, recovered, and reburied, while the doctor was fined.

Gin – or ‘Mother’s Ruin’:
London was the largest city in the world with a population of over 800,000 and was growing all the time. It was a place like no other with more than 50,000 shops, taverns, restaurants, coffee houses, and brothels where every need and desire could be catered for; a place of both outlandish display and grim squalor, with beautiful parks and filthy streets; a place of hucksterism and gaudy self-indulgence. A city of vice, violence and disease its many iniquities were vividly captured in the paintings and lithographs of the artist William Hogarth, and no problem was more evident than that of public drunkenness.

Walpole (Beer Street & Gin Lane) — *Beer Street* and *Gin Lane* (1751) By William Hogarth.

By the 1720’s London was quite literally awash with gin, or “Mother’s Ruin,” as it was known. The craze for gin had caught on in the 1690’s following its cheap importation from the Netherlands and within a decade distillery producing it were cropping up not just in London but throughout the country. Of the 15,000 drinking establishments in London alone more than half were Gin Palaces. By 1743, it is estimated that the English were drinking up to 10 litres of gin per head of population a year.

Drunkenness had become a common feature on the streets of all England’s major cities and with it a corresponding rise in the crime rate, and the number of abandoned children that thronged the streets and dead babies that littered the gutters had become a national disgrace. Attempts to stamp out the craze for gin were easier said than done, however. The Gin Act of 1736 that priced it at 20 shillings a gallon and required a licence to sell it at a fee of £50 per annum provoked disturbances so violent that they lead to it being repealed in 1742. A further attempt to curtail its production and distribution the following year were to lead to the Gin Riots that were to leave many dead and cause widespread destruction throughout London. Learning the lessons of past mistakes, a series of more moderate measures were introduced which over time saw a decline in the consumption of gin and by 1757 it was perceived to be no longer a problem.

Back to Walpole:
By this time Robert Walpole, the man who had done so much to forge Georgian England in his own image was long gone. He had by the early 1740’s ceased to be seen as the guardian of wealth but as an impediment to increased prosperity and people had tired of the widespread corruption that had so come to mark his time in power. His peace policy of placating Britain’s enemies abroad had come to be seen as a national humiliation and his increased taxes on commodities to ensure that the tax on land remained low was damaging the economy. Many amongst an aspiring and growing middle-class, and even many of his natural supporters amongst the nobility and gentry, now saw their futures in overseas trade and the expansion of Empire and so with his enemies, and he had always had many, gathering in Parliament and fearing impeachment on 11 February 1742 he resigned, returning to his palatial home at Houghton Hall a bitter and resentful man. There he died in great splendour three years later on 18 March 1745, aged 68, a bloated caricature of himself and the country he had created. The draconian laws that Walpole had introduced did not go with him, however.

Indeed, the number of capital offences on the statute book increased. It still remained possible to be hanged for impersonating a Chelsea Pensioner, going out at night with a blackened face, damaging a turnpike, and writing a threatening letter. Most of these offences would continue to carry the death penalty late into the Victorian era though as the decades passed they were rarely enforced. Even so, between 1791 and 1891, long after the Bloody Codes had first been introduced more than 10,000 people were hanged in England alone, and imprisonment for debt and Debtor’s Prisons were not abolished until the Bankruptcy Act of 1869. The first professional police force wasn’t established until 1829 when the Home Secretary Sir Robert Peel formed the Metropolitan Police to maintain law and order on the streets of London.

THE END

Sources:
www.prisonersofeternity.co.uk/the-bloody-code-law-and-order-in-georgian-england/
https://listverse.com/2014/03/23/10-highwaymen-who-gallantly-terrorized-britain/
https://www.british-history.ac.uk/old-new-london/vol5/pp188-203

NOTICE:
‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K.
Further Note:
If you are the originator/copyright holder of any photo or content contained in this blog and would prefer it be excluded or amended, please contact us via our ‘Contact Us’ page to flag it for correction.
Also:
If this blog contains any inappropriate information please contact us via our ‘Contact Us’ page to flag it for review.

‘Old’ Crome, the ‘Norwich School’ and Much Else!

By Haydn Brown.

My other hobby is oil painting – landscape painting. Having ‘cut my teeth’ with those of John Constable many years ago. I later discovered John ‘Old’ Crome and, apart from his paintings, I soon became interested in the man’s background; for, apart from some 200 years between us, we share certain aspects: such as same county, city, locations of work, home, painting, church – and public houses! So why shouldn’t I follow his trail, and maybe dream; and, hopefully, with you in tow:

Riding on the backs of sheep and cloth, Norfolk was once rich; it was also at the forefront of the Agricultural Revolution which brought further wealth. Norwich’s mercantile class also blossomed and comfortably melded in with the surrounding country gentry. Between them, privileged society provided a cultured patronage on which aspiring local artists could emerge.

John Crome, (1768 – 1821) was one such artist. He, as many art enthusiasts would know, was a principal English landscape painter of the Romantic era, and one of the founding members of the ‘Norwich School of Painters’. It was he who, in later life, was better known as ‘Old’ Crome; this to distinguish him from his son, John Berney Crome, who painted in his father’s manner but who, in the opinion of some at least, had an inferior talent – but no matter!

St Georges Church in Tombland, Norwich where John ‘Old’ Crome was baptised on Christmas Day 1768. Photo: Julian White.

John Crome was born on 22 December 1768 in an alehouse named the ‘Griffen’ (Griffin)’ which, according to Hocksetters Map of 1789 used to be in the Castle Meadow/ Tombland area of the city, near the corner of Tombland and Upper King Street, on what was then called Conisford Street in the quarter known as the Castle Ditches. Records show that the building itself dated back to at least 1603, but it completely disappeared when the Prince of Wales Road was constructed in 1860. Here, John Crome’s father, despite being an active weaver by trade, ran the Griffin; it would appear that being in more than one occupation was not an uncommon practice at the time!

On Christmas Day 1768, in St George’s church in Tombland, Crome was baptised. By then, this church had already accumulated a long history, which dated back to at least the 14^th century (some say as far back as the late Anglo-Saxon period) – its tower dating from 1445 and then having major repairs in 1645. The font from which John received his baptism was, and remains, of Purbeck marble, not uncommon in many rural East Anglian churches; in 1768 it had yet to be ‘urbanised by enthusiastic Victorians who would place it on grand marble pillars.

An inscription on the above drawing states:
“South Porch of St George, Tombland, Norwich – formerly called ‘St. George at the Gates/of the Holy Trinity’ the Cathedral – A new [19th century?] porch, in the same style, has been erected within the last 15 years in place of the above. I would particularly call attention to the singular form/of the buttresses / HH”. Image: Norfolk Museums Collections.
On the day of Crome’s baptism, this would have been the porch through which the congregation would have walked.

The young boy Crome was later to be described as ‘very likeable’ with a ‘charming character’; even, a ‘loveable rascal’ – with these attributes it may be no surprise to learn that he grew up and lived in Norwich for the whole of his life! However, it was a life which only slowly emerged in any sort of recorded detail when the boy had reached 12 years of age. At that point, in 1781, young Crome had become an errand boy for the eminent city doctor Edward Rigby. Dr Edward Rigby owned an apothecary’s shop, at 54 Giles Street, and it was there where the 12-year-old lived and worked for about three years.

***54 St Giles Street, Norwich.***
The Rigby family, of husband, wife and fourteen children shared this corner house with their country residence named Framingham Earl Hall. The St Giles address could well have been where Dr Rigby also had his Practice and Apothecary’s shop, standing as it does on the corner of Rigby Court (formerly Pitt Lane) and St Giles. Rigby Court linked St Giles to Bethel Street. Photo: Evelyn Simak.

Dr. Rigby was to have an initial influential effect on Crome’s life for he appears to have been the first person to recognise Crome’s potential as an artist. As time went on, he introduced him to some of the influential people of that period whom Rigby knew and who were interested in art. In particular, the weaver-turned-banker Gurney family – although of equal importance was to be Thomas Harvey (1748-1819), of Catton House in the village of Old Catton, who would also make an early appearance in Crome’s development.

Dr. Edward Rigby MD, (1747-1821) Physician by Joseph Clover – circa 1819. Portrait: (Norfolk and Norwich University Hospital) – Image: Edward Rigby Clover

Of course, Crome’s personal responsibilities and interests were not expected to be solely directed towards art; there was also the matter of work that he was employed to do for the doctor who, in his own field of skill, was already someone of eminence. But the doctor, it seems, had to handle a sometimes ‘mischievous’ lad in Crome – for the lad had a propensity for pranks, with several stories surviving through time. An example was the occasion when young Crome changed the labels on the medicines that he was delivering on behalf of the doctor! Another, which may have been one which had rebounded on to him, was when he threw the doctor’s medical skeleton out of his bedroom window; it was said that medical students had placed it in his bed for a joke – Boys, it seems, will always be Boys!

Nevertheless, young Crome survived a full three years of employment with Dr Rigby before his employer, having given him lodgings, paid him and nurtured his desire to paint, decided that it was time for Crome to move on – and here, we may have to thank the doctor for what followed. Just around the corner from the apothecary’s shop, stood Francis Whisler’s, Coach and Sign painting business – in Bethel Street. It was there, in August 1783, where Crome began his seven-year apprenticeship, learning first-hand how to mix colours and to appreciate what these substances could produce in the right hands. Clearly a precocious lad, with an ability to apply paint to canvas, board and paper with effect, he had taken the first steps in establishing his preferred career path.

Fast forward now to today; and surviving in the Victoria & Albert Museum in London is believed to be the earliest known example of Crome’s work, produced during the time of his apprenticeship, which was between 1783 and no later than 1790. The painting is known as ‘The Wherryman’; it was a sign which must have formerly hung outside a public house – and it would be interesting to know where? In 1906, an auction in Norwich first brought this signboard back into the light and, at that time, it was sold for the price of twelve guineas. The V & A Museum’s description of the work is as follows:

**‘The Wherryman’**
“Figure in the centre foreground is wearing the dress of a boatman or wherryman. He points to a wherry, which is shown sailing on the Norfolk Broads behind him, with his right hand.”

It was also during the early years of his apprenticeship when Crome became firm friends with an apprenticed printer named Robert Ladbrooke, who was employed by Whites of Norwich. The two boys had serious compatible interests in art and went out together to sketch the streets and lanes around Norwich, and particularly to Mousehold Heath on the outskirts of the city. For a time, they shared a garret studio and between them, sold some of their art-work to a local print seller, Smith and Jaggers of Norwich. At that time Ladbrooke concentrated of portraits whilst Crome on landscapes, which both sold for very small sums. Subsequently, Ladbrooke turned to Landscape painting, in which he was said to have ‘become highly successful’.

Thomas Harvey of Catton by John Opie (1761–1807) – after. Norfolk Museums Service

It has also been said that it was through the print seller, Smith and Jaggers of Norwich, that Crome met Thomas Harvey of Catton; but here it should be remembered that Harvey and Dr Rigby, mentioned earlier, were already friends; and young Crome had been in the employ of the doctor and through ‘introductions’ probably already knew Harvey. That apart, the little extra money that Crome and Ladbroke earned during their excursions went on buying prints of Dutch masters to copy – and Ladbroke was much inspired by Crome’s undoubted superior skills; skills which included the ability to make his own paintbrushes from cat’s hairs, whilst using oyster shells as palettes!

Harvey House in Colegate, Norwich; Thomas Harvey’s city house, which was in addition to his country pad ‘Catton House’, north on the outskirts of Norwich in the village of Old Catton. Image: Courtesy of Reggie Unthank.

When Crome’s apprenticeship ended, in 1790, he began to take up commissions and to give drawing lessons to children of the wealthy. This was also the moment when Crome’s earlier introduction to Thomas Harvey, the wealthy weaver from Old Catton – who also, by the way, had a house in Colgate (see above), really began to pay off.

Thomas Harvey was a rich master weaver who had come from a line of wealthy merchants, ten of whom had been mayors of Norwich. Harvey had married a Ann Twiss, the daughter of an English merchant living in Rotterdam who had an important collections of paintings, which included Thomas Gainsborough’s ‘Cottage Door’ (see below), plus several of the Dutch School. These eventually passed into the Harvey family and to Thomas who was something of an artist himself, but very much of the amateur kind. His wealth also allowed him to build up his collection of Dutch masters, some of which had come from Antwerp dealers; these were supplemented by paintings from other artists, including those of Richard Wilson and Miendert Hobbema.

Thomas Gainsborough – The Cottage Door. By Thomas Gainsborough, circa 1773. Commons Wikimedia.

When Harvey became Crome’s patron, both his own studio at Catton House and his art collection became available to the young artist and he, it seems, became particularly influenced by the Wilson and Hobbema paintings – and their ‘ability to give landscape paintings a sense of space and breadth’. Given this patronage, Crome certainly visited Catton House frequently; and it is probably quite true that, for a time at least, Crome may have lived there. This would have been of real benefit when it came to Crome actually copying these paintings as part of his further development, thus ensuring that the qualities and colour aspects of these two masters would feature in Crome’s future works and teachings.

111 — Thomas Harvey’s ‘Catton House’ years later. He, along with other members in the Harvey line, had a considerable presence in Old Catton. It was Thomas who had built the above Catton House, and then there was Robert Harvey whole lived at ‘The Grange’, not to mention Jeremiah Ives Harvey at Eastwood. Image: Courtesy of the Old Catton Society.

Catton House was also the place where young Crome met other artists, such as Sir William Beechey R.A. and later, John Opie. Then there was Sara Siddons the famous actress who was related by marriage to Harvey’s wife, Anne; as a consequence, Siddons was reputed to have given ‘a Reading’ before an invited audience at Catton House in October 1793. But it was Sir William Beechey who saw Crome’s promise as an artist and gave him some lessons – all be it in London. Beechey was also the one who described Crome as:

‘…. an awkward country lad when I first met him, but shrewd in all his remarks on art, although he wanted words to express them’.

This post-apprenticeship period was certainly a busy one for Crome one way or another; included in which was an activity that had little to do with painting – romance! He had met Phoebe Berney and in the October of 1792, they married at St Mary’s Church, Coslany; just in time, for by the 30^th of that same month, their first child, Amelia, arrived! Quite a relationship one would suppose since the couple were to go on to produce eleven children in total during their marriage. However, four were to die in infancy and Amelia died shortly before her second birthday. Two of their surviving sons, John Berney Crome and William Henry Crome (1806–67). were to follow in their father’s footsteps to become well-known artists in their own right.

Robert Ladbrooke who, unsurprisingly, had been present at Crome’s wedding in 1792 followed his close friend one year later when he married Phoebe Berney’s sister, Mary.

113 — St Mary Coslany Church, Norwich. Photo: Steve Adams.

Either side of his domestic life, Crome continued to paint and, increasingly, to build up his contacts and clients. By 1796 he was teaching sketching to Master Sparshall, the son of the Quaker wine merchant who lived in St Clements Alley which, incidentally, was quite near to Thomas Harvey’s town house in Colgate. The Sparshall house itself had previously been the residence of Alexander Thurston, the 17th century Mayor and MP for Norwich.

Then in 1798, Crome accepted a post as drawing master to the three daughters of Quaker and business-man, Joseph Gurney of Earlham Hall. It was also the year when John Opie painted Crome’s portrait. This may have been during the time leading up to May of 1798 when Opie married Amelia Alderson, a gifted poet and authoress, whom he had met at a party in Norwich. Also, in that same year, John Opie was not only in Norfolk visiting Thomas Harvey in his home at Catton House but, principally, carrying out some commissions for Thomas Coke at Holkham Hall.

114 — John Crome’ 1798 by John Opie.
Here, Crome has turned 30 years of age. John Opie’s oil painting captures, as an art critic once described: “A handsome young man whose heavy brows, full lips, thick black hair and brooding, perceptive countenance suggest deep waters. Norwich Museum & Art Gallery.

By this time, Crome had become a Freemason, joined the Philosophical Society and the ‘Dirty Shirt Club’, which met in the Rifleman’s Arms in Calvert Street, across from Cross Lane which in turn led to St George’s Street. There, a group of like-minded characters, smoked ‘churchwarden’ pipes and enjoyed a drink or two with other members of the ‘Dirty Shirt Club’ – the origins of which were said to be as follows:

“The Rifleman was located in an industrial area of shoe and weaving industry workers. And through this, came an unusual if not ingenious idea to attract more customers to the pub. The normal working week in such trades was then six days during which their workers clothing unavoidably became dirty. So, one Master Weaver arranged with the Rifleman for him to ‘set up shop’ in the bar on Saturday afternoons so that he could pay his out-workers when they came in to have a drink to end the week.

115 — The former Rifleman Arms in Cross Lane, off St George’s Street, Norwich. Image: George Plunkett.

Not only were they paid, but naturally arriving dirty, the distribution of wages was accompanied by a change of shirt with a clean one provided for the following week. The number of people “enjoying” this opportunity, led to the formation of the ‘Dirty Shirt Club’. While enjoying a drink or two and a gossip, members also smoked their own churchwarden clay pipes, given to them on entry. Each member’s initials were inscribed on the bowl and pipes were kept aside for them by the publican, between visits. Any new members had honour of smoking from a silver pipe. From the early 1800s, ‘Old’ Crome was a regular visitor, and had his own special chair – witnessing everything.”

By 1801, Crome had established a school of art in his house at 17 Gildencroft, possibly Green Lane (now demolished) and later took up a post as drawing master at the King Edward Grammar School which lay within the shadows of the Cathedral in Norwich. At the Grammar School he helped the sons and daughters of the Norfolk gentry and middle-class, as well as private pupils to learn to paint and draw. Amongst these pupils were notable artists of the future, such as James Stark and Edward Thomas Daniel. There was also George Borrow’s brother, John – who was to paint George Borrow’s portrait in 1821, whilst the latter was working as a solicitor’s clerk in London

117 — The Poringland Oak by John ‘Old’ Crome, circa. 1818–20.
Here Crome depicts the open heath at Poringland. His painting centres on a large oak tree that would have been familiar to locals. The warm glow of the setting sun and the carefree bathers give the scene an idyllic feeling. Crome may have painted this for nostalgic reasons of knowing Dr Edward Rigby who owned nearby Framingham Earl Hall and who, by 1819, had enclosed the Poringland heath for over a decade for his tree planting scheme. John Crome’s painting of the Poringland Oak was to become the inspiration behind the present Poringland village sign. Image: Tate Gallery.

In 1802, and by way of an extension to the business of tutoring the Gurney’s three daughters in art, Crome was invited to join the whole Gurney family on a tour of the Lake District. Sometime after their return to Norwich, on 19 February 1803 to be precise, Crome, together with his long-standing friend, artist and printer Robert Ladbrooke, became the principal movers in the foundation of the ‘The Norwich Society of Artists’; this was later to become famously known as the ‘Norwich School of Painters’ — the first art movement in England to be formed outside London. The term ‘Norwich School’ was coined because its style reflected landscape painting which had moved away from European influences, which favoured warm, burnt-brown palettes. The Norwich School replaced these with the verdant greens actually seen in the Norfolk landscape. It was Old Crome himself, through the Society, who had advocated that paintings should look ‘only to nature’, a statement that regularly appeared in the Society’s exhibitions catalogues at the time.

It is not known whether it was Crome or Ladbrooke who first raised the idea of forming this debating/exhibiting society in Norwich, but the two’s growing involvement with local art patrons and fellow artists probably made it inevitable that such a body would emerge – to be added to the many other clubs and societies that were flourishing in Norwich at the time? The purpose of the Crome/Ladbroke version was, from the outset to be:

“An Enquiry into the Rise, Progress and Present State of Painting, Architecture and Sculpture, with a view to point out the Best Methods of Study to attain to Great Perfection in these Arts”

118 — 1810 portrait of Robert Ladbrooke – by an unknown artist! Wikipedia.

Also, the Norwich Society of Artists promoted, from the outset, an ‘open-door’ policy whereby no one was turned away who had a genuine interest in art. The only criteria to joining was for each to submit a piece of their own and to secure a place via a ballot of existing members. These members consisted of active painters in oils and watercolours, and included such people as John Sell Cotman, Joseph Stannard and ‘Old’ Crome’s artist son John Berney Crome, Robert Dixon, Charles Hodgson, Daniel Coppin, James Stark, George Vincent and of course others. Some would have seemingly worked under Crome’s influence, with a bias in favour of Norfolk scenery – the slow-flowing rivers and gnarled trees, the people and places of their home city and the Norfolk coast.

119 — Sir Benjamin Wrench’s Court off Little Cockey Lane was demolished in 1826 to make way for the first version of Norwich’s Corn Exchange (red star) which, in the long term, ended up as the Jarrold’s Department Store. Also suggested here is not only old ‘The Hole-in-the-Wall’ Lane, but also the location of the tavern of the same name (purple star). As per Millard and Manning’s plan of Norwich 1830 – Courtesy of Reggie Unthank and Norfolk County Council.

Throughout, the Society’s meetings were held fortnightly at the ‘Hole in the Wall’ tavern, which was destined to be demolished by 1838. Its actual location of this tavern is not clear today; time and changes to street layout etc. have seen to that. However, it has been said by the likes of George Plunkett that it was once near the St Andrews Street end of the Hole in the Wall Lane, and built into a part of the east wall of the chancel of the Church of St. Crowche, most of which had itself been demolished as far back as the 16th century. The tavern must have also stood very near to what is now the lower section of Exchange St. It was said that at the time pedestrians had to walk round the old churchyard to get into St Andrew’s. Today, all that remains of both the tavern, and St Crowche, is a mediaeval stone corbel set in a flint wall off the north side of St Andrew’s Street.

As for the Norwich Society of Artists, its evenings at the tavern were taken up with ‘taking supper listening to the presentations of papers’; for this, there was a yearly subscription of 4 Guineas to maintain membership.

120 — Sir Benjamin Wrench’s Court, off Little Cockey Lane, Norwich by David Hodgson (1798–1864). Norfolk Museums Service.

By 1805, the Society had enough paintings to present their first exhibition, hosted at Sir Benjamin Wrench’s Court, which was off Little Cockey Lane and not far from Little London Street; Crome contributed twenty-two works. This venue was later to became the home of the Society. From that point onwards, and until 1825, these exhibitions were held annually and coinciding with the city’s Summer Assizes Week when many people from the surrounding area visited the city and where amusements took place. Norwich became the first English city to establish regular art exhibitions outside London.

John ‘Old’ Crome was to become the president of the Society on several occasions up until his death in 1821, but when he was again elected in 1808, his long-standing friend, Robert Ladbrooke was elected as Vice-President. However, in 1816 Ladbrooke, Stannard, Thirtle and a few other members – Ladbroke having also fallen out with Crome – broke away from the Society to set up and run rival exhibitions; but these proved a failure and were ended after three years. Ladbroke and Crome were reconciled at just about the same time; maybe simply because theirs had been a long-standing friendship; it was a friendship between entirely different characters though:

“Crome was found of company, a ‘dashing fellow’ and with great ideas; whereas, Ladbroke was ‘plodding, prudent and took great care of what cash came his way; he taught his family likewise”.

121 — St George Church, Colegate, Norwich, Norfolk. Photo: Courtesy of John Salmon.

Finally, on 14 April 1821 and after a few days’ illness, John ‘Old’ Crome died at his house in Green Lane, Gildengate, and his death certificate recorded that he had died of ‘an inflammatory malady induced by early labours as a house painter’! On the 27^th of that same month, his remains were interred in St George’s church Colegate – a mere stones-throw away from his home and his local, ‘The Rifleman’. The local paper reported that ‘an immense concourse of people’ attended his funeral at St Georges, which had been his church and where, in later life, he became its churchwarden. It was an appropriate place in which to mount a memorial tablet to him.

122 — John Crome’s memorial plaque in St Georges Church at Colgate. Whilst some may feel that it is nothing spectacular, it does display a nice clean-line relief profile of the man; also a palette and brushes below and a laurel wreath over his head.

When ‘Old’ Crome died in 1821, John Sell Cotman became President of ‘The Norwich Society of Artists’; its activities continuing until his own departure for London in 1834. It was at that point when Cotman actually closed the Society and many former members and their pupils went off elsewhere to continue painting and exhibiting.

127 — Crome’s grave in St. George’s Church ,Colegate, Norwich. Wikipedia.

Surprisingly perhaps, Crome and what was known as the ‘Norwich School’ had been little known outside Norfolk; that is, until the late twentieth century. This was due mainly to the fact that many of Crome’s paintings, together with paintings of other ‘Norwich School’ members, were bought privately by the J.J. Colman family. It was in 1946 when Russell James Colman donated these to the city’s Castle Museum. He also gave money in order for the museum to build a gallery to house them in a permanent display.

Following the death of ‘Old’ Crome, during the November of 1821, the Norwich Society of Artists held a memorial exhibition of more than 100 of Crome’s works in the city. During his life, however, he had exhibited an estimated number of 307 pictures, 16 of which had been exhibited in London – and none of which had been signed. It appears somewhat strange that Crome, above all, never signed any of his paintings. Bearing in mind that his pupils and sons had been trained by Crome on the basis of copying his works, meant that it has always been difficult, or impossible indeed, to verify which are ‘Old’ Crome’s paintings and which are replicas!

It is also a sad fact that when Old Crome died, he was in debt – to the sum of £145 owed to the Gurney’s Bank. Nevertheless, John ‘Old’ Crome was and remains, in my eyes at least, as an artist of considerable repute.

Footnote:

An incident in Crome’s life was the subject of the one-act opera ‘Twice in a Blue Moon’ by Phyllis Tate, to a libretto by Christopher Hassall: it was first performed in 1969. In the story Crome and his wife split one of his paintings, depicting Mousehold Heath, in two to sell each half at the Norwich Fair.
Part of the front of Stranger’s Hall was once the home of sculptor Pellegrino Mazzotti; it was he who produced a bust of John Crome; today, a ‘blue plaque’ on Its wall refers to this.

THE END

Heading Image: John Crome by Denis Brownell Murphy, watercolour and pencil, exhibited 1821. National Portrait Gallery.

Sources Generally Referred to Include (and in no particular order):
(Chillers, Ian (ed), The Concise Oxford Dictionary of Art and Artists, Oxford University Press, 1990).
Wikipedia.
The Norwich School of Painters | COLONEL UNTHANK’S NORWICH (colonelunthanksnorwich.com)
http://www.norwich-heritage.co.uk/monuments/John%20Crome/John%20Crome.shtm
In Focus: John Croome, the ‘mouse that roared’ of the art world – Country Life
https://joemasonspage.wordpress.com/2016/07/17/the-norwich-society-of-artists/?fbclid=IwAR2UnZ6dJcsZEym89FtZtKe7kAWZjH4mBqFbsDuEgav3burHXTFRf5_T24Y
http://www.avictorian.com/Ladbrooke_Robert.html
Walking Crome’s Norwich self guided trail (1).pdf

NOTICE:
‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K.
Further Note:
If you are the originator/copyright holder of any photo or content contained in this blog and would prefer it be excluded or amended, please contact us via our ‘Contact Us’ page to flag it for correction.
Also:
If this blog contains any inappropriate information please contact us via our ‘Contact Us’ page to flag it for review.

Norfolk in Brief: The Bale Oak.

By Haydn Brown.

The village of Bale can be found just off the A148, which runs from Fakenham towards Cromer. There is some history here, not so much for being mentioned in the Domesday Survey of 1086, but for it’s famous ‘Bale Oak’, once an enormous tree with a trunk 36 feet in circumference. The Bale Oak is said to have been a gathering place for pagan worship before the coming of Christianity. Indeed, it is said the 14^th century church of All Saints was built beside the oak, in a place already considered sacred. By the early 18^th century, the oak was hollow and it was said that ten men could stand inside its trunk. The then Norfolk historian, Rev. Blomfield, added to the information by recording:

“A great oak at bathele near the church, its hollow so large that ten or twelve men may stand within it and a cobbler had his shop and lodge there of late and it is or was used for a swinestry.”

Bale Oak3 — Sir Willoughby Jones © Norwich Civic Portrait Collection

However, in 1795, the oak was severely damaged and was heavily pollarded, with the removed bark and some of the wood sold to the Hardy’s of Letheringsett for tanning. The tree never recovered and was deemed dangerous by the local populace; it was also subjected to abuse and this led to its removal in 1860 on the orders of the Lord of the Manor, Sir Willoughby Jones. There was said to have been much local mourning as the remains of the oak was taken in a cart to Cranmer Hall at Fakenham.

Bale Oak4 — Cranmer Hall. Photo: Pinterest.

The site was replanted with a grove of 12 Holm Oaks (Quercus Ilex) and may have been planted to commemorate the Bale Oak, although there is a record of oaks being planted there in 1617. The trees have been National Trust property since 1919, and are now ‘listed’ by that body as a ‘Place of Historic Interest or Natural Beauty’. A wooden sculpture now marks the approximate position of the original Bale Oak tree, and the trees that surround it have now grown to maturity and form a screen between the church and the road.

Bale Oak1 — The Bale Oak Site: © Copyright Humphrey Bolton

THE END

Fishley, the Luson’s and Porcelain.

By Haydn Brown,

Now, every old Norfolk Hall seems to have a good story to tell – if only their walls could speak!

At Fishley Hall there is such a story; firstly, it is of a tunnel having once existed which ran from the cellars (which still exist and have brick barrel vaulted ceilings) under the north wing and then to a boat dyke that directly connected the user to the River Bure – and to the sea beyond. By 1812 the boat dyke, and no doubt the tunnel had long since been disused; however, there exists an estate map of the same year which provides such evidence. But one may well wonder who, and for what purpose would cargo be transported to and from the Hall during that period – smuggling maybe, or just bringing provisions for the Hall, farm and the estate?

This more modern map shows the dyke from the River Bure leading up to Fishley Hall; in fact, it had its own turning basin so that boats could unload, or load, a cargo and turn round and go back to the river. Image: Ordnance Survey, licence CC BY SA 4.0.

A clue may lie with William Luson himself – pure speculation of course! He was indeed a wealthy merchant who came from a staunchly non-conformist family and had lived in Great Yarmouth; he had made his money, legitimately one must suppose, from trading with Holland. He could, therefore, well afford to purchase Fishley Hall; which he did in 1712, from the previous owners who were the Pepys family of Impington near Cambridge. They were distant cousins of the famous diarist, Samuel Pepy, and had created their own wealth as lawyers in London.

By 1724, William Luson, was also the owner of the much larger Gunton Hall and its estate near Lowestoft, making him the lord of the manor of Gunton. This ancient title also gave salvage rights to the owner to anything washed ashore from sea wrecks which, over the centuries, were numerous. Is there a link here with the then William Luson and his Fishley Hall mooring facility?

In his Will of 1731, William Luson bequeathed everything, including both estates to his second son, Hewling Luson. Again, none of the Luson family came to live at Fishley Hall. Instead, Hewling continued to live at Gunton Hall in Suffolk, with the same entitlements. It was during his period there when he is credited with the discovery of a seam of clay on his land which was said to have been used later in the making of the famous Lowestoft Porcelain.

A portrait of Hewling Luson (of Gunton, near Lowestoft) at an approximate age of 11 years, dated 1723. Painted by John Theodore Heins (1697-1756). Public Domain.

The story goes, according to the Suffolk historian Gillingwater, that the Lowestoft factory that was later established, came about under remarkable and somewhat romantic circumstances. It began when, around 1756, Hewling Luson befriended a shipwrecked Dutch mariner and provided him with accommodation at Gunton Hall until such time as the sailor was able to return to his own country.

Teabowl and saucer, c. 1770, with a version of the “Redgrave” pattern. Images: Wikipedia.

On walking over his estate one day with the sailor, the latter noticed some clay which had been newly turned up, and remarked to his host:

“They make Delft-ware of that in my country.”

Acting upon this comment, Hewling was said to have taken the first steps towards experimenting with actually making porcelain. Gillingwater’s account also stated that Hewling’s pottery experiment seemed to have been reasonably accurate, but there was no actual indication of the whereabouts of the clay deposit used, or indeed whether this was the source actually used later by the Lowestoft Porcelain factory. Nevertheless, the account forms the basis of our knowledge of events today.

Lowestoft Porcelain Teapot, c. 1770. Wikipedia.

A year later, around 1757, the Lowestoft Porcelain Factory was founded by the partnership of Messrs. Walker, Aldred, Richman, and Brown; it did not include Hewling Luson, although he clearly knew his tenant, the above Philip Walker, who became the principal of the new company. As for Hewling thereafter; by the October of 1761 he became bankrupt and his Gunton Hall estate and the Fishley estate in Norfolk was sold to Sir Charles Saunders.

Sir Charles Saunders by Sir Joshua Reynolds. Wikipedia.

Hewling Luson remained in Lowestoft until at least 1765 when the Manor Roll records that:

“Robert Luson was admitted to the Fish Houses in the occupation of Hewling Luson, late of Gunton and now of Lowestoft” and, according to Gillingwater was “one of the town’s herring boat owners.” By 1777 Hewling had moved to Bethnal Green in London and died there.

THE END.

Sources Include:
https://norfolktalesmyths.com/2020/11/07/fishley-a-story-of-an-estate
https://archive.org/stream/historyantiquiti02suck/historyantiquiti02suck_djvu.txthttps://www.ornaverum.org/family/stewart-smith/hewling-luson.htmlhttps://chestofbooks.com/food/household/Woman-Encyclopaedia-2/The-Romance-Of-Old-China-Real-Lowestoft-Porcelain.html#VaKepRDbLGI

Old Scole, its White Hart and Sign!

By Haydn Brown.

Crossing the River Waveney from the south, through a flat landscape, the old Norwich Road entered Norfolk at Scole, or “Schoale,” as the name was often spelled in old times. To the west, Scole was bordered by the parish and town of Diss. This parish nowadays contains not just the village of Scole, but also Billingford, Thelveton, Frenze, and the deserted village of Thorpe Parva. Indeed, in the 19th century the parish was known as ‘Scole with Thorpe Parva and Frenze’, before reverting to simply ‘Scole’ when in 1935 the parishes of Billingford and Thelveton were abolished and joined to Scole. Scole was also recorded as Osmondeston in the Domesday Book. The name ‘Osmodeston’ derives from the Old English for Osmond’s enclosure or farm.

The White Hart at Scole. Charles Harper 1901.

In years past, when coming over the little bridge which once straddled the Waveney, the village could be seen huddled together on either side of a very narrow road, which rose as it continued north. Both the village and its church were dominated by a large building of mellow red brick, its panelled chimney-stacks and long row of beautiful gables giving the impression of an historic mansion having, by some mysterious chance, been lifted from a nobleman’s estate and placed beside the highway. This is the White Hart which, at no time, was a private residence, but built as an inn; and an inn it remained for well over two-and-a-half centuries.

Scole itself, was quite a celebrated place in the days when the Inn flourished. Then, every traveller in Eastern England had either seen or heard of the “Scole White Hart” and its famous sign that stretched completely across the road. Because a great many coaches halted at the inn for teams to be changed, passengers had plenty of time to examine what Sir Thomas Browne thought to be:

“the noblest sighne-post in England.”

Both Inn and sign were built in 1655, for James Peck, described as a “Norwich merchant,” whose initials, together with the date, were seldom noticeable on the centre gable. The elaborate sign alone cost £1057 to make and erect. It was of gigantic size and loaded in excess of twenty-five carved figures of classic deities. As explained by a Charles Harper, in 1901, there was:

“Chaste Diana, with bow and arrow and two hounds; she had a place on the cross-beam, in company with Time in the act of devouring an infant; there was also Actæon and his dogs, a huntsman, and a White Hart couchant. On a pediment above the White Hart, supported by Justice and Temperance, was the effigy of an astronomer ‘Seated on a Circumferenter,’ who by some Chymical Preparation is so affected that in fine weather he faces the north and against bad weather he faces that quarter from whence it is about to come.

On either side of the astronomer were figures of ‘Fortitude’ and ‘Prudence’, a position hardly suitable for the first-named of those two virtues, but certainly too perilous for the second. Further suggestions of Olympus, with references to Hades and Biblical history, adorned the other portions of this extraordinary sign. Cerberus clawed one side of the supporting post, while Charon dragged a witch to Hell on the other; and Neptune bestriding a dolphin, and Bacchic figures seated across casks alternated with the arms of twelve East Anglian noble and landed families.

Two angels supported respectively the arms of Mr Peck, his lady and two lions – those of Norwich and Yarmouth. On the side nearest the inn appeared a huge carving of Jonah coming out of the whale’s mouth, while, suspended in mid-air, and surrounded by a wreath, was another White Hart.”

***The Old White Hart Sign.***
This old view of the gigantic sign shows one of the peculiar basket coaches of the second half of the 18th century, on its way to London. Joshua Kirby depicted the White Hart in one of his earliest known works. John Fossey engraved Kirby’s depiction and the prints were issued in 1740. The engraving measured 17.5″x22″ and included detailed representation of the sign with all its figures at a scale of half an inch to a foot. After Kirby’s death, the engraving was reprinted in Volume 2 of M.J. Armstrong’s 10-volume History and Antiquities of the County of Norfolk (1781).

Although Sir Thomas Browne had been impressed with this work, an early 19th-century tourist, apparently, dismissed it as “a pompous sign, with ridiculous ornaments”. Shortly afterwards, the sign was taken down, for no other reason than “it cost the landlord more to keep it in repair than the trade of the house permitted.”

Staircase inside the White Hart. Charles Harper 1901.

Together with this, the once celebrated ‘Great Bed of the White Hart’ also disappeared. It was a round bed and said to be capable of holding twenty couples and, therefore, a good deal larger than the famous Great Bed of Ware [see below]. Perhaps it was because guests did not relish this co-operative method of sleeping together, or maybe because sheets, blankets and coverlets of sufficient size were not easily available, that the Scole Great Bed was chopped up for firewood. Why on earth did anyone suppose that beds of this size and capacity would ever be desirable?

The “Scole White Hart” must have been among the very finest of inns and posting-houses in its day. Its wide staircases, its large rooms and fine panelled doors, its great stone-flagged kitchen, all proclaiming how great its old prosperity must have been. Even the wide-spreading yard at the rear of the Inn, together with its outbuildings, would have given some hint of how heavy the traffic must have once been, positioned as the Inn was, at the junction of the Lowestoft, Bungay, Diss and Thetford Road with that from London to Norwich. However, a gradual shrinking trade was to cause parts of the inn to be let; whilst the stone and wooden porches, seen in the old print, disappeared. The coach entrance was blocked up to become the bar, and the window mullions gave way to sashes. Nevertheless, the building still retained a noble architectural character which, perhaps, appears more interesting today.

Little or nothing is found in contemporary records of “Scole White Hart”; only that of its later years, when indignant would-be coach passengers stood at the door on a day in October 1822 and saw the drivers of the “Norwich Times” and “Gurney’s Original Day Coach,” fired by rivalry, and recklessness in their long race from Whitechapel, came pounding furiously up the road and over the bridge, passing the White Hart without stopping, and disappearing in clouds of dust in the direction of Norwich. It was said that Thorogood was driving the “Times” and both coaches started from London at 5.30 a.m. The “Day” coach reached Norwich at 5.20 p.m., and the “Times” ten minutes later, neither having stopped for changing horses during the last twenty-five miles. This was a “record” for that period, the usual time being fourteen hours.

An illustration of an 18^th century stagecoach, similar to those on the Norwich Road between London and Norwich.

Probably these ‘disappointed’ passengers stayed the night; a prospect which surely no one would have complained about? Guests at the “White Hart,” seem to enjoy being ‘coaxed’ into a feeling that they were living in another era; a feeling that would have grown as each wandered upstairs to bed, almost lost along the roomy corridors. After they had closed the nail-studded doors of their bedrooms and crept into the generous embrace of a damask-hung four-poster bed and gazed reflectively around their panelled room and up to the curiously coffered ceilings, they would have dropped soundly off to sleep. Old times would live again, faded flowers blossoming once more, forgotten footsteps echoing along the passages of time, post-chaises clattering up to the door, its noise consciously telling the sleeper that the sound is only that of a jolting rustic tumbril going down the road in the early morning. However, this is the twenty-first century, and the “White Hart” survives – from the back edges of life.

The Present-day White Hart at Scole, Norfolk.

Besides the “White Hart,” there remains little else at Scole. The plain flint tower of the church still stands by the roadside, on the ascent that leads from the village. Two or three inns, a few rustic shops, cottages, and a private residence of the past also helped make up this tale. Scole, in fact, has not grown greatly since it was a Roman station, and when the Roman soldiers whose remains have been found near the river occupied the military post on the long road to Venta Icenorum.

THE END

Norfolk’s George Townshend: Army Officer and Caricaturist.

By Haydn Brown.

George Townshend was born on 28 February 1723/24, the eldest son of Charles (3rd Viscount Townshend) and his wife Audrey Harrison. The Townshend family-owned extensive estates in Norfolk and elsewhere, but their ancestral home was Raynham Hall in Norfolk.

Townsend (Raynham Hall) — Raynham Hall, Norfolk. © Historic Houses.

George was educated at St John’s College, Cambridge, leaving there in 1742 to become a volunteer to the British Army in Germany, attached to the staff of Lord Dunmore, one of the general officers. He was present at the battle of Dettingen (16 June 1743) and also apparently at that of Fontenoy (30 April 1745), though a letter of Horace Walpole’s says that he was too late for any action!

Townsend (Battle of Dettingen_NAM) — The Battle of Dettingen was fought during the War of the Austrian Succession (1740-1748) in the area which is now southern Germany. When his retreat was cut off, King George II (1683-1760) successfully led a multinational force of British, Hanoverians, Dutch and Austrians against the French under the Duc de Noailles, inflicting heavy losses.
This was the last occasion when a reigning British monarch led his troops in person on the battlefield. As Duke of Cambridge, the King had already fought under Marlborough’s command at the Battle of Oudenarde in 1708. Although he displayed great personal courage, the King had little flair for higher military command and wisely left the conduct of the campaign to his generals. His victory at Dettingen brought him much popularity at home.

In May 1745 Townshend was appointed a captain in Bligh’s Regiment (later the 20th Foot). On the outbreak of the Jacobite rebellion in that year he returned to Britain, joined his regiment, which fought at the Battle of Culloden on 16 April 1746; during this battle, the Bligh’s casualties were 4 killed and 17 wounded. Afterwards, Townshend went back to the Continent, having been appointed an aide-de-camp to the Duke of Cumberland. In this capacity he was present at the battle of Laffeldt on 21 June 1747 and carried Cumberland’s dispatch back to England. Then on 25 February 1748, he was appointed to a captaincy in the 1st Foot Guards, which carried with it the rank of Lieutenant-Colonel.

Townshend (Duke-of-Cumberland-1745) — Duke of Cumberland at the Battle of Culloden 16th April 1746: Image: David Morier

When the War of the Austrian Succession ended in 1748, Townshend returned to England and became a MP in the House of Commons for the County of Norfolk – which he continued to represent until he succeeded his father as 4^th Viscount in 1764. But before that, he famously fell out with the Duke of Cumberland; attacking him in parliament, and making him a victim of his notable powers as a caricaturist.

Townsend (Cumberland) — Duke of Cumberland 1750s by George Townshend. © National Portrait Gallery, London

George Townshend, you see, had a mercurial personality that did not suffer fools gladly and was never shy about criticising those whose competence he questioned. Not surprisingly perhaps, this was the reason which led to the open hostility between Townshend and his military superior. At the end of 1750 Townshend resigned from the army and identified himself with the cause of militia reform; largely as a result of his efforts an effective new militia act was passed in 1757.

Townshend had always exhibited a knack for drawing, and during his military tenure used it effectively to sketch topography, fortifications, and maps. But beginning around 1750, he began to draw caricature sketches of people–officers, clergy, fashionable women. He was soon covering every scrap of available paper with caricature portraits of friends and enemies and circulating them among his friends and correspondents. But it was in 1756-57 that Townshend began embedding his portrait caricatures into dramatic and narrative frames to make a political point, and thereby creating the prototype for satiric political caricature that would later be followed by others. The Recruiting Sergeant, for example shows Fox acting as a sergeant gathering a pathetic group of recruits to create a new ministry while the Duke of Cumberland (for whom the ministry would be formed) appears ironically exalted in the Temple of Fame.

Townsend (The Recruiting Sargeant) — The Recruiting Sergeant 1757 by George Townshend. © Trustees of the British Museum

In the same year Cumberland ceased to be Commander-in-Chief, being succeeded by Sir John Ligonier. Townshend now returned to the service, being commissioned as Colonel on 6 May 1758 – but without a regiment, a point which prompted him to write to William Pitt asking for active employment against the French. In December he was summoned to London and appointed to command a brigade in the expedition under James Wolfe which was being organized to attack Quebec by way of the St Lawrence.

This appointment displeased Wolfe very much; he had asked Ligonier to let him choose his own subordinates – and he had not asked for Townshend! The “Proposals for the expedition to Quebec” in Pitt’s papers suggest that the three brigadiers were Robert Monckton, James Murray, and Ralph Burton. Unfortunately, Burton, a particular friend of Wolfe’s, was squeezed out to make room for Townshend – a man with more influence! Wolfe wrote Townshend a welcoming letter in which he said:

“Your name was mentioned to me by [Ligonier] and my answer was, that such an example in a person of your rank and character could not but have the best effects upon the troops in America; and I took the freedom to add that what might be wanting in experience was amply made up, in an extent of capacity and activity of mind, that would find nothing difficult in our business.”

This reflects the feelings of a hard-working middle-class career officer confronted with the heir to a viscountcy who has always had things made easy for him. It would be strange if Townshend did not resent the reference to inexperience, especially as he had seen a good deal of active service. Here perhaps is the origin of later trouble!

Townshend, junior to Monckton but senior to Murray, was third in command of the expedition. He crossed the Atlantic with Wolfe in Vice-Admiral Charles Saunders*’s flagship Neptune. It may have been during the voyage that he made the water-colour drawing of Wolfe which the general’s biographer Robert Wright called “the most convincing portrait of Wolfe I have ever seen”; it is certainly the best portrait extant. In the last week of June 1759, the British fleet and army arrived before Quebec, and Wolfe began his long struggle with the problem of bringing the Marquis de Montcalm to battle.

Townshend (Fleet Landing Wolde's Troops) — Drawing by a soldier of Wolfe’s army depicting the fleet, under Saunders’ command, disembarking Wolfe’s soldiers. This 1797 engraving is based on a sketch made by Hervey Smyth (1734-1811), General Wolfe’s aide-de-camp during the siege of Quebec. A view of the taking of Quebec, 13th September 1759. Library of the Canadian Department of National Defence

During 9 and 10 of July, Townshend’s and Murray’s brigades landed on the north shore of the St Lawrence, below Montmorency Falls, and entrenched themselves there. By this time Wolfe’s relations with his brigadiers, and particularly Townshend, had deteriorated. On 7 July Wolfe had written in his journal:

“Some difference of opinion upon a point termed slight & insignificant & the Commander in Chief is threatened with a Parliamentary Inquiry into his Conduct for not consulting an inferior Officer & seeming to disregard his Sentiments!”

The “inferior Officer” was presumably George Townshend; and matters got worse after the unsuccessful Montmorency attack on 31 July, an operation which the brigadiers had disliked. On 6 September Townshend wrote the rather famous letter to his wife in which he said, “General Wolf’s Health is but very bad. His Generalship in my poor opinion – is not a bit better; this is only between us.” Townshend’s wickedly clever caricatures of Wolfe which have survived tell a great deal about their relationship.

Townsend (Wolfe) — Image: George Townshend’s caricatures of Wolfe. © McCord Museum, Montreal.

On or about 27 August Wolfe, then recovering from a severe illness, consulted the brigadiers formally for the first time. He sent them a memorandum begging them to consult together as to the best method of attacking the enemy. He himself suggested three possible lines of attack, all variants of the Montmorency operation which had already failed. After discussion with Admiral Saunders, the brigadiers politely rejected the Commander-in-Chief’s suggestions and recommended a quite different line of operation, bringing the troops away from Montmorency and landing above Quebec:

“When we establish ourselves on the North Shore, the French General must fight us on our own Terms; We shall be betwixt him and his provisions, and betwixt him and their Army opposing General [Jeffery Amherst] [on Lake Champlain].”

For the first time, the essential strategic weakness of the French position was pointed out and exploited: Quebec, and the French army outside Quebec, were dependent on provisions brought down the river, and if this supply line were cut, Montcalm would have no choice but to fight to open it. Wolfe accepted the brigadiers’ recommendation, and thereby made possible the victory on the Plains of Abraham; though the decision to take the risk of landing at the Anse au Foulon, close to the town, was Wolfe’s own. The brigadiers had favoured landing further up the river.

In the battle of the Plains, Townshend commanded the British left wing. Wolfe was mortally wounded and Monckton disabled, and Townshend unexpectedly found himself commanding the army. In these circumstances it is not surprising that his direction of the last phase of the action and its aftermath was not particularly effective. His first task was to deal with Colonel Louis-Antoine de Bougainville’s belated intervention from up the river; this was easily done. But the beaten French field army made good its escape to the west. Townshend prepared to besiege and bombard Quebec, bringing large numbers of guns up the cliff to the Plains of Abraham. But the city surrendered to him on 18 September and in return was offered relatively lenient terms in order to get possession of the town as soon as possible.

Townsend (Quebec) — The surrender of Quebec on 18 September 1759.

Townshend returned to England before the winter and was rewarded with the colonelcy of the 28th Foot and the thanks of Parliament. On 6 March 1761 he was made a Major-General, and took command of a brigade in the British contingent of the allied army in Germany. The following year he was sent to Portugal with the local rank of Lieutenant-General, and took command of a division of the Anglo-Portuguese army which was protecting Portugal against the forces of France and Spain. No important operations took place here before the conclusion of peace.

In 1767 Townshend was appointed Lord Lieutenant of Ireland, and held this post until 1772. Traditionally, Townshend in Ireland has been remembered chiefly as a person who was adept at manipulating the Irish parliament by corrupt means and was considerably disliked. Later research, however, reveals him as an effective and resolute administrator whose financial measures broke the power of the local oligarchy and transferred it to a party in parliament controlled by the government in Dublin Castle.

From 1772 to 1782, and again for some months in 1783, Townshend was master general of the Board of Ordnance. He was promoted general in 1782 and field marshal in 1796. He was appointed Lord Lieutenant of Norfolk in 1792, and also held the office of governor of Jersey. In 1787 he was made a marquess.

Although Townshend had been so bitter against Wolfe in 1759, time softened his feelings, and in 1774 he discouraged Murray from making an attack on the memory of the dauntless hero. Townshend and his fellow brigadiers have been much abused by Wolfe’s admirers; but there is not the slightest doubt that they gave him sound advice at a moment when he was floundering badly, and that it was they, with the support of Saunders, who set Wolfe’s feet on the path to victory. Townshend had important artistic abilities; he has been called “the first great English caricaturist.” An obituary in the Times said, “In his private character he was lively, unaffected, and convivial.” His portrait was painted by Sir Joshua Reynolds and by Thomas Hudson.

Townshend was one of the favoured people who in July 1767 received 20,000-acre grants in St John’s (Prince Edward) Island, being awarded Lot 56 in the east end of the Island. In 1770, embarrassed by his Irish expenses, he was trying unsuccessfully to sell this land. Like so many of the absentee proprietors, he seems to have done nothing to settle or develop his grant. In 1784, however, he gave up one-quarter of it to “American Loyalists and disbanded troops,” and some settlement then took place.

Footnote:
On the domestic front, and away from all the awards during an illustrious career, George Townshend married Charlotte Compton in 1751; she was Baroness Ferrers of Chartley in her own right. By her, four sons and four daughters were said to have been delivered before she died in 1770. Three years later he married Anne, daughter of Sir James William Montgomery; this marriage is said to have produced six children.

George Townshend, 4th Viscount and 1st Marquess Townshend, army officer and caricaturist died at Raynham Hall, Norfolk, England on 14 Sept. 1807.

THE END

Sources include:
P. Stacey “TOWNSHEND, GEORGE, 4th Viscount 1st Marquess TOWNSHEND,” in Dictionary of Canadian Biography, vol. 5, University of Toronto/Université Laval, 2003–, accessed February 6, 2021, http://www.biographi.ca/en/bio/townshend_george_5E.html.

James Gillray: Caricaturist: George Townshend (james-gillray.org)

Heading Image: George Townshend, 4th Viscount and 1st Marquess Townshend, attributed to Gilbert Stuart, circa. 1785 Photo: Wikimedia Commons

Mr Marten Visits Norfolk!

By Haydn Brown

This blog revises and adds to a previous blog, titled: Mr Marten Pays a Visit to Norwich!

Robert Humphrey Marten, to give him his full name, came to Norfolk in September 1825 on a 24-day tour of at least a section of the County which took in Yarmouth, Norwich, Cromer and finally ending with a few days of ‘country delights’ in an unspecified house and location where the family could enjoy shooting, musical evenings, riding, and some fine dining. His intention was to provide ‘heath and pleasure’ for himself, his wife, Emma and daughter Sarah; in this, the party were ably assisted by the family servant. Today we would class them as well-healed tourists.

Mr Marten (Steam Packet )1 — An illustration of a typical steam packet that plied its trade along the east coast of England, bringing on at least one occasion, a certain Mr Marten to Norfolk.

Mr Marten, who was something of an avid diarist and gifted artist; however, he tells us little about himself. It has been left to future researchers to establish more about his personal details and character. Neverthe less, it seems that Robert was clearly a caring man, his kindness well in evidence in the pages with small acts of kindness. Also, although a serious and deeply religious man, he did seem to possess a ‘cheeky’ sense of humour, alongside his amusement, on several occasions during his travels, of the tactics employed by the smarter element of Norfolk locals to profit from visitors! But there was much more to this man.

Mr Marten (Family Gathering) — An English family at Tea by Van Aken. Painting and Image: Tate Britain

The basic facts of Mr Marten were that he was born on 21 March 1763 in London, the second eldest in a typically large family for the time. His father, Nathaniel, was a Mile End pastry cook and his mother was Martha Clarkson. The family attended Congregationalist meetings and family prayers and religious instruction were commonplace in his home.

He married three times, but it was only his second marriage, to Elizabeth Giles in July 1791, that gave him children. At first, the couple lived on a small income, meaning that they had to practice economy – with no partying permitted; instead, they followed the advice of their church, working hard, praying hard and striving to remain cheerful despite their circumstances. But he was to advance in business and fortune, and with improving finances came the opportunity to move to larger premises, first at No. 64 Great Prescott Street in London; it was a comfortable house but with a small garden, of which he seems not to mind. However, by this time, Robert had established himself in maritime insurance, an occupation which had, for centuries, been the most dominant and important line of business. It followed that he became a partner with the company Smith St Barbe & Marten, marking a great step forward for this ambitious 30-year-old. To this firm’s main business, he was responsible for adding the care and disposal of salvaged ships, a big money earner during the ensuing wars with France.

Mr Marten (Home Plaistow) — Mr Marten’s ‘Broadway House’ at Plaistow. Image: Credit Elizabeth Larby/Sarah Murden

By April 1807 the family was in a position to move again, this time out to Plaistow and live in a large house called ‘Broadway House’ in what was then a small village east of London; a gardener and various servants completed the now well-to-do household. It seems also that his business career was matched only by his role as a religious leader and a reformer. Politically he worked towards removing legal discrimination against non-members of the Church of England. It is also known that he was a friend of William Wilberforce who is reported to have been a frequent visitor to Broadway House. Continuing his religious role, he also helped to found the Non-Conformist Church in Plaistow.

When his second wife, Elizabeth, died in 1811 Robert Marten wrote of twenty years of ‘mutual happiness’ with the mother of his five grown up children. Two more years were to pass before he found his third wife, Emma, said to have been chosen for her very high character and approved by the children. It was Emma who accompanied Robert on his 1825 tour of Norfolk; but by then, the demands of business and philanthropy were beginning to take their toll on Mr Marten’s health, hence the need for a break away from business stresses, towards the more bracing and cleaner air of the Norfolk coast with its recently discovered benefits to the constitution.

Mr Marten (Yarmouth)2 — Yarmouth Jetty after 1823; a view that Mr Marten would have recognised. By John Constable. Image: Tate Gallery.

Mr Marten simply tells us that, it was on Wednesday 7 September 1825 when he and his party began their tour of Norfolk; leaving from the Custom House steps London and sailing on the Thames-built steam packet ‘Hero’, bound for the County. In little over a day later, they reached the port of Great Yarmouth, having probably enjoyed their mini-cruise more comfortable than any stage-coach journey. Whilst in the town for only a short stay they took the opportunity to visit the more fashionable Gorleston, seemingly a more pleasurable place than its herring-smelt neighbour on the other side of the estuary.

Mr Marten (Yarmouth from Gorleston_William Daniells_Tate) — Yarmouth from Gorleston by William Daniell 1769–1837. Tate Gallery T02936.

On Saturday, 10 September, Mr Marten’s party boarded yet another, but smaller, steam packet vessel which would make its way inland along the river Yare to Norwich; a city laying some 27 miles and a journey time of approximately 5 hours away. It made good time and once alongside Norwich’s quay, they disembarked above Carrow Bridge at Foundary Bridge – the scene of the 1817 steam packet explosion.

Mr Marten ( Yarmouth Steam Packet) — The steam packet departing Yarmouth for Norwich by John Crome. Picture: Archant Archives

It was probably likely that Robert Marten and his party would have been picked up by a hotel employed vehicle and conveyed into the city; in this instance, it was to the Norfolk Hotel at 25 St Giles in the city centre near the Market Place; here they booked in for a several-day stay. The idea of picking up visitors made good business sense to the hotels of Norwich; particularly, fourteen years later, when trains operated to and from Norwich. The station would be at Thorpe which, incidentally, was the very site of the once Ranelagh Gardens and the point where Mr Marten and his party disembarked in 1825.

Mr Marten (Foundary Bridge)2 — Foundry Bridge in the 1820’s, the point of Mr Marten’s arrival in Norwich. Painted by Robert Ladbooke (1768 – 1842) . Norfolk Museums Service.

Mr Marten and his party were clearly set on taking every opportunity during their stay in the city to explore all its facets; however, high on their list was their need to attend various places of worship. The first opportunity to do this was during their first full day in Norwich, which was a Sunday. They attended morning service at the old St Mary’s Baptist Chapel near Duke Street. It seems that they were a very devout family for during the evening they attended yet another service at the Princes Street Chapel.

Mr Marten ( Princes Street Independant)1 — Princes Street Independent Chapel, built 1819.

Mr Marten ( St Marys Baptist)1 — The present-day ‘Norwich Central Baptist Church’ (formerly St Mary’s Baptist Church). Photo: Evelyn Simak.

Clearly, two visits to a religious establishment in a week was not enough for Mr Marten, for he and his party headed for the ‘solemn grandeur’ of Norwich Cathedral on the Monday morning to attend the 9.45am Matins. Marten described the service as “the same as in other Cathedrals” – this comment may well suggest that he was an Anglian, but one who enjoyed visiting different places of worship. He went on to say in his diary:

“There were scarcely a dozen persons besides the ecclesiastics who officiated. The building is in fair preservation considering that it has been [in use] since the year 1096. The interior is very clean and from the magnitude and architecture presents to the eye a solemn grandeur. The Courts & inclosures and ancient houses around it are also kept in that order & have that still and quiet aspect & that appearance of retirement & comfort which is usually found around Country Cathedrals.”

Mr Marten (Norwich cathedral) — Sillett, James; Norwich Cathedral, Norfolk; Norfolk Museums Service;

Mr Marten also took a particular interest in Meeting House buildings and attended a sermon by Mr Joseph Kinghorn, although:

“His preaching was not to us so satisfactory…….He appeared to be more the preacher than the minister or pastor. His pronunciation is very broad…….Mr Kinghorn is a thin tall old gentleman, very plain in his attire, simple in appearance, of acknowledged talents and has entered the lists in controversy with Robert Hall of Leicester on the subject of open communion which is advocated by the latter and opposed by the former.”

Mr Marten (Joseph_Kinghorn) — Joseph Kinghorn, Preacher.

Mr Marten (Old Meeting House)1 — The Old Meeting House, Colgate, Norwich. Photos: (c) George Plunkett.

On Tuesday, 13 September 1825, Marten and his family continued their tour of Norwich but found the stones with which the Norwich streets were paved very annoying; this would seem to be a strange reaction to a material that had long been widely used for laying road and pavements in many other towns and cities. Nevertheless, they prevailed and on the same day, obtained permission to:

“mount the top of the elevated castle in order to have a panoramic view of the City and the hills which surround it, but we were dissuaded on account of the wind blowing so strong that it would be difficult to stand against it”.

Mr Marten (Norwich)1 — View of Norwich from Mousehold Heath. By John Walker after Charles Catton junior, Norwich. Engraving from *The Itinerant*, published 1 March 1792
British Museum, London © The Trustees of the British Museum.

However, they did manage to walk round the castle to where it was “loft enough to afford a view over the houses to the distant hills.” From high on the castle they counted 23 steeples of the 36 churches which the Map of Norwich stated to be within the city. The view “prolonged our stay because of the pleasure we enjoyed”.

“We then walked about the large city & came by St Giles Church into Heigham, and called on Mr Grout who permitted us to go through his important Silk Manufactory. The works are in several floors and the winding twisting bobbings are by machinery moved by a beautiful 20-horsepower engine. These operations are watched and conducted by more than seventy females, some so young as 7 to 8 years of age. These are on foot from seven in the morning till eight in the evening watching the threads, repairing the broken & seeing that all go on well – occasionally supplying oil where wanted to prevent evil from friction. Only that they have half an hour to breakfast & an hour for dinner. And these little girls earn some 5 shillings, some 5 shillings/6d a week.”

Mr Marten (Silk Weaving)1 — Female silk weavers at work in 1893. The industry in Norwich was founded by Huguenot refugees – ‘Strangers’ ( Getty Images )

“We were then shewn the winding into warp – the subsequent Beaming – & the reeds for the weaving & were informed that a-yard-wide crape has in that breadth 2560 single twisted threads of silk. We then saw one of the female superintendents at her crape loom, and afterwards the turners shop where nine men were employed in preparing Bobbins etc. for the factory here & the much larger [factory] which Mr Grout is now erecting at Yarmouth. The silk used here is principally from Bengal but part was the white silk from China………Seeing a loom going in a private house as we passed, we asked the woman who was weaving Norwich crape & learned that she could, by close application, weave eleven yards each day – but we omitted to ask her earnings by that work.”

Where Mr Marten and family ate and refreshed themselves between forays is not known but they kept going throughout each day. This included walking towards the north of the City until they reached its outskirts and fields beyond and “found the population lively”. They remained clearly amazed by the number of churches around:

“so abounding that the eye could scarcely fail to see two or three whichever way it turned. Many of these were flint faced and some of them with squared flints very carefully cut & nicely laid” – They even counted eleven steeples from their hotel windows.

Mr Marten (Flint_st-miles-coslany) — Flint work in and around a replica window motif at St Michael (Miles) Coslany, Norwich. Photo: Courtesy of Reggie Unthank.

Their stay was also to include walks through both the eastern and southern parts of the city where they saw “many very large & elegant houses.” Marten even picked up on the fact that Norwich was in the process of building a new prison at the top end of St Giles, in an area now occupied by the Roman Catholic Cathedral. One wing of the new prison was expected to open for business later that year and Marten was sufficiently interested in the site to request a visit. He went on to write:

“We were admitted to go over the whole building. The Governor’s House is in the centre and from several windows he can at all times inspect every part of the prison. The Chapel is in the Governor’s House. His pew is opposite & very close to the Pulpit which is entered from the winding stair case. The Felons are in Pews even with this Governor whose eye may be constantly on them – and the Turnkeys guard the two entrances during the whole of divine services – the Debtors are on the floor of the Chapel and thus everyone can see & hear the Preacher. We were shewn the cells for the Felons who are confined at night separately – but they have a Day Room & they have the privilege of the open air in a yard allotted to them. Condemned Felons left for execution have other & still stronger lonesome cells which they are not permitted to leave until the hour when they are taken to the platform over the entrance gate to surrender their forfeited lives to the violated justice of their Country.”

Mr Marten (Norwich Prison)1 — The former Norwich Prison; under construction during Mr Marten’s visit to the city in 1825.

Marten’s general impression of the City was favourable, apart of course for those streets which were paved with small pebbles and flints, making walking “uneasy to the foot and on which one unused cannot walk either steadily of comfortably.” Other than that:

“We were not accosted in any of our walks even by a single medicant [a beggar] – Everyone seemed busy and we were told by a Gentleman, a resident, that no complaints were heard and that the manufacturers and general business of the place were in thriving condition. Houses of the third and fourth rate & some even beneath these were buildings to a great extension of Norwich, a circumstance which marks many other cities beside this.”

Marten’s final comments, as he prepared his party for their departure from Norwich, was to say that their stay had been pleasant and:

“the Norfolk Hotel intitled to praise for the goodness of its provisions – the neatness of its accommodation……..and attention of its conductors & servants. We were also perfectly satisfied with the reasonableness of its charges. We left the Hotel at 20 minutes before 4 o’clock in the stage for Cromer……….”

THE END

Sources:
Twinch, C., Norwich Book of Days, The History Press, 2012
Reeve, Christopher, (pages 169-172) Norwich The Biography, Amberley Publishing, 2014.
Norwich Record Office.
https://colonelunthanksnorwich.com/2019/01/15/pleasure-gardens/
Photo (Feature Heading): The Yare at Thorpe, Norwich. circa 1806 by John Crome.
The George Plunket photographs are by kind permission of Jonathan Plunkett.
Robert Humphrey Marten | Morgan Web Site (morganfourman.com)
https://georgianera.wordpress.com/2021/01/20/a-georgian-tourist-the-1825-travel-diary-of-robert-humphrey-marten-revealed/

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K.
Further Note:
If you are the originator/copyright holder of any photo or content contained in this blog and would prefer it be excluded or amended, please contact us via our ‘Contact Us’ page to flag it for correction.
Also:
If this blog contains any inappropriate information please contact us via our ‘Contact Us’ page to flag it for review.

The Diaries of a Parson Woodforde.

By Haydn Brown.

In the winter of 1932, Charles David Abbott observed that it is “Through the diaries of Parson Woodforde, that readers are given the opportunity to not only increase their knowledge of a departed age, but also to live among the fields and hedgerows and cottages of Georgian England.”

Woodforde (Portrait by Samuel Woodforde_Wikipedia) — Portrait of James Woodforde 1806 by Samuel Woodforde. Image: Wikipedia.

He does not say that his comment rings particularly true to those living in Norfolk where much of his diary was based. However, he does tell us that Woodforde’s 18th century was never poor in having literary memorials: London exists forever in the pages of Boswell; the upper circles will always gossip and there is much intrigue in Walpole’s letters; Cowper, would have succeeded in giving us the reality of country life, had he been able to keep his own too interesting personality and his poetic bent more in the background. But thanks to Parson Woodforde, we have ‘what Cowper was too great to produce’. The Parson paints a life as it actually was in hundreds of rural parishes throughout England.

Woodforde1

The Parson Woodforde Diaries begin on 21 July, 1759 – when, at the age of nineteen years, he records being made a Scholar of New College – readers immediately plunged into an Oxford of ‘unregenerate’ days.

“Hooke, Boteler and myself went to Welch’s of Wadham College, where we designed to sup and spend the evening, but our entertainment was thus, one Lobster of a Pound, a half-pennyworth of Bread, and the same of Cheese, half of an old Bottle of Ale, half a Bottle of Wine, and a Bottle of Lisbon, and then we were desired to retreat, which was immediately obeyed……”

Woodforde (Wadham College) — Wadham College, Oxford.

On another eventful occasion, the evidence was more lavish:

“Baker and Croucher both of Merton Coll: spent their evening in the B.C.R. [Bachelor’s Common Room]. Croucher was devilish drunk indeed, and made great noise there, but we carried him away to Peckham’s Bed in Triumph. Baker laid with me.”

Abbott, in his own words, goes on to say that James Woodforde was the normal undergraduate, by no means averse to the delights of collegiate existence but, at the same time, not unoccupied with the duty of preparing himself for the priesthood. His career was like that of the majority of university-bred men of his period – four years at Oxford, ten years of curacies in his native Somerset, followed by a year or two of residence as Fellow of New College and as University Proctor, all before he is finally presented to the college living of Weston Longeville in Norfolk. By the time he goes permanently to Weston in 1776, we are thoroughly acquainted with him.

Woodforde (All Saints Church) — All Saints at Weston Longeville, Norfolk where James ‘Parson’ Woodforde spent some twenty-six years as its incumbent. New College Oxford held the living for the church. Photo: Simon Knott.

He remains the same innocent fellow who in his first term at Oxford gave away his snuffbox “to a Particular Friend” and went “to see the man ride upon three Horses.” No breath of scepticism touched him. He has no doubt of Anglican doctrine, and he looks upon the church, in so far as he thinks about it at all, as the natural home for men of his sort. He questions none of the duties, dislikes none of them. They do not interfere with his simple pleasures, which consist largely of living comfortably in a rural retreat, where food is plentiful, the cellar spacious and well-stocked, and the neighbours sociable. He loves sport so long as it is not too strenuous—the coursing of a hare before dinner or the dragging of a pond. There is no chance of his ever growing bored with the life that he knows, from the carefully recorded daily breakfast to the evening rubbers of whist. He loves it all, and it is all a part of his simple nature. Everywhere he shows himself the wholesome, generous, affectionate, lovable gentleman who, we like to believe, is the typical country clergyman. We may therefore be amazed that so much good-nature never brought him a wife, but we soon grow accustomed to his continued state of bachelorhood.

Woodforde (Weston House)2 — View of Weston House, home of John Custance (1749–1822) and friend of Woodforde. Photo: Courtesy of Picture Norfolk – taken about 1946.

It was on the question of Woodforde’s love life that Virginia Woolf (1882 – 1941) had a particular view, as expressed in The Common Reader, Second Series:

“The Parson’s love affair, however, was nothing very tremendous. Once when he was a young man in Somerset, he liked to walk over to Shepton and to visit a certain “sweet tempered” Betsy White who lived there. He had a great mind “to make a bold stroke” and ask her to marry him. He went so far, indeed, as to propose marriage “when opportunity served”, and Betsy was willing. But he delayed; time passed; four years passed indeed, and Betsy went to Devonshire, met a Mr. Webster, who had five hundred pounds a year, and married him. When James Woodforde met them in the turnpike road, he could say little, “being shy”, but to his diary he remarked — and this no doubt was his private version of the affair ever after:

“she has proved herself to me a mere jilt”.

But he was a young man then, and as time went on, we cannot help suspecting that he was glad to consider the question of marriage shelved once and for all so that he might settle down with his niece Nancy at Weston Longeville, and give himself simply and solely, every day and all day, to the great business of living. Again, what else to call it we do not know.”

Such was the Parson’s disposition when he arrived at his parsonage of Weston Longeville in 1776, and remained there, in spite of the later irritations of poor health, during a twenty-six-year incumbency. At Weston Longeville, we come to know it intimately, as if we had been part of the Parson’s household. The local and domestic events are all chronicled, quite without any attempt to dramatise them:

“My great Pond full of large toads, I never saw such a quantity in my life and so large, was most of the morning in killing of them, I daresay I killed one hundred, which made no shew of being missed, in the evening more again than there were, I suppose there are thousands of them there, and no frogs…….”

Woodforde (John Custance 1749-1822 of Weston House_Norfolk Museum Service) — John Custance (1749–1822), of Weston House, by Henry Walton (1746–1813). Norfolk Museums Service

The neighbours begin to call, particularly the Custances from Weston House, the great family of the parish, and soon the Parson is happily involved in the social life of the community. Dinner succeeds dinner, each duly recorded as to partakers and menu.

“We had for dinner, the first Course, some Fish, Pike, a fine large piece of boiled Beef, Peas Soup, stewed Mutton, Goose Giblets, stewed, etc. Second Course, a brace of Partridges, a Turkey rosted, baked Pudding, Lobster, scalloped Oysters, and Tartlets. The desert black and white Grapes, Walnuts and small Nutts, Almonds and Raisins, Damson Cheese and Golden Pippins. Madeira, Lisbon, and Port Wines to drink…..”

It is small wonder that, after so many dinners of these proportions, the good parson was to suffer later with a variety of internal complaints.

Regularly every summer, for many years, the Parson returns for a long visit with his family in Somerset, where his daily routine is unaltered, except that there are no clerical duties. We renew acquaintance with the various members of the family, particularly with Brother John, whose conduct does not always conform to the Parson’s notions of propriety. The Woodforde family is exhibited without any restraint on truth – we see them with all their jealousies, their humorous conceits, their pride and their affections, completely unadulterated. Woodforde has an innocent way of quite unconsciously laying bare the characters of his relations:

“Sister Clarke and Nancy had a few words at breakfast. My sister can’t bear to hear anyone praised more than herself in anything, but that she does the best of all.”

In such entries we are presented with the real materials that lie behind the artistry of Jane Austen. Finally, in 1779, Nancy Woodforde, a niece, leaves Somerset and comes to live at Weston with her uncle, whose comforts and trials she continues to share until his death.

Life, of course, goes placidly on in the Weston Parsonage, amid the round of dinners and the unceasing charity to the poor. The tithe-audit regularly takes place, and the Parson regularly entertains the tithe-payers at his “Frolick.” There are mild winters and cold winters, “such Weather with so much Snow I never knew before.” Some springs are merely moist and hence productive, others “so wet that Farmers cannot plow their lands for their barley.” The world of great events seems more than a few miles away.

Distant rumblings, of course, are heard from America and the Parson is occasionally aghast at the lawlessness of French mobs. As England becomes more and more involved in continental entanglements, even the Parson feels the shock of increased taxes. But such matters do not seriously interfere with his ways – including those of Nancy. His appetite remains unimpaired, and he is far more vexed by his niece’s chronic sauciness than by any affairs of the outside world!

Woodforde (Smugglers) — Not all of Woodforde’s suppliers of brandy and gin were as happy to show their faces as those that he names in his diaries. On at least one occasion he describes how a knock took him to the front door, and he discovered a couple of kegs waiting there: by the time he peered out into the night, whoever delivered them had melted away! Image: Public Domain.

Abbott wonders why the Parson’s unflagging repetition of daily small beer does not grow tiresome, and perhaps we are hoodwinked into thinking that our hunger for knowledge of a remote time is insatiable; but this is not the real reason, for we read the Diaries and are disappointed that there is not more, because Parson Woodforde in his unthinking, artless way has reproduced real life. He never repeats a conversation, and yet each individual from mere reiteration emerges as a definite personality. We learn to know every guest at every dinner, so frequently do they reappear; and, though we hear none of the conversation, we know pretty well from a hundred previous clues what was said. We become inevitably absorbed in all the details, just as if they were details of our own lives.

Finally, Abbott concludes by saying that everything is put down in the parson’s quaint fashion, unconscious of grammar and consistency, fact after fact, never any feelings other than mere bodily ones. But we know the emotions well enough; they lie between the lines, and as for the Parson, we are devoted to him. He has become an old friend, and when in the course of the last volume he begins to fail, and the daily routine is interrupted by long illnesses and seasons in bed, we grow sad because we know that the diary will come to an end and that with Parson Woodforde, we shall have lost the whole of his company of friends. And when he is gone, we can only echo the words of his last entry in his diary, and the grief of the one entry from Nancy’s diary’:

“17 October 1802: We breakfasted, dined, Very weak this Morning, scarce able to put on my Cloaths and with great difficulty, get down Stairs with help – Mr. Dade read Prayers & Preached this Morning at Weston Church – Nancy at Church – Mr. and Mrs. Custance & Lady Bacon at Church – Dinner today Rost Beef & Lamb.”

“January 1, [1803]. Saturday. Weston. Norfolk. This morning about a quarter after Ten o’clock died my ever-dear Uncle James Woodforde whose loss I shall lament all the days of my life…….”

THE END

Reference Sources:
A full written text by Charles David Abbott, available at:
https://www.vqronline.org/woodforde-diary
Other Norfolk detail from:
https://colonelunthanksnorwich.com/2020/11/15/parson-woodforde-goes-to-market/
and
https://ebooks.adelaide.edu.au/w/woolf/virginia/w91c2/chapter9.html

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K.
Further Note:
If you are the originator/copyright holder of any photo or content contained in this blog and would prefer it be excluded or amended, please contact us via our ‘Contact Us’ page to flag it for correction.
Also:
If this blog contains any inappropriate information please contact us via our ‘Contact Us’ page to flag it for review.

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this:

Rate this:

If you like this Blog then please share it

Like this: